#sorry I'm too bored | Explore Tumblr posts and blogs

prolibytherium · 1 month ago

Note

I never touched it but I feel like i only ever hear positive things said about song of achilles.. in (rough strokes at least) what makes it dogshit to you?

Okay it's been a while since I actually read it so some of this might not be spot on accurate. Sorry if at any point I say 'the book never does xyz' and it actually does once or twice but I think my underlying criticisms are accurate

-Patroclus is made into like this soft gentle tender quivering little yaoi boy. In the source text, he's shown as compassionate and moved by the suffering of his own men (and apparently having some medical skill, tending to the wounded in the camp), but very much invested n combat and very, very good at it (pages worth of descriptions of the guys he's killing left and right). In this, the arguably more complex character from this 8th century BC text is flattened into Being A Healer, he doesn't want to go to war he just wants to help people, he only goes because Achilles has to but he doesn't want to fight he's a HEALER he's a gentle lover NOT A FIGHTER who just wants to help he just wants to help everyone around him he HEALS while Achilles is a doomed warrior who is so good at fighting and KILLING its a DICHOTOMY GUYS!!!LIKE THE BEAUTIFUL SUN AND MOON DOOMED LOVERS SO SAD patocluse HEALER . (I Think he's specifically characterized as being BAD at fighting but might be misremembering)

-I don't remember much about Achilles' characterization I think it just makes him less of a jackass while not adding anything of interest and levels out into being mad boring.

-Not getting into the literal millenias old debate whether the mythological characters Achilles and Patroclus were being characterized as some type of lover by the original oral sources of the Iliad or its Homeric writers. We will never know. We don't even know what (if any) culturally accepted conventions of male homosexuality existed in bronze age Greece (we know much more about their descendants). But there are some interesting elements of their characterization in this direction, with how unconventional their relationship is WITHIN the text itself- Patroclus is described as cooking for Achilles and his guests (very specifically a woman/wife's job), Achilles chides Patroclus like a father, but there's also scene where Achilles' mourning of him directly echoes a passage of Hector's wife mourning her husband, Patroclus is explicitly stated to Achilles' elder, and is overall treated as his equal or near-equal, closest confidant and most beloved friend (to the point that pederastic classical Greeks would debate over who was erastes (older authority figure lover) and who was eromenos (adolescent 'beloved')- many took it as a given that this text depicted their present-day cultural norms of homosexual behavior but it existed so Outside of these norms that it had to be debated who was who). Their relationship is non-standard both within the text and to the descendants of the civilization that wrote them.

Basically what I'm saying is this book had opportunities to like, explore the unconventionality of the relationship (being presented here as explicitly lovers), explore the dynamics of why Patroclus wants to do 'women's work' (besides being a tenderhearted softboy), the weird dynamics where they take on paternal roles to each other but also roles of wives, how they feel about being this way, and just kind of Doesn't. Which I guess isn't an intrinsic fault (because it omits much of what I just talked about to begin with). it's just like.... Lame. This book takes jsut abandons everything interesting about the source text in favor of flattening it into bland Doomed Yaoi.

-The conflict that sets off the core story of the Iliad is Achilles and Agamemnon fighting over Briseis, an enslaved Trojan woman taken by Achilles as a war-trophy, Achilles spends most of the story moping because he was dishonored by his 'trophy' being taken. Achilles and Patroclus and everyone else are raping their captives, all the women in the story are either captured Trojans (or in the case of the free women within the walls of Troy, soon to be enslaved, and are slave owners themselves). Slavery as an institution and extreme patriarchal conventions are innate to the text and reflective of the context in which it was developed. You cannot avoid it.

But obviously you can't have your soft yaoi boys doing this, so the author has them capturing women to Protect Them from the other men. Their slaves are UNDER THEIR PROTECTION and VERY SAFE (and they might even Like And Befriend Them but I might be misremembering that. Briseis does though). Our heroes have apparently absorbed none of the ideals of the culture they exist in and the author seems to think "they're gay and aren't sexually attracted to their captives" would translate to them being outright benevolent (also as if wartime sexual violence is just about attraction and not part of a wider spectrum of violent acts to dehumanize and brutalize an accepted 'enemy')

In the source text, Briseis mourns Patroclus as being the kindest to her of her captors, who tried to get her a slightly better outcome by getting her married to Achilles (which probably would be the Least Bad of all possible outcomes for a woman in that situation, becoming a legal wife instead of a slave), and wonders what will happen to her now that he's gone. This is a really really sad, horrible, and compelling dynamic which could be fleshed out in very interesting ways but is instead is tossed entirely aside in favor of them being Besties. Like brother and sister.

All of the above pisses me off so much. If you don't want to engage in the icky parts of ancient/bronze age Greece then don't write a retelling of a story taking place in bronze age Greece. I'm not gonna get mad at children's adaptations of Greek myths or silly fun stories loosely based on them for omitting the rape and slavery but it is SO fundamental to the Iliad. If you're not willing to handle it, either fully omit it or better yet set your Iliad inspired yaoi in an invented swords-and-sandals setting where you can have all your heartbreaking tragic doomed lovers plot beats and not have to clumsily write around the women they're brutalizing.

-The author didn't seem to know what to do with Thetis and she made her just like, Achilles bitch mother who spends most of the story trying to separate our Yaoi Boys (iirc her disguising Achilles as a girl and hiding him on Scyros is made to be more about getting him away from Patroclus than trying to save her son from his prophesied doom in the Trojan War) until she sees how much they loooove each other and I think helps Patroclus' spirit get to the afterlife or something in the end?

-This is more of a personal taste gripe but it has that writing style I loathe where the prose feels less like a story and more like an attempt to string together Deep Beautiful Hard Hitting Poetic Lines that will look great as excerpts on booktok (might predate booktok but same vibe). It's all very Pretty and Haunting and Deep but feels devoid of real substance.

I really like The Iliad and The Odyssey in of themselves. They're fascinating historical texts that give a window into how 8th century BC Greeks told their stories, saw their world, interpreted their ancestors, etc. And genuinely I think these texts have 'good' characters, there's a lot of complexity and humanity to it.

WRT the Iliad- all of the main Achaeans are pretty fascinating, the one singular part where Briseis Gets To Talk and laments her situation is great, Achilles fantasizing that all of the Trojans AND the Achaeans die so he and Patroclus alone can have the glory of conquering Troy (wild), Achilles asking to embrace Patroclus' shade and reaching out for him but it's immaterial (and the shade being sucked back underground with a 'squeak' (the squeak kinda gets me it's disturbing and sad)), Hecuba talking about wanting to tear out Achilles' liver and eat it in a (taboo, exceptioally pointed) expression of rage and grief for his mutilation of her son's corpse, just one tiny line where the enslaved women performing ritual wailing for their dead captors are described as using it as an outlet to 'grieve for their own troubles' is heartrending, etc. A lot of grappling with anger and grief and the inevitability of death, a lot of groundwork laid for characters that could be very interesting when expanded upon in the framework of a conventional novel.

And Song Of Achilles really doesn't do much with all that. I know a lot of my gripes here are kind of just "It's different from the Iliad", I would have thought of it as mostly mediocre and forgettable rather than infuriating if it wasn't a retelling (and I DEFINITELY have strong biases here). But I think the ways in which it is different are less just a product of a retelling (of course there's going to be omissions and differences) and more a complete and utter disinterest in vast majority of its own subject matter, to the book's detriment. I think a retelling has a point when it EXPANDS on the source, or provides a NEW ANGLE to the source. This book doesn't Really do either, it just shaves off the complexity of its source material, renders the characters into a really boring archetype of a gay relationship, and gives very little else. Its content boils down to a middling tragic romance that has been inserted into the hollowed out defleshed skeleton of the Iliad.

Bottom line: I definitely would not be as mad about it if I wasn't familiar with the source material but I think it's fair to expect a retelling to Engage with/expand on its source, and I also think it's weak purely on its own merits. This book was set up to disappoint Me specifically.

#Sorry this turned into a 100000 word essay on The Iliad it can't be helped #I read Circe by the same author and thought it was like.. better? Definitely not great just less aggravating and kind of boring #Just rote 'you heard about this villainous woman from a Greek myth... Here's the REAL story' shit #It did have a few things I thought were good I remember it starting kind of strong and then just going limp for the remaining duration #I think part of it is that in that case she's expanding on a figure that Didn't have a whole lot of characterization in the source so #like. She had to actually Expand The Character #Again Silence of the Girls is the only Greek Mythology Retelling I have like....positive?.leaning positive? feelings towards #I've got BIG issues with it too but it does pretty much the exact opposite of everything I'm mad at SOA for and in some very #compelling ways (it's just that the author seems way more interested in Achilles and Patroclus than The Main Character Briseis #to the point of randomly starting to have Achilles POV interjections (which I thought were Good in of themselves but #really really really really really really really didn't need to be there) and then get kind of lampshaded by Briseis narrating 'I guess I #was trapped in Achilles' story the whole time lol!!!!!!')#It undermines the book on both a thematic level and just like. a construction level like it's real sloppy at times.#Also the Briseis POV sometimes has these like really out of place Author Mouthpiece Moments where she's very obviously #Stating The Point to the audience and it's like yeah we get it. We get it.#Wow in the scene were our mostly silent enslaved protagonist removes the gag from the mouth of a dead sacrificed girl as a #small but significant act of defiance and grieving in a book called 'Silence of the Girls' you inserted an ironic repeat of the line #'silence befits a woman'. in italics even. Thanks for that. I could not possibly have grasped the meaning of this scene if you didn't #spell it out for me like that. Thank you.#Actually hang on the only Greek mythology retelling I have unequivocally positive feelings for are the 'Minotaur Forgiving'#songs on 'This One's For The Dancer And This One's For The Dancer's Bouquet'. Fully love it. Like not just as songs I think it #does function well as a narrative and engages with and expands on the source in really beautiful and creative ways

40 notes · View notes

hailsatanacab · 1 year ago

Note

For the prompt ask game!

9. Sleep deprivation and/or 37. Secret Relationship and/or 40. Identity reveal/major secret reveal

(I selected a few so you can chose the one that resonates the most.)

For any DPxDC characters. <3

*emerges from a google docs, covered in blood and panting* i did it... it is done.

thank you for the prompt!! because i love a challenge, or because i can't stop myself, i went and did all of them!! for everyone!! everyone is sleep deprived and everyone is revealing secrets ^^'

Danny/Tim, mentioned Jazz/Jason

(๑•́ ₃ •̀๑) enjoy!! prompt ask game

kid napping

“Red Robin, sound off. Status?”

“All good here, Oracle. Everything okay?”

It’s been a slow night, never a good sign. Pent up energy itches under his skin and he stretches when he stands, preparing for whatever Oracle is going to throw his way. It’s going to be something, he can tell.

“Good.” Relief briefly colours her voice answers, before she becomes serious again, keys clacking away in the background. “There’s been a report from Agent A. It appears that one Timothy Drake has been kidnapped and is being ransomed for five million dollars and a helicopter. I’m tracing the call now.”

“A helicopter, too? Kidnappers these days, used to be they just wanted their money and that would be the end of it… a fucking helicopter, wow.” Red Hood scoffs, and Red Robin can’t help but join in the laughter over the comms.

“Doesn’t exactly sound like these are the brightest tools in the shed now, does it, Hood? Wonder what poor schmuck they’ve got instead.” Nightwing says, slightly out of breath.

The smile slips off Red Robin’s face and clammy, cold dread shivers down his spine. A stone settles in his stomach. He wets his lips and clears his throat. “Oracle, can you pull up the CCTV on my apartment near WE? Any closer to tracing the call?”

“Still on the trace, they’re using a jammer. Agent A is cooperating so they should phone back soon, which will help.” she reports, falling into silence as he finds the video feed.

“You know who it is?”

“I hope not.”

It’s tense, he taps his feet on the rooftop, fingers tightening over his grapple as he fights the urge to fly off the roof and check for himself. It better not be him. Please, dear God, don’t let it not be him.

“What are you thinking, Red Robin?” Batman growls through the comms. Red Robin can hear the wind under his words, whipping fast as he no doubt makes his way over to his position.

“I had a, uh, a friend coming over tonight. From behind, he… he could be mistaken for Tim Drake.”

The jokes fall silent, the comms growing serious as they pick up on his tone.

“Well, fuck.”

“Eloquent as always, Hood.”

“Shut up, bat-brat.”

“You were right, Red Robin, it looks like it was your… friend they caught, instead. About two hours before the call came in. I’m following their van now, I should have the destination soon. In the meantime, it looks like they’re heading towards the docks.”

Red Robin throws himself off the building, shooting his grapple as low as he dares to get the fastest swing he can.

They have Danny.

Worry gnaws at his gut even as gravity pulls it into his throat with another swing.

Danny is… And Red Robin means this in the nicest way possible, but Danny is fragile. They haven’t talked about it, but RR knows that Danny has health problems. Something plaguing him since he was young, that’s landed him in the hospital more than once. A weak heart, far too slow to be normal, possibly chronic fatigue—he’s always so tired, falling asleep anywhere he can.

Sometimes, he doesn’t even need to put his head down. Once, when they had gone to the corner store to get some popcorn to enjoy their movie (which Danny had explicitly and repeatedly promised he wouldn’t snore through this time), Danny had rested his head on Tim’s shoulder while they were waiting and he’d just… gone. On his feet, asleep, just like that.

He’d laughed, when Tim woke him up. Apologised. Said Tim made him feel safe enough to fall asleep just about anywhere and—

Red Robin grits his teeth and corrects his course as Oracle updates them with more precise coordinates.

Tim had carried him home that night, piggy-back for four blocks, but by the end of it, he wasn’t tired at all. And that’s another thing, Danny’s just so light. It’s concerning.

They never did watch that movie, but it’s a night that Tim can’t help remembering fondly all the same. They’d ended up rewatching some old sitcom that Danny’s seen countless times but Tim’s never really bothered with, Danny drifting off to sleep again and Tim eventually following him, because… sleep is easy with Danny.

It’s the same for him, he thinks. He can’t explain it, but he feels safe enough to sleep with Danny, too.

He needs to be alright.

“So… Is this friend just a friend? Or a friend friend?”

“A friend, Nightwing. Now hurry up.”

He’s not in the mood to play these games, not now. There’s a reason why none of them know about Danny, and this is one of them. His family, as much as he loves them, are just too damn nosey for their own good.

“You know that doesn’t answer my question at all.”

“Then why don’t you ask something intelligible, rather than continue with your childish antics?” Robin snarks, and for once, Red Robin has to agree with him. Or, rather, he’s grateful for the distraction that it gives him.

Tim has secrets. He’s sure that Danny does, too, and so far—aside from the standard background check he always runs on new friends and friend friends alike—he’s done very well to respect them. He just can’t say that his family would do the same.

They can be overwhelming, to say the least, and Tim has tried his best to protect Danny from that.

Only to fail to protect him in every other way that it counts.

“How long have you guys been ‘friends’?”

“Nightwing, save it, please.”

“What’s his name?”

He ignores him.

Red Robin lands on the building first, thank goodness. He wastes no time in finding a skylight that can be pried open fairly quietly, slipping inside without a second thought.

“Wait for backup, Red Robin, that is an order!” Batman says, when he lets them know he’s in.

“Negative, Batman. I’m getting him back.”

“Red Robin!”

He weaves silently through the desks on the second floor of the warehouse, always moving, always keeping a trained eye on the shadows around him.

When he reaches the stairs, he hears voices.

“Looks like three of them, armed. The-the hostage is tied to a chair in the middle of the room, he…” Red Robin takes a steadying breath. The person has a burlap sack over their head is slumped to the side, from where he is, Red Robin can’t see if his chest is moving. There’s blood on the floor. “He needs medical assistance. Another two on the northside entrance.”

The comms explode in admonitions, everyone pleading with him to stay where he is, to wait for help, but fuck that. With a tap, he switches them off and he can finally, just about make out the words of the kidnappers as he creeps down the first few steps.

“—shouldn’t he have woken up by now?”

“I don’t know, man, you’re the one that hit him! Do you think he’s—”

“No! I didn’t even hit him that hard, I swear!” the man cries, holding his hands up in surrender. “I just couldn’t take any more of his stupid jokes!”

If there was any doubt in Red Robin’s mind that they picked up Danny by mistake, it’s gone now. Yeah. If you get Danny, you get his stupid jokes, too.

He creeps closer.

There’s some storage crates between him and Danny, if he can get behind there without being seen then that leaves him in a good position for when whoever’s next in takes out the guys at the front. He can’t do anything without them gone first, not without risking them taking shots inside and endangering Danny.

The man that hit Danny circles round behind him and grabs at his hands.

“What are you even doing, Pat? Who gives a shit, leave him alone.”

“I’m just checking! I just gotta see!”

“Fuck’s sake, guys, who cares? We just gotta get our money, that’s it—”

“And our helicopter!”

“And our—”

“Shit, I can’t find a pulse! Shit, Frank, I killed him, I—”

Jason told him once that when the Pits overtook him, he used to see green. Instead of blacking out, he’d be swimming in that putrid Lazarus colour and he’d slip into that rage and bad things would happen.

He’s heard of people seeing red, too, but really, he thinks that’s more of a literary device.

Tim doesn’t see anything aside from his targets.

A barrage of birdarangs take the guns from the guys at the front, the three around Danny startling badly enough that the guy that kil—that’s behind Danny—stumbles, losing his footing.

Only one of them shoots.

Amateurs.

There’s a round of curses on the comms as the shots come through. Oracle must have turned them back on.

“Fucking hell—Nightwing and I are at the front, Red Robin, don’t worry about them.”

Red Robin’s barely listening.

He spins, kicking the largest guy in the stomach hard enough so that he doubles over, wheezing. Following through the movement, another kick lands on the side of his head and he’s down.

The second one, Frank, gets his wits about him and raises his gun, spraying wildly. He’s a shit shot, going wide in panic, and Red Robin simply ducks and rushes forward, keeping low. Tackling the guy, he grabs the gun off of him and uses it to smash him across the face, once, twice, three times, before he stops moving.

“Oracle, get police and paramedics on scene, now.” Batman says, the displeasure in his voice evident. “Red Robin, Robin and I are coming in from the top.”

Pat hasn’t even made it up off the floor yet, scrambling backwards, fear plain on his face.

Red Robin stands, breathing heavily, gun still in hand.

“I’m sorry, I’m sorry, I swear I didn’t mean to do it! Please—please, don’t, please!”

Red Robin doesn’t kill.

Well, no, Red Robin doesn’t normally kill.

No, that’s not quite right, either.

Red Robin has killed. Red Robin will more than likely kill again. Red Robin sees no problem with killing.

The gun is up, pointing towards the guy without any real thought about it.

Footsteps rush behind him, the familiar heavy footfalls of Batman and Robin, so he doesn’t bother turning around. The gun follows the guy as he keeps pulling himself backwards, snot and tears mingling down his face.

“Red Robin,” Batman says, softly.

It’s always weird hearing Batman’s voice like that. It’s not the first time, obviously—Batman can’t use his scary intimidating voice on victims or children, after all—but having it used on him is weird.

“Breathe.”

“He’s dead. They killed him.”

If hearing Batman’s voice was weird, Red Robin can’t even recognise his own.

Distantly, he realises he’s dissociating. There’s a tightness in his chest, it’s hard to breathe, a growing buzz drowns out any noise in his ears and he can’t think, he can’t—

A heavy hand squeezes his shoulder, jolting him out of his thoughts. Batman reaches around and gently removes the gun from his grip, and Tim feels the instant loss of it. He should have done it, why hadn’t he done it?

Robin takes care of the last man, his crying cut off by a swift kick to the head. Nightwing and Red Hood join them, zip-tying the men on the floor and starting to drag them back to the entrance of the warehouse one by one.

No one says a word.

Shrugging off Batman’s hand, Tim moves towards the chair.

Shaking, he takes a deep breath and removes the sack. The small part of him that was left hoping it wasn’t him, it couldn’t be him, please dear God let it not be him, shatters.

Even dead, he looks peaceful.

Tim’s seen death. He’s no stranger to it, he’s seen what it can do to a person. There’s some blood coagulating over his eyebrows, but otherwise, he looks peaceful. Is that comforting? That he didn’t suffer?

Danny’s head lolls to the side as the sack comes completely away, his hair flopping over his eyes. Tim’s been on at him to get a haircut lately, he thinks it’ll be nice tidied up a bit, just on the sides. It’ll get rid of that permanent bedhead. Help him with job interviews, he’s got to be thinking about that now that he’s in his last year of college.

It’s about the only thing that’ll hold him back, Tim thinks. Danny’s brilliant. Any employer would be a fool to turn him down because of his shaggy hair, but employers are stupid so it makes sense to put your best foot forward and—

Tim falls to his knees.

Fuck.

He’s dead, he’s really—Danny’s skin is horribly pale, cold to the touch. Gone is his bright, cheerful smile.

“Danny, I’m sorry, I’m so, so sorry, I—”

He stops himself with a deep, shuddering breath. He can’t break down here, he can’t, he can’t, he can’t.

Instead, he tips forward to rest his head in Danny’s lap, arms curling around himself. They were too late. They got here as fast as they could and they were too late.

“Danny, I’m so sorry…” he whispers. “I… I love you, I love you, I’m sorry.”

Dimly, he can feel the others standing around them. Someone crouches down beside him, resting a comforting arm over his back, but he doesn’t turn his head to see who it is. He squeezes his grip on Danny’s legs tighter.

“Come on, baby bird. Let’s—”

They’re interrupted by a huge, honking snore as Danny jerks himself awake.

Tim’s head snaps up, staring at Danny with wide eyes.

“You were asleep?” Red Robin springs up, several different emotions rapidly flip flopping through him.

“Wha… What?” Danny heaves a yawn, blinking blearily down at him. “Sorry, I’m just… they were shit kidnappers, man, really boring. Honestly, worst abduction yet.”

“You were asleep? I thought you were dead!”

“Not mutually exlusive, you know.” Danny says through another yawn. He rolls his neck around with an almighty crack and glances at everyone. “Didn’t think I’d warrant the whole Bat brigade, though…”

“The kidnappers thought they had Tim Drake.” Batman supplies, while Red Robin tries to work through the emotional whiplash.

“Ah, makes sense… wait.” Danny sits up suddenly, squinting at Red Robin. “Did you say you loved me?”

“No, of course not, why would I—”

“Tim? Is that—are you—are you Red Robin?”

“Everyone, hold the fuck up!” Red Hood shouts from the other side of the warehouse, having finished securing the perps to a streetlight outside. “Double R is dating Danny fucking Nightingale?”

Well, there goes his identity… Oh, who’s he kidding, Danny’s smart. There’s no way he could have salvaged that. This was not how he thought the night was going to go.

“Cranberry, is that you?” Danny twists in his chair, somehow delighted to see Red Hood rescuing him, too. “I thought I smelled you lurking about!”

“Shut it, you little shit. Since when were you dating this dweeb?”

“I’m sorry,” Red Robin pleads, hands in the air to try and slow down the onslaught of information and insults, “you two know each other?”

“Cranberry?” Nightwing echoes, looking as lost as Red Robin feels.

“Yeah, Cranberry—The Cranberries—zombie, zombie, zombie-ie-ie. Obviously. Also he’s wearing a big, fuck off red helmet.”

“Yeah, sure, makes sense.”

It’s about the only thing that does.

“And please don’t call my boyfriend a dweeb, Cranberry. Especially when he just said he loves me for the first time.”

“He only said it because he thought you were dead.”

“I am dead, so it counts.”

“Only half, so I’d say that puts you at a solid ‘like’. Tim’s—and savour this, Tim, because I’m only going to say it once—Tim’s intelligent, so I’m sure he’ll come to his senses soon.”

Danny just throws Red Hood such a shit-eating grin. A level of feral that Tim’s only seen before in Damian.

“That’s what I used to say about Jazz, too.”

Hood scoffs in offence, and to be honest, Tim’s not sure where he should go from here. What the hell is happening, how do they know each other?

“Come on, is anyone going to untie me or am I really meeting your family mafia-style?”

“Do it yourself, Slimer.” Red Hood laughs, crossing his arms.

“Ugh, you suck so much. I’ll fucking slime you, just you wait. Can’t believe Jazz even likes you, I preferred it when she was dating Johnny.”

And then, without Danny doing anything other than muttering obscenities at Red Hood, the ropes fall to the ground. In one swift motion, Danny stands up and stretches himself to his full height of 5’6.

“All of you need to explain, now.” commands Batman, and honestly, Red Robin’s very much on his side of it.

“I can’t believe it… Jason and Timmy are both in secret relationships? That’s… How come no one told me?” Poor Nightwing sounds the most shocked out of all of them. He turns to Damian and clasps onto both of his shoulders. “You’re not secretly dating, are you, D? Please tell me you’re not, please tell me you’re single, please?”

Of course, Robin just clicks his tongue and pushes his hands away. Really, Red Robin doesn’t think that Nightwing’s in any danger of that happening, he’d be surprised if anyone could stand Robin enough to actually date him.

He shakes his head and turns to Danny, who’s staring right back at him, worry clear on his face.

Fuck, he... He's alive. He's really alive.

Tim pulls him into a bone-crushing hug, fingers buried deep in his NASA shirt. Tucking his face into the crook of Danny's shoulder, he laughs wetly with the joy of it. He's alive. He hasn't lost him. He's safe.

“I’m sorry I haven’t told you before now, starshine, but…” Danny breaks the hug and softly pulls away from him to rise on his tiptoes to place a kiss his cheek. The skin burns cold where his lips touch. “I love you, too. Also, you’re gonna wanna sit down. This is going to be a lot.”

#dpxdc #dead tired #anger management #(barely but it's there haha)#dcxdp #hailsatanacrab🦀🦀writes #i'm sorry this has taken a while but also this week has kinda sucked and i'm still pissed off about that #so writing has been a nice little break from that!!!!#i hope you enjoy it!! i'm not fantastic with writing romance/ships so like... hope it's alright haha #also i feel kinda bad about not putting the whole phantom reveal too but like... we get that all that time haha #idk maybe i'll continue it #OH SHIT I FORGOT MY WRITING TAG HOLD ON #must admit - i do like that you can edit the tags now even though the new post maker sucks #anyway!!!!!!! i had this whole bit from danny's pov in the beginning where he just decided to go to sleep but realised that fucking sucked #it was so boring haha #so we got this instead!#hope the emotions came across - i feel like i have a tendency to just go cold and clinical when emotions happen #idk #oh! danny and tim met because danny's a part time barista and when tim ordered his monstrocity of a drink danny just winked and said #'ah the walking dead special coming right up!' and added another three espresso #jason and jazz met before they did though - and none of them knew they were dating the other's family #danny and jason have a bit of a rocky relationship - he's not good enough for jazz!! she deserves way better than some two-bit gangster!!#jason just thinks he's a cute overprotective brother - he really envies their relationship and wishes he could have something like that #he likes to rib danny and tbh danny is really warming up to him too - now that the gross stinky ecto is starting to filter out #(which is thanks to him and jazz - which jason does know about and is extremely grateful for)#(he really does love jazz and is a little bit jealous that tim told danny he loved him first)#(jason goes home that night and dips jazz into a kiss and whispers it into her skin over and over again)#(he loves her he loves her he loves her - and who the fuck is johnny?)#once tim gets over his shock he's doing good! of course he accepts danny there was never any question of that #he meets ellie and then introduces her to kon and the rest of the team and ellie decides she might like to do some superheroing for a bit

363 notes · View notes