#wally west x innocent!black!reader

[galatially]

hi! how are you? hope you’re good and taking care of yourself! if you’re too busy ignore this, i don’t want to be a bother!

could you write something about sitting on wally’s lap? i had other idea but i forgot, i wanted to give you an original scenario :(

i’m doing good! thank you for checking in! i hope you’re doing well ♡♡♡

𝐡𝐚𝐧𝐝𝐬 𝐭𝐨 𝐲𝐨𝐮𝐫𝐬𝐞𝐥𝐟

𝐦𝐚𝐬𝐭𝐞𝐫𝐥𝐢𝐬𝐭 / 𝐩𝐥𝐚𝐲𝐥𝐢𝐬𝐭

𝐩𝐚𝐢𝐫𝐢𝐧𝐠 — 𝐰𝐚𝐥𝐥𝐲 𝐰𝐞𝐬𝐭 x 𝐢𝐧𝐧𝐨𝐜𝐞𝐧𝐭!𝐛𝐥𝐚𝐜𝐤!𝐫𝐞𝐚𝐝𝐞𝐫

𝐬𝐮𝐦𝐦𝐚𝐫𝐲 — oh, the spaces of your skin i have yet to explore; the scarlet speedster has a problem with keeping his hands to himself

𝐰𝐨𝐫𝐝 𝐜𝐨𝐮𝐧𝐭 — 773

𝐰𝐚𝐫𝐧𝐢𝐧𝐠𝐬 — 𝐌𝐈𝐍𝐎𝐑𝐒 𝐃𝐍𝐈, 𝟏𝟖+, strong language, mentions of prior and future smut, cocky!Wally, honorifics (angel, baby)

𝐚𝐮𝐭𝐡𝐨𝐫’𝐬 𝐧𝐨𝐭𝐞 — look at me go! i'm writing more! i'm so sorry that this was late, nonnie, but i do hope you enjoy it!

i don't have a tag list but i do have a library where all of my works live, @galatially-wrote so please check it out! 

as always, lovely dividers by @firefly-graphics

Wallace Rudolph West was a tactile learner — his words, not yours. 

Physicality made up most of, if not, all of his power set so it made sense that he was prone to manipulating things with his hands to be able to understand its components. He was a man of science, after all, like Barry Allen before him. 

His favorite subject to study was you.

He often conducted what he called, “live trials”, when you’d come to visit him in Central City. He knew that your cheeks grew warm when he displayed affection in public. He knew that your breathing slowed when one of his large hands curved around your hips to bring you close. He knew that you were touch-starved and couldn’t place why. 

The first time he kissed you — on the very corner of your mouth, barely that — he could feel the heat from your body grow. Your heart rate kicked up and small beads of sweat shone on your face. You were so nervous it made him smile. It was then he decided to elicit that reaction from you every chance he could. 

His innocent girl, his angel.

Any time you were around him — in public and in private — you had to all but fight off the meta-human to keep your decency. 

Tonight was movie night at Titans Tower and certainly no different. 

His hands migrated from your shoulders to the small of your back before finally curving around your hips, kneading the soft flesh in slow torturous motions as you were talking to Kori and Donna by the couch. He was such a tease and he knew it, whispering the filthiest things in your ear. 

“Don’t you ever give her space to breathe, Speedy?” Raven remarked from the far end of the couch. 

“Leave ‘em be, you guys,” Dick smirked at you, “they haven’t seen each other in, what, six hours? They miss each other.”

Donna snorted. “More like Wally can’t keep his hands to himself.”

Your stomach dropped. Though you knew that they were joking, you couldn’t help but feel as though you were being rude. Or rather, your boyfriend was. 

“Wally,” you warned. 

“Yes?” You could feel the stretch of a smile against the curve of your ear.

“We’re with our friends right now,” you said slowly, “you don’t have to be with me the whole time.”

“Do you know how beautiful you look right now?” he purred. “What I could do if we were alone?”

Your face warmed. “Shut up.”

“Get a room!” Gar said, groaning. “This is supposed to be a family event.”

You muttered out a small apology and threw your boyfriend a hard glare. 

Wally wrapped his arms around your middle and guided you back against his chest, his fingertips ghosting against the soft skin of your neck to toy with the chain of your necklace. “Angel, you wound me.”

“And you’re too touchy.”

He chuckled lowly. ��Am I? I thought I was just appreciating the beauty that is you.” He felt your thighs shift closer together and smiled to himself. “We can leave early if you want. You know I love how vocal you are.”

“You’re not being fair,” you croaked. Your eyes darted towards your friends; they were still too engrossed in the movie. At least you hoped they were. 

“C’mon.” His lips pressed up against the nape of your neck. “You remember a few nights ago? I was afraid you were gonna flip yourself into the wall how bad you were thrashing.”

Your cheeks burned. The phantom feel of his ginger locks threaded through your fingers caressed your skin as did the heat of his mouth against your mound sent electricity rippling along your skin. You could feel the beads of sweat forming above the curve of your upper lip. 

“You thinkin’ about it, angel?” His hands skimmed the sides of your thighs, pushing up the hem of your dress. “Thinkin’ about how good my hands feel on your hips when we’re at home? How good I feel?”

Your tongue stuck to the roof of your mouth. 

“D’you want my hands, baby? Want me to make it better?” 

You looked towards your friends to see that everything had stilled. The glow of the TV screen illuminated their faces but their forms were frozen. Only you and Wally were mobile.

He really was a little shit. 

“We can do whatever we want now,” he nipped at the skin below your ear, “they won’t even know.”

You leaned back into his chest, a breathy sigh leaving your lips. “Wally, we can’t.” 

You felt his chest reverberate with a chuckle. 

“Watch me.”

𝐞𝐧𝐝 𝐧𝐨𝐭𝐞 —cocky!wally is something i never knew i needed and he really jumps from the page, no? i've also never written for an innocent!reader before so i hope i did the trope justice!

[jinxthequeergirl]

Black outs are the best time for make outs

Dick Grayson x reader

Anon requested: maybe an reader x dick that happends an power failure and they make out and wally walks in and gets YOU BOTH KIDDING ME????????

Warning: none

I would just like to say I love the fact that wally is becoming the victim of finding (y/n) and Dick together. Also another little side note imma make this some what some after math of "snooping speedster and the Blue bird's secret." ENJOY!

~~~~~~~~~~~~~

You sat boredly by a candle watching Roy and wally play a game of cards in the dim light. the power had gone out in the entirety of the city making it difficult to do anything fun.

 "Go fish!" Roy looked up from his cards confused. "I thought we where playing black Jack."

You groaned and slammed your head on the table before getting up. "Where are you going?" you grabbed a spare candle from the counter and lit it off the one on the table. ‘’I need to find something to do..Away from you two idiots." 

 “yeah? well i saw dick over there.” you kicked wallys leg as you walked past him. “shut up west!” you warned through gritted teeth he only laughed at you as he rubbed his leg. “hey i only kid!” you rolled your eyes and walked into the dimly light sitting room. 

you and dick had become something of an item but agreeded to not tell anyone else. the only problem with that was wally found out and wouldn’t quit hinting at the fact that you where together or making jokes about it. 

Megan, Artemis and barb sat together talkingin the sitting room as you stepped in.

 “hey gu-” someone yanked on your arm causing the flame of your candle to blow out. “what the hell..oh!” you grinned when you realized that dick pulled you into a near room lit with a few candles. "I thought you might want some quality time together." you wrapped your arms around his neck and kissed him.

He smiled against your lips and Lifted you up off the ground.carrying you to the bed where he quickly pulled away and blew out the candles. "Oh really Grayson? Is that what you brought me here for?"

You chuckled and leaned down. "Don't get your hopes up People are just outside. That's incase someone comes in and sees is together." He kissed you again. You kissed him down his jaw line to his neck. He sat up pulling away while laughing. "Hey are you tryin to start something?"

You sat up wrapping your legs around his waist. "I'm just trying to spend some quality time with you."

He kissed you passionately eating and sigh of delight as you kissed back running your fingers through his hair.

Before you knew it the lights flickered on and the door swung open. "Are you two kidding me!?"

You shoved Dick away and smiled innocently up at wally. "Sorry?" Dick hung off the end of the bed giving him the same smile.

He shut the door and pressed his back against it. "Look you two! if you don't want the others too know then you need to act like there is nothing to know!"

"You are totally right! Sorry you won't ever find us in any situation again we'll be more careful!" Dick smiled wrapping his arms around you. "Good." wally shut the door when he left. You got up and walked over to the door.

"Leaving? So soon?" you smiled at him from over your shoulder. "Nope." you winked and flicked the lights off.

[fantastic-nonsense]

@colpfiction replied to your post “me: *sees a post on r/AskHistorians about comics history*me: ”

Always. I've learned more about comics and comics history and stuff from your blog than I think I did in college.

Lol, thanks! I feel honored!

Anyway, the original question asked was “Comic books featuring superheroes in the 60s-70s are typically more lighthearted and laden with sci-fi themes than earlier examples. In the 80s there was a sharp u-turn towards more grounded and dark subject matter. What trends caused this shift towards (relatively) grittier realism? What social trends led to this shift? Was it just a matter of sales or was something bigger happening in entertainment/media/society?

Me being me, I busted out pretty much the entirety of the bare bones of the history of the Comics Code and the switch from the Silver Age to the Bronze Age to the Modern/Dark Age of Comics. Also, I’m not sure if it’s good or just sad that I basically wrote the majority of it off the top of my head and really only needed to Google things to source dates, specific title and author names, and a couple of quotes. Now granted, r/AskHistorians specifically asks for and curates in-depth, sourced responses, but still:

“In terms of actual comics that contributed to the sharp turn towards "more grounded and dark subject matter," there are four or five comic events people usually credit as marking the general "turning point" between the Silver Age and Bronze Age of comics where comics began to get progressively darker and less silly: Gwen Stacy's death in "The Night Gwen Stacy Died" (which had a huge impact on the readership of Spider-man comics and comics readers in general), the 1971 "Snowbirds Don't Fly" drug abuse storyline in Green Arrow comics, Green Lantern being turned over to Denny O'Neil and Neil Adams, Jack Kirby's New Gods, and the revival of the Teen Titans with The New Teen Titans. However, unlike the progression from the Bronze Age to the Modern Age, there is no true clearly defined group of comics you can point to as being the definitive marker.

However, you can point specifically to the four comics usually credited with ending the Bronze Age and kicking off the "Dark Age/Modern Age" of comics: The Dark Knight Returns (1986), Watchmen (1987), The Killing Joke (1988), and DC's Crisis on Infinite Earths storyline (1986) that saw a universe-wide reboot and restructuring. While Crisis completely revitalized the DC Universe's sales, The Killing Joke, DKR, and Watchmen were so enormously popular that they literally redefined the superhero genre and inspired years of "grim and gritty" comic books. In fact, DKR was so popular and so influential that in a lot of ways, the entire modern conception of Batman is loosely, in one form or another, based on Miller's work (despite DKR being a dark alternate future and completely out-of-continuity even to this day).

In terms of societal trends and influences, you had quite a few things going on: in comics specifically, you had writers and artists beginning to stretch the bounds of what was considered "acceptable" by the Comics Code Authority guidelines, which was implemented in 1954 after the moral panic surrounding comics, juvenile delinquency, and "bad influences" that culminated in Senate Subcommitee Hearings into comic books and their influence on children and teenagers (the moral panic itself was kicked off due to the infamous book Seduction of the Innocent by psychologist Fredric Wertham). Incidentally, this is why the Silver Age is so well-known for its light-hearted subject matter: comics companies were trying desperately to stick to their self-imposed censorship code, which you can find here.

Stan Lee has talked multiple times about the story of how Marvel Comics famously defied the CCA in 1970 by publishing a Spider-man story dealing with drug abuse (at the request of the US government). His deliberate refusal to adhere to the Comics Code with "Green Goblin Reborn!" in 1970 led to DC publishing the influential and seminal Speedy/Red Arrow storyline "Snowbirds Don't Fly" in 1971, depicting Roy Harper becoming addicted to heroin. Together, these two storylines would form a big part of the basis for depicting darker storylines. "Snowbirds Don't Fly" is considered one of the big watershed moments for the depiction of mature themes in comics, and particularly at DC, as the arc was the start of an era of socially relevant Green Lantern/Green Arrow comics.

Michael McAvennie and Hannah Dolan actually mention this in their book DC Year by Year: A Visual Chronicle:

"It was taboo to depict drugs in comics, even in ways that openly condemned their use. However, writer Denny O'Neil and artist Neal Adams collaborated on an unforgettable two-part arc that brought the issue directly into Green Arrow's home, and demonstrated the power comics had to affect change and perception."

These two stories triggered a re-examination and revision of the Code in 1971 with standards that were slightly looser (though not by much) and helped contribute to a culture where writers/artists were interested in stretching the boundaries of what they were allowed to depict. As the Comic Book Legal Defense Fund's History page states:

The 1971 code relaxed the restrictions on crime comics and lifted the ban on horror comics (while still prohibiting the use of “horror” and “terror” in titles). In addition, the liberalized standards on sex reflected changes in society. After the Spider-Man controversy, the CMAA added a section on how to handle depiction of drug use. The code, although it was less restrictive, represented a lost opportunity in its reaffirmation of comic books as a medium for children.

So you can generally point to "Green Goblin Reborn!" and "Snowbirds Don't Fly" in 1970/1971 for the re-introduction of socially relevant topics such as drug abuse, the revision of the Comics Code in 1971 for allowing the growth of supernatural and horror-related titles (as well as an explosion of non-superhero genre titles throughout the 70s), Gwen Stacy's death in 1973 as marking a trend towards dealing with death and darker subject matter, Jack Kirby's move from Marvel to DC and his "New Gods" storyline as marking a fundamental change in the storytelling priorities of both companies, the revival of Teen Titans under Marv Wolfman and George Perez as marking a change towards character-based storytelling, and the introduction of several minority heroes (particularly John Stewart as Green Lantern, Luke Cage, Storm, Black Lightning, Vixen, and Cyborg) as marking a trend towards the attempt at inclusion and greater diversity (and thus socially relevant storylines regarding prejudice and racism). All of these things combined led to a "perfect storm" where comics began to deal with darker and more gritty/realistic subject matter throughout the 70s and into the 80s, culminating in the publication of stories like Watchmen, The Dark Knight Returns, The Killing Joke, A Death in the Family, and Crisis on Infinite Earths in the mid-80s (and later on in 1992, The Death of Superman) which led to the start of the Modern Age/Dark Age of comics.

There are probably three other big societal trends that helped contribute to the depiction of 'darker' subject matter in comics throughout the 70s and early 80s: the change of marketing trends where young children and girls stopped being specifically targeted as comic readers; the end of the careers of many of the veteran writers and artists of the time (or their promotion to management positions and retirement from regular writing or drawing) and their replacement with a younger generation of editors and creators; and the rise of direct market distribution, where specialized comic book distributors could directly solicit orders and distribute directly to retail outlets rather than the old system where wholesalers delivered the comic books to retailers along with other magazines. I suspect that the beginning of the "War on Drugs" and the rise of the Women's Liberation movement in the 70s also played a huge role (you can read a little bit about the revitalization of Wonder Woman and her impact on the Women's Movement/second-wave feminism here), but I only know about how social trends affected specific comics like the Batman, Green Arrow, and Wonder Woman comics rather than the industry as a whole.

As a sidenote, there are a couple of really good books on Wonder Woman, her history, and her impact on the feminist movement: The Secret History of Wonder Woman by Jill Lepore and Wonder Woman Unbound: The Curious History of the World's Most Famous Heroine by Tim Hanley.

For further research on this matter, I would suggest you look up books relating to the Comics Code and the Seduction of the Innocent scandal (David Hadju's The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America is particularly good) as well as any articles and academic papers on a) the rise of minority superheroes throughout the 70s, b) the impact of "Snowbirds Don't Fly", and c) anything relating to the impact Gwen Stacy's death had on comics.

If you're more interested in the switch from the Bronze Age to the Modern Age, I would focus on the rise of independent publishers such as Milestone Comics and Marvel/DC's non-superhero publishing lines Vertigo and Image, the near complete dissolution of the Comics Code in 1989 (with the final hit being Marvel completely withdrawing from the Comics Code in 2001), authors like Frank Miller (who wrote extensively on Daredevil and then went off and wrote DKR and Batman: Year One) and Alan Moore (especially Alan Moore, considering he wrote Swamp Thing, Watchmen, and The Killing Joke), Crisis on Infinite Earths and the lasting impact it had on both DC Comics and the comics industry as a whole, the death of Barry Allen in Crisis on Infinite Earths and the installation of Wally West as the Second Flash, and the development of the X-Men franchise.”