#I'm sorry this took so long to get to <3

[gotchibam]

Espeon, Dusk Lycanroc, and Sylveon ko-fi doodle for Kaitlyn!

I'm accepting pokemon ko-fi doodle requests here! ✨

[mattodore]

he's waiting on a call he's planning to send straight to voicemail

[elizaditton]

Too Small To Be Afraid (Chapter 14)

Cover / Master Post / Previous Chapter / Next Chapter

- - - - - - - - - -

I stare at my deskmate's hand, dumbfounded. What is he expecting me to do, exactly?

"Well, come on!" Derrick says with a smile. "What are you waiting for?"

"Well, I, um..." I cock my head to the side, as if that would help me have a better understanding of the sight in front of me. "I'm not really sure what I'm supposed to do."

"What do you mean?" My deskmate chuckles. "Haven't you ever walked onto someone's hand before?"

I slowly lift my head to peek up at my deskmate, and rub my arm as I shift my gaze back to the balcony floor. He really expects me to have done this?

Derrick frowns. "You haven't, have you?"

I shake my head. "No, I haven't. In fact... you're the only perthean who's ever held me before."

Derrick slowly retracts his hand from the balcony, his brows shifting upward. He blinks.

"What?" I ask.

"I... I don't know, it's just..." my deskmate says, looking down as he twiddles his thumbs. "I'm honored that you'd let me be the first perthean to hold you."

"It's not like I really had a choice, being forced to come to this school and all," I sigh. "You just happened to be the first that I couldn't avoid."

"You were forced to come to this school?" Derrick asks, his eyes widening.

"Yeah," I say with a shrug as Dad's lies about the move come to mind. "It's a long story."

"Well, whether you were forced to interact with me or not," Derrick says, tucking his arms by his sides and clenching his fists excitedly, "I'll do my best to live up to the honor of being the first perthean to hold you!"

I let out a nervous laugh. I didn't realize he'd be so excited to find this out.

"But anyway, once again returning to the matter at hand—my hand, that is," Derrick says.

My heart rate picks up again as Derrick moves his hand back towards the balcony. I don't stumble backwards this time, but I'm surprised that my insides are still churning at the sight of his nearing hand—especially since I was expecting it to approach.

The enormous leathery surface settles down before me, with each of its attached digits curling inward ever so slightly. I approach my deskmate's hand cautiously, as if it were a venus flytrap ready to snatch me up at a moment's notice.

"Now, you said you weren't sure what you were supposed to do?" Derrick asks.

I raise my foot and dangle it over my deskmate's hand, only to nearly lose my balance and stumble back onto the balcony. Do I really not know how to do this?

"I haven't the slightest clue. And besides, isn't this..." I sigh, biting down on my lip and rubbing the back of my neck. "You know, a little too casual?"

"Too casual?" Derrick blinks a few times and raises an eyebrow. "Kaylin, we are friends, right?"

"Of course!" I blurt out, quickly waving my hands. "I didn't mean to say we weren't! It's just that we've only used a formal form of handling etiquette up until this point, and... well..."

"Yes? What is it?"

"I... well... I don't really know how you expect me to get onto your hand. I guess that makes me pretty stupid, huh?" I say, hanging my head.

"You're not stupid. You just need a little guidance, that's all," Derrick says with a smile. "Now, there's something I want you to know. Because we're friends, I don't care how it is you manage to get onto my hand. You can run, crawl, jump, or fall into my hand and I wouldn't mind it in the slightest."

I look up at my deskmate, astounded. I thought any perthean would be particular about how a human gets onto their hand. He really doesn't care how I approach this?

"Generally speaking, though," Derrick says, "when a perthean offers you their hand this way, you're expected to respond like this."

Derrick lifts his other hand and moves it towards me, causing my muscles to immediately tense up. What's he doing now?! Is he going to grab me?!

I quickly back away from his hands until I'm flat against the wall. My heart, beating faster and faster, sinks deep in my chest. As my knees buckle beneath me, I find myself slumping against the wall, it being the only thing left holding me up. Derrick's eyes widen, and he immediately retracts both of his hands.

"Hey," he whispers. "Kaylin, are you—"

I slide down the wall until I'm sitting on the balcony floor. I hide my head behind my knees and wrap my arms around my legs. I shut my eyes tightly as they begin to tingle and glaze over, but hot tears manage to leak from them anyway.

"I can't do this, Derrick!" I sniffle. "I can't keep myself from fearing for my life whenever you reach for me! All I think about is...! Is...!"

With my head buried into my knees, my vision is completely black. My mind's eye, however, is painting pictures of the man from my nightmares. A tall, slim figure with a bit of a tan. Slightly muscular. Clean shaven with a small scar on his left cheek. He has dark brown hair and narrowed brown eyes. He wears a white t-shirt with a few dirt stains, and wrapping around his dark blue jeans at the hips is a black belt with a silver chain. Beneath him is a pair of dirty, beaten up white sneakers.

He seemed so unassuming when I first peered at him from the corner of that alleyway. I was so naive! I had no idea what he—no, what pertheans were capable of until—

"Kaylin," Derrick whispers. "I can't imagine how hard this must be for you. I know you're not ready to tell me what started your fear, and I want you to know that's okay with me."

I sniffle again, and with shaking hands, I wipe the tears from my eyes before reluctantly looking up at my deskmate. His blue eyes are soft with compassion, and his brows are upturned in sympathy.

"Since you were forced to come to this school, you didn't get to choose whether or not you wanted to trust me. So now, I want to ask you..." his voice trails off, and he shifts his gaze to the ground. He takes a deep breath in and out before looking back at me. "Will you make the choice now?"

My lip trembles as I sit up in my spot against the wall. "Make... the choice?" I manage, my voice cracking.

Derrick keeps his eyes fixated on me and slowly lifts his left hand towards me. His index finger is bent to the side, as if to initiate balcony etiquette. His hand passes the balcony railing, but doesn't come any closer to me. I stare at it, confused. What's he getting at?

"Kaylin, will you make the choice to trust me?"

My heart rocks against my chest and my legs begin to go numb. "How can I do that when I'm filled with so much fear?" I ask.

"Trust is an action. It's not something you feel, but rather something you choose to do in spite of your feelings." Derrick smiles softly, tilting his head to the side. "Will you trust me?"

I blink, slowly rising to my feet with trembling legs. The breeze picks up, blowing through my hair and giving me goose bumps from the chill. I hug myself tightly, partly because of the cold and partly because of the burning anxiety deep in my core. My pulse quickens, warning me to stay away from this perthean lest I get hurt—yet I find myself, for whatever reason, approaching the hand in front of me.

Derrick remains silent. I look back up at him, his smile still stretched from ear to ear. All at once, his eyes narrow, turning brown, and a scar appears over his left cheek. I slam my eyes shut, quickly sucking in a breath and blowing it out, before opening one eye to peek up at my deskmate. His blue eyes have returned to normal, and there's no scar on his cheek. I look back at his hand, cautiously tiptoeing towards it as my insides convulse and the world around me begins to spin.

Once I'm close enough, I reach a hand out towards my deskmate's index finger, only to pull it back towards myself out of uncertainty. Can I really do this? Can I really trust a perthean?

I place one hand on my deskmate's finger, and then another. I stand in place, breathless and at a loss for words. It takes all the strength I have left to look Derrick in the eyes.

"I will," I manage to say at last.

My deskmate sighs joyfully, and his eyes soften as if smiling themselves.

"Okay," he whispers.

Seeing the glee on Derrick's face gives me the courage to smile back at him. Now that I've made the choice to trust him, I can't help but wonder what comes next.

"Do you want to try walking onto my hand again?" he asks.

I recall the moment Derrick's hand approached me without warning, shivers running down my spine.

"Don't worry," he says. "I'll alert you before I reach for you from now on."

I nod, and Derrick lays his hand down palm side up on the balcony. I bite the inside of my cheek as my legs squirm beneath me, begging me to run away. I made the choice to trust Derrick, I'm not running away!

"Now, I was going to show you how humans are generally expected to react in response to an open palm. May I see your hand?" Derrick asks.

My heart skips a beat. What does he want my hand for? Still shaking where I stand, I gulp, and reluctantly offer up my right hand. I become lightheaded when Derrick takes my hand in between his fingertips. Closing my eyes, I attempt to steady my breathing. I've made my decision. I'm going to trust my deskmate.

Derrick leads me toward his open palm with a gentle tug, and places my hand on his thumb.

"There," he says, letting go of me. "Use my thumb as a support to get onto my hand."

My eyes widen as I gaze at the intricacies of his thumbprint—each curve and crevice forming a uniquely detailed pattern. I spread out my fingers. My hand doesn't even cover a fraction of the print, it's so... little. I stand there in awe, completely mesmerized by the sight in front of me as my cheeks become warmer and warmer.

"Is something wrong?" Derrick asks.

"N-no! Nothing's wrong!" I sputter, embarrassed that I'd been staring at my deskmate's thumbprint for so long.

I press down on Derrick's thumb with nearly all of my strength. It doesn't move an inch. I look toward the palm of his hand, and, using his thumb for support, I manage to lift one leg and plant it on the fleshy surface in front of me. I push off from Derrick's thumb and leap forward into his hand, only to trip on the squishy surface beneath my feet and fall flat on my face!

Derrick gasps. "Are you okay?"

I push against the skin beneath me and manage to get up onto my knees. I nod, my face completely red.

"We'll work on this," my deskmate says, lifting his hand from the balcony and closer to his chest.

"So, um..." I start, my gaze fixed on the palm I'm in. I'm interrupted, however, by a large finger lifting my head until my eyes meet Derrick's.

"Lesson two," Derrick says, "you should always try to look a perthean in the eyes when you speak to them. This makes it easier for us to hear you and perceive your emotions."

"O-oh, okay," I murmur, shivering.

Derrick smiles. "Now, what were you going to say?"

"Oh, I was just about to ask what happens now."

Derrick gazes off into the distance, his brows furrowed in thought. Did he not think he'd get this far?

"I was thinking we could just sit and talk for a while," he says, looking back at me.

"Talk?" I ask. "About what?"

"Anything," Derrick says, moving beside the balcony.

I sway from side to side in my deskmate's hand as he walks. I've gotten more accustomed to this with each passing school day, so I don't have to steady myself as much anymore. But when Derrick lowers himself to sit on the ground, I let out a yelp as the quick motion catches me completely off guard! My insides flip upside down, and I try my hardest to keep from losing my lunch.

"Sorry! Was that too quick?" Derrick asks.

"A little," I squeak, wondering what I've really gotten myself into by agreeing to meet back here with this guy.

"Sorry. I'll try to be more gentle," he says. "So... what do you want to talk about?"

"You're the one who wanted to meet back here in the first place. Shouldn't you be coming up with the ideas?" I ask.

I pick at my nails, keeping my gaze away from Derrick's. Once again, a large finger lifts my head until my eyes are locked with my deskmate's. I can't help but shudder as we glance at each other. Will I ever get used to the weight of his stare?

Derrick smiles reassuringly. "Alright," he says. "Let's talk about you."

My heart skips a beat as blood rushes to my cheeks. "What?! Why me?!" I ask.

"Hey, you said I should be the one coming up with the ideas!" Derrick laughs. "And besides... ever since we became deskmates, I've been curious to learn more about you."

I cross my arms and hang my head low to hide that I'm now blushing even harder. I've always hated talking about myself, it's so embarrassing! I'm not even that interesting!

"Come on," Derrick says, lifting me up to be eye level with him. "Can't you at least tell me a little bit about yourself?"

"I-I—" I stutter, trying to come up with any way to get myself out of this, only to sigh in defeat. "Okay."

- - - - - - - - - - - - - - -

Once Derrick and I got to talking, the time flew by. I told him a bit about the move, and he was surprised to hear that Dad and I traveled nearly 900 roams from Maedri to Chancelor. That's about 15,000 miles, which would feel like around 18,000 roams for a perthean. He asked why we would move that far, and I filled him in on how Dad really wanted me to go to his old high school. Thinking through it all again, it really doesn't make much sense. But, then again, neither does my dad.

Derrick told me a little bit about himself, too. He told me he lives with both of his parents, and that he has an identical twin brother who is away for university on Erimathea. I asked why they weren't in the same stage for school if they were the same age, and he mentioned something about his brother being able to graduate early. He seemed a bit uncomfortable with the topic, though, so I didn't push it much.

Before we knew it, we'd been talking behind the school for well over an hour. The funny thing is, the longer I spent in Derrick's hands, the easier it became to talk to him. I found myself trembling less and less over time, and I was able to maintain eye contact for most of our conversation.

"With exposure and with time," I recall Dad saying, "things can get better."

I shake the memory away. Sure, this meet up with Derrick is helping, but it wasn't Dad's idea!

"Uh-oh," Derrick says, glancing at his phone. "It's nearly 5 o'clock."

I let out a gasp as my eyes widen with realization. Dad's going to be expecting me home any minute now! I don't want him wondering where I've been! How in the world would I explain Derrick trying to help me with my fear? I can already see the smile on Dad's face. I can already hear him telling me how he knew sending me to this school would be a good decision. I can't just let him win, can I?

"Do you have somewhere to be?" Derrick asks.

"I... well," I stammer, not sure how to explain my situation. "My dad's going to be expecting me any minute now, and it usually takes me over an hour to walk home from here!"

"Really? Do you live far from here?"

"I think it's a bit far from here," I say, trying to mentally calculate the distance based on how long my walk home usually is. "I live at the human apartment building on Seren Avenue."

Derrick blinks. "Are you serious?"

"W-what?" I ask, a shudder running down my spine.

"That's right around the corner from here! That's not far at all," Derrick chuckles.

"Well, for you it might not be, but—!"

"I know, I know," Derrick says. "It's twenty times the distance for you."

I rub my arm. "I just don't know how I'm going to explain this to my dad," I mutter. "If he finds out we met up because of my fear, or that we hung out at all... I feel like he's going to hold that over my head."

My deskmate hums, leaning back against the wall. "I might have an idea," he says with a smile, lifting me to his eyes.

"Y-you do?" I stutter, still not used to when he holds me close to his face like this.

"Are you ready for your next assignment?" he asks.

"That depends," I say, scooting back a little in his palm. "what is it?"

"Will you let me walk you home?" He asks. "In favor of taking another step towards overcoming your fear?"

"I-I don't know..."

"Come on! What do you have to lose?"

I look into my deskmate's round blue eyes. I can't tell if he's encouraging me or pleading with me at this point, but does my answer even matter? He already knows where I live, so he can take me home whether I want him to or not. I guess it's good that he's asking, but... is this really a good idea? What will people think of a boy walking a girl home? What if the perthean lobby receptionist at the apartment sees us and tries to strike up another conversation? What if she tells Dad a perthean boy walked his daughter home? What will Dad think of Derrick walking me home? Ugh, he'd probably be ecstatic to see me getting along with my deskmate...

I take a deep breath and let it out. "Okay," I say. What could really go wrong?

"Alright!" Derrick says cheerfully, leaning forward to stand up.

"P-please be careful!" I plead in fear of being knocked about.

"I will," he says, being surprisingly gentle as he rises to his feet. "Now, Seren... Seren... that would be this way."

I sway around in my deskmate's hand with each step he takes. I keep my head down to prevent myself from getting nauseous, but I can tell when Derrick rounds a few corners and ends up on the sidewalk beyond the school grounds.

"We're almost there," he says.

"What? We just left!"

"It's that white building, right? About three blocks down?" Derrick asks, pointing to a small building far off in the distance.

I remember seeing pictures of the outside of the apartment online, and I guess it sort of looks like the building my deskmate is pointing to, but I can't really tell from this distance.

"Even if that's the right place, it's still going to take you at least a half hour to get there from here," I assert.

"Watch me," Derrick says.

"You're not going to try running it, are you?!" I exclaim, a sudden panic taking over.

"What? No, of course not! I'm going to take it nice and steady. Just don't be surprised when we get there in about..." my deskmate says, squinting at the white building in the distance. "Five minutes."

"Ha! Right!" I roll my eyes at his ridiculous estimate. There's no way what would take me an hour and a half is going to take him any less than thirty minutes.

As Derrick begins to walk again, I peek up from his hand every once in a while to see how far we are from our destination. To my surprise, we're approaching it much faster than I first anticipated.

I keep to myself for the most part, until something strange lands in Derrick's palm. I blink a few times, uncertain of what it is I'm seeing. It's long, a bit rounded, and a lovely shade of light pink. I reach out and poke it first, to make sure it's not some kind of bug. When it doesn't fly away, I lean over and take it in my hands. It's soft to the touch, though a bit wrinkly. It almost feels like some kind of plant.

"Hey," I say, my focus shifting back to my deskmate. "Do you know what this is?"

Derrick stops for a moment and looks down at the pink object in my hands. He tilts his head to the side, inquisitively.

"I think it's a petal," he says.

"A petal? From what?" I ask, excitedly scanning the ground beneath me for any flowers. To my disappointment, I don't see any.

"From that tree," my deskmate answers, pointing above and behind me to a massive heap of pink blossoms swinging in the wind, connected together by dark, twisting branches to a thick trunk.

My eyes immediately widen when it comes into view. The big blossoms float about in the sky high above us, and little petals rain down all around like snowflakes. This is a sight I've only ever dreamt about or seen in movies before. I never thought I'd get to see something like this for myself! The sky lights in Maedri's undercity always depicted cherry blossoms around spring every year, and I thought that was a sight to behold! But now I'm seeing the real thing? Am I really awake right now?

As Derrick begins to walk again, I try peeking around him to continue looking at the tree. Given his size, however, this proves fruitless. I slump in his palm, saddened that I only got a few moments with such a beautiful part of nature.

Derrick stops again, looking down at my slouching figure. He backs up a bit, and, reaching up to the tree, tears off a tiny section of a branch covered in flowers. He examines it between his fingertips for a moment, and then hands it to me.

My cheeks redden, and I can't help but let a smile creep across my face. Although I quiver at the sight of Derrick's nearing hand, I take the branch.

"For me?" I ask, my voice trembling.

"Mhm," Derrick hums. "A souvenir."

My breathing picks up speed with my heart rate. "Th-thanks," I manage.

Now I really can't let Dad find out about all this. What would he think of a boy giving me flowers?! I'd throw them right out if not for how mesmerized I still am by the sight of that tree.

After a few more moments of walking, Derrick stops again.

"The Apartments at Seren," he says.

I look up from the flowers in my lap. "No way!" I exclaim, dumbfounded.

"Well," Derrick says, pointing, "that's what it says on the sign."

Sure enough, the sign reads the name of my apartment building. Derrick reaches for the door to enter the perthean lobby.

"Wait!" I shout, only to bite my lip at the realization that I was a little too loud. "Um... is it okay if you just drop me off outside? There's an undercity entrance on the side of the building."

"Wouldn't it be faster to just drop you off inside?" Derrick asks.

"Well, it's just that... my dad likes to talk to the receptionist in there, and I don't know how he'd react if he saw a guy walking me home. And giving me flowers."

"Oh! Don't worry, I understand," he says. "I'll just set you down right here, then."

Derrick gently lowers himself to the ground, and places the hand I'm in down on the sidewalk. I rise from my place in his palm, wobbling a little at first as I struggle to stand. Bookbag and blossoms secured, I carefully inch toward the edge of my deskmate's hand, one step at a time, and then leap off onto the sidewalk.

"I guess I'll see you tomorrow?" Derrick asks.

"On Firsday," I say.

"Oh, right," he says. "I'll see you on Firsday."

"Alright. Bye!" I say, sheepishly waving as I make my way toward the undercity entrance on the side of the apartment building.

As I'm walking, I have a sudden realization— I completely forgot to thank Derrick! I turn around, only to see him walking away from the apartment building.

"Hey!" I yell, but Derrick doesn't seem to hear me.

I huff. I don't want to seem rude! I run after Derrick, as fast as I can, until I'm right beside him on the ground.

"Hey! Derrick! Wait!" I shout, hoping he'll hear me.

"Huh?" Derrick looks down.

The glass that veiled my fear for only a moment shatters as I stand face to face with a tall, tall perthean. From the ground. My eyes widen. My insides contort into a knot, and the world begins to spin around me. My heart slams against my ribcage and my legs tremble beneath me, again begging me to run away. Just what do I think I'm doing?

"Kaylin? Is everything okay?" Derrick asks.

"I-I— I w... I wanted..." I stutter and stutter, fumbling over every word as I rack my brain for whatever it was I wanted to say.

Derrick must realize I'm struggling, so he kneels down closer to the ground. "Yes?" He asks.

"I-I... I wanted t-to... I wanted to thank you!" I say, crossing my arm over my chest and leaning forward. "For helping me, and walking me home."

"Oh!" Derrick smiles. "Don't mention it."

"O-okay! S-see you on Firsday," I stammer, all at once giving in to my quaking legs' pleas and running as fast as I can away from Derrick and toward the undercity entrance without looking back.

This fear just isn't going to quit, is it?

[aresianrepose]

Before the semester kicks off and murders me, @disniq​ asked for my essay on Jason Todd and hysteria. So, without further ado, here is an actual essay (fucking dissertation) because I refuse brevity. It is extremely long. I’ve split it into sections so you can find the section header and read what you want. This does not encompass all the narrative trauma themes and lived experiences that this boy holds, just specifically hysteria. 

Jason Todd, The Hysteric & Bruce Wayne, The Batman

I think it’s a common reading that Jason Todd is girl-coded and the patron saint of victims, at least within the circle that I’ve fallen into within this fandom. There are plenty of meta discussions on why those readings stand, so I’m not going to reiterate them. A pillar of him being girl-coded and someone trauma survivors have latched onto as one of our own has to do with being written in the context of hysterical femininity. And let me just say, I don’t think that writing was done in a way that he was intentionally coded as hysterical, but it is a function of our patriarchal society that this coding was used on him albeit without the explicit purpose of writing a hysteric story. 

For the purpose of this post: the word woman includes ciswomen, transwomen, and any person who is socially positioned as a woman regardless of gender identity. I include the positionality here because anyone can experience misogyny and sexism depending on the perception of the perpetrators either interpersonally or systemically. 

The History and Context of Hysteria

To understand the context, we have to look at the history and oppression of hysteria. Hysteria (in the modern context of psychology) emerged in the nineteenth century and is difficult to define by design and often applied to traumatized, unruly, and broken women. The main patriarchs who contributed to hysterical study were Jean-Martin Charcot and Sigmund Freud. I only mention this because it’s important to know their names moving forward for any of this to make sense. The beginning of this started with Charcot literally putting women whose lives had been marked by rape, abuse, exploitation, and poverty on display in his Tuesday lectures (which were open to the public) to show his findings on hysteria. This was actually seen as restoring dignity (fucking yikes) to the women because before Charcot these hysterical women were cast aside and not treated at all. In Charcot’s work, the women’s speech was seen as simply “vocalization” and their inner lives, their stories, their words, were silenced. After hearing a woman cry for her mother during one of the public sessions Charcot remarked, “Again, note these screams. You could say it’s a lot of noise over nothing” (Herman). 

This led to Freud, Charcot’s student, wanting to surpass his teacher by discovering the cause of hysteria. This was disastrous. Freud started with listening to the hysterics. In doing so, he learned and believed them about the abuse, rape, and exploitation of their pasts. He then published his work and gave a lecture on it. The work rivals even contemporary psychological work on trauma in it’s level of compassion, understanding, and treatment of survivors. However, he was then labeled a feminist (this was all happening during the first wave of feminism) and professionally ostracized. How in the world could these aristocratic French men be sexually abusing their wives, sisters, and daughters??? Insanity, truly. And... This always fucking gets me. He recanted his work and then told his patients they all imagined it because they wanted to be sexually abused by their husbands, brothers, and fathers. This set back the study of trauma by literally a century. One colleague called his work “a scientific fairy-tale” simply because he had the audacity to believe victims. Also, I want to point out that the famous hysteria case during this time was the case of Anna O and she was ultimately villainized by the entire psychological community for going into crisis after her care provider abruptly ended their therapeutic relationship after two years of DAILY sessions. 

Anyway. We can see how the power of these men over vulnerable women silenced, pathologized, villainized, infantilized, and used male ‘logic’ to completely destroy their credibility and lives under the guise of care and hysteria. Even when credible men lend their expertise and voices to the victims, their voices are silenced. This particular iteration of hysteria lasted over a century, and we are still dealing with the consequences of these actions and ideas within our social construction, medical and mental health care, interpersonal relationships, and more. Patriarchal pillars such as hysteria don’t die. We saw it move from hysteria to schizophrenia (which used to have the same symptoms of hysteria before the diagnosis changed in more contemporary psychology) after this which led to widespread lobotomies and electroshock therapy (my least favorite case of a lobotomy being done is on a woman who was diagnosed with LITERALLY ‘narcissist husband’) to depression in the 40s-50s with the over prescription of benzodiazepines to house wives to keep them in a zombie state (these prescriptions were sometimes double and triple what we take today with the intent of medical catatonia). In my opinion, as well as other counselors within the feminist therapy theoretical orientation, we are currently seeing it with the emergence of borderline-personality disorder. Think about how BPD is treated and demonized for a second. I professionally know therapists who refuse to work with BPD clients due to this villainization and just fucking gross perception of victims.

These are just the highlights, but it shows the history of hysteria. There have been centuries of women being marked as hysterical and the cures have ranged from lobotomy to bed rest (which sounds not so bad but read the Yellow Wallpaper and get back to me on that one). While the Yellow Wallpaper is fictional, the life behind it was not. After the traumatic birth of her child the author, Charlotte Perkins Gilman, was remanded to bed rest by the authority of her husband and doctor. Within the sphere of medical control, hysterical women are often treated as children while their doctors make decisions for their mental well-being without consulting them, or they hide the truth of their procedures for “the woman’s own good” and because “she’s hysterical and wouldn’t comprehend the logical need for this.” She then had a mental break due to the treatment. Again, we see hysterical women being silenced, infantilized, discredited from their own experiences, and under the narrative control of male logic and voices. 

Hysterical women have often historically been seen as beneath men, except for when they’re dangerous. Listening to victims is inherently threatening to the status quo because all trauma comes from a systemic framework. The framework that upholds patriarchal power. It’s easy to see why that would be seen as dangerous to powerful men. We saw this with the European witch genocide in which oppressed women were targeted and wiped out under the excuse of what was considered women’s work. (Before this time, witchcraft wasn’t tied to any religion and was mostly just seen as women’s work. It was targeted specifically to have an excuse to persecute widows, homeless, disabled, and vulnerable women who no longer had men to reign over them during a time of political unrest and scarce resources). This time period saw hysterical and traumatized women demonized as dangerous, evil, immoral, hypersexual, and supernaturally wily. A threat to the moral fabric of society. 

(Interesting history side note: this caused the view of women’s base traits we have today. It stemmed from the Victorian era that came after this time period in which women learned if they behaved a certain way, they would be spared the stake. For example, before the witch trials, women were actually seen as the ones with unsatiable sexual appetites, something we culturally prescribe to men now.) 

Notice how none of this has to do with the actual abuse that happens to the women, but instead the labeling and treatment of women when they are already showing the symptoms of abuse, trauma, control, exploitation, and rape. 

Jason Todd, The Hysteric

So, how does this relate to Jason Todd? To say that Jason has experienced trauma would be an understatement. Extreme poverty, loss of parent to death and addiction, loss of parent to the justice system, parental abuse, manipulation, witnessing violent crimes, witnessing the aftermath of sexual abuse and assault, arguably (not explicit in the text) his own sexual trauma, witnessing the dead bodies of victims, a violent death, and subsequently a violent resurrection. There’s also an argument to be made for being a child soldier and how that is romanticized up until he dies, but the text does not treat this as traumatizing.

Now, I’m not going to dive into the trauma he experienced. The purpose of this is only to look at how he’s framed as hysterical in the narrative, and as I stated, hysteria was a word slapped on women after they tried to talk about their trauma or exhibited symptoms (or were just unruly women). Jason does embody many facets of the victim experience and this is just one of them. 

Feelings vs “logic” - Firstly, it is really hard to talk calmly about things that you carry, your experiences, your trauma, and things that specifically harm you. It is easy to talk calmly about things that don’t. This is why there is an abuse tactic of gaslighting or silencing victims by framing their very real reactions to harm or their triggers as abuse, this is known as “reactive abuse.” This tactic is also employed in oppressive settings where the privileged group will often default to ‘winning’ a debate by being able to remain calm while the marginalized group whose life, personhood, etc is being harmed by the things being discussed and are unable to have a sterilized, emotionless debate. 

Both of these settings fit Jason nicely within the moral context of vigilante comics. He fought back, he didn’t lay down, and he will do what he deems as necessary to protect himself and others from his fate. This, however, is framed by Bruce and others as being just as bad as his murderer or even just as bad as Joe fucking Chill. To put this in perspective of a real world equivalent. Combine every billionaire on this planet into one person and instead of their shitty business practices murdering people, they did it with their own two hands. And due to their resources and political power, they would never, ever stop killing or be reasonably contained. More people would die with absolute 100% certainty. Would killing that one person make you equally bad as that person or violating the sanctity of life? That’s the moral question that Bruce puts onto Jason. While the moral question inherent to Jason is actually, is there a line worth crossing to provide reasonable safety (for yourself or the nameless community)? There is actually a difference between those two questions and the reactive abuse framing is certainly a choice. Also, it is funny to me that a man with the amount of power Bruce has (and frequently misuses) can lecture a murder victim on the misuse of power and morality. Are we supposed to be agree with his stoic, philosophical lecturing to a marginalized, abused, murder victim? (yes, we are). Bruce leverages (personal) philosophy against victim’s voice for their own safety, and take a wild guess which one is framed as logical and reasonable.

Jason’s morals come secondary to Bruce’s philosophy in a universe where there is still harm being done (but it’s an acceptable harm). Why is killing the line? Bruce is regularly destroying families and lives by feeding them into the prison industrial complex while supporting it with his whole chest. Or he’s disabling and seriously maiming people with the level of violence he uses. 

Crying - Throughout the entire story of Under the Red Hood, we never once see Bruce emote while interacting with Jason outside of tight grimaces. With the exception of the shock he shows at the Joker’s life being threatened, which... Okay, suuure. We never see him cry during any of their interactions, but we do see Jason cry. Specifically, we see him crying when he’s at his most emotionally vulnerable and physically dangerous to the toxic male power fantasy. This kind of vulnerability is rarely shown by male characters, and when it is, it’s usually done with a mist of a tear in their eyes or their face is hidden. There are a few narrative devices that allow men to cry, but they are the exception rather than the rule. Usually, it’s to play for laughs, infantilize, or emasculate. Here, we see Jason combine the violence of a bad victim, bucking the system of power, and fully crying. Just slide right into that hysterical coding like a glove. Jason often shows his feelings entirely. Time and time again, the readers have seen Jason have breakdowns, cry, and be overcome with grief. This is tied to his portrayal as hysterical and unstable in the narrative, but in actuality it shows his capacity for love and how vastly impactful his death was. 

This fits nicely with the next point that Jason fits into the hysterical box. Love is framed as one of his key faults. A son reaching for his father. 

Love - One of Jason’s defining features is the amount of love and compassion he holds. He’s willing to put up with any treatment, shoulder blame, and sacrifice himself for others to almost an unhealthy degree. However, this doesn’t extend to what he defines as his baseline safety. This one line of safety is the one thing that can’t be crossed, even with all of the love he feels for his father. He desperately wants to feel connection, have a family, and be loved in return with the same unwavering ferocity love that he gives. This is such a fucking key part of the victim experience, especially victims of childhood trauma. The desperation to just be chosen. He’s raw and honest with his reasonable expectation for love to provide safety for him and that is framed as hysterical, needy, unstable, naive, and fucking childish. Victims know what they need to have safety, and this framing as Bruce knowing what’s best for Jason and literally giving a cold shoulder to his needs is disgusting. 

Less than - Jason is portrayed as less powerful than Bruce even though they have similar expertise. There are so many instances of this that if you just open any media they both appear in, you can close your eyes, point, and land on an example. It makes me die laughing every time I remember that the Arkham games made Jason just one inch shorter than Bruce. Like, they can’t even be the same fucking height, that’s the level of insecure masculinity surrounding this relationship. Jason cannot and will never be able to be on par with Bruce because of his hysterical femininity and the power of Bruce being the self insert for the toxic male power fantasy. This power dynamic applies to the other batkids as well, but specifically in Jason’s case there is an element of hysteria. The reasons change because he’s so inconsistently written but usually he can’t surpass or even meet a stalemate with Bruce because he’s too emotional, he’s unstable, traumatized, and simply Bad. It’s even explicitly stated by Alfred in Under the Red Hood. 

Victim blaming - Jason deserved to die because he didn’t follow orders. Jason deserved to die for not following his training. Jason deserved to die because he was an angry Robin (oh no a child had an appropriate reaction to sexual violence). Jason deserved to die for being human.

Infantilization - Jason is repeatedly infantilized in contrast to Bruce. When given the ultimatum at the end of UtRH, Bruce speaks to Jason like a child, or a bad dog. Ordering him to do things like, “enough!” or “stop this now.” Bruce knows what’s best for Jason (and for everyone in the entire world), we should really just take his word for it and not the victim’s. Imagine staring at a 6 foot wall of a man and scolding him like a child. Beyond that, as mentioned above, his views of love and safety are framed as childish. Even though they are actually leaning more toward collectivism rather than the rampant individualism that Bruce so strongly defers to. (also, just a side note, collectivistic methods in healing from trauma is actually the only scientifically reliable way to heal. Every other method has absolutely abysmal results and higher rates of relapses.)

Silenced and Safety Villainized - Jason is silenced in his own story, acceptable and honored when he was dead and met with vitriol in life. All of the love given to him as Robin turns to ash as soon as he collides with Bruce’s power and morals. I think any survivor can relate to the experience of being told that what happened to them was a long time ago and it’s time to move on. Or even that they’re leveraging their own safety to get what they want in a manipulative way. Regardless of whether or not there was any accountability or justice for the harm done to them. Alfred asks Bruce if he should remove Jason’s memorial in the cave like two seconds after learning of his resurrection because Jason’s methods of securing safety for himself and using his own voice to define his story. Bruce was able to tell Jason’s story when he died. He was able to memorialize, grieve, and ultimately define Jason’s story because Jason wasn’t there to speak for himself. When Jason does speak for himself, he is villainized and literally stripped of his past significance as Robin (or a good victim) by Alfred within seconds. This is reflected in real life with adoptee advocates speaking about how adoption is unethical/harmful/traumatizing and subsequently being framed as ungrateful, selfish, etc. They were little perfect victims without voices before they grew up and could speak for themselves.

Erased - Gestures at the entirety of how Jason is either talked about or completely erased during the 90s Tim Robin run. He wasn’t convenient to talk about, as victims rarely are. This also ties into how Steph’s death was erased and Babs was written like she “won” at trauma by simply... beating it??? 

Dangerous - Jason is framed as threatening the basic fabric of society (in a story with vigilantes this is hard to do, so they have him oppose the no-kill rule, and then doubled down on Bruce’s characterization of no-killing). Anything that bucks the status-quo is usually marked as villainous in mainstream vigilante/superhero comics, but this is a step beyond that into the interpersonal and political sphere. Hysterical women are often framed as dangerous, villains, snakes, and treacherous (the other side of this coin is weak, pathetic, and pitiable) because they are victimized and then have the audacity to do something to the system about it. Whether that be the system of their immediate families or the political sphere. I don’t think it’s a coincidence that Jason was paired with Talia in Lost Days to hammer this point home to the reader. It could’ve just as easily been anyone with access to the Pit that rescued him, but no, we had DC’s favorite brown, treacherous, venomous, female punching bag. 

Bruce Wayne, The Batman

Bruce fits well into the father, enforcer, and logical man slot in Jason’s hysterical story. There is a history of ownership throughout women’s history when it comes to their subjugation to men. Women actually couldn’t be put on trial before the witchcraft genocide because they weren’t seen as legally a person. Their male owner would be put on trial instead. Women would go from being owned by their fathers to their husbands after entering marriage, the most dangerous woman being one who isn’t owned (orphaned, widowed). Bruce does treat (and even thinks) about Jason like he’s something that he owns. He’s his protege, his son, and his responsibility. 

The narrative function of Bruce as a perpetrator in Jason’s story. 

“The perpetrator asks the bystander (reader) to do nothing. He appeals to the universal desire to see, hear, and speak no evil. The victim, on the contrary, asks the bystander (reader) to share the burden of pain. The victim demands action, engagement and remembering” (Herman). 

Bruce does remember what happened to Jason. He keeps a permanent memorial to his dead son. However, this doesn’t translate into any kind of tangible action. He doesn’t do anything to actually stop the murderer who took his son’s life and he continues to throw child soldiers at the problem of crime (how many children have died for the sake of his no-kill rule at this point?). When met with the reality of his inaction, he fits into the perpetrator’s role like a glove:

“In order to escape accountability for his crimes, the perpetrator does everything in his power to promote forgetting. Secrecy and silence are the first line of defense... If secrecy fails, the perpetrator attacks the credibility of his victim. If he cannot silence her absolutely, he tries to make sure that no one listens... From the most blatant denial to the most sophisticated and elegant rationalization... One can expect to hear the same predictable apologies: it never happened; the victim exaggerates; the victim brought it upon herself; and in any case it’s time to forget the past and move on. The more powerful the perpetrator, the greater his prerogative to name and define reality, the more completely his arguments prevail” (Herman). 

I think it is simply fact at this point that Bruce is the head patriarch in Gotham if not, arguably, in the entirety of DC. That level of power in the narrative cannot be ignored, especially when faced with the very real, screaming voice of a victim that Bruce uses all of that power to silence. Bruce, because of his status as patriarch, default protagonist, and self-insert for the toxic male power fantasy, has the ultimate power to name and define reality. Especially to the reader. Bruce doesn’t deny what happened to Jason, because that’s physically impossible to do. But what he does do is ensure that no one listens to Jason, discredits him, and rationalizes his own inaction, actions of violence towards Jason, and victim blames.

Here’s Bruce using the most base form of denial and victim blaming:

After this panel, Bruce also revokes Dick’s access to his childhood home simply for asking a question.

This theme extends to other members of the batfam because of Bruce’s narrative power over them. It’s why we can’t have Dick, Steph, Babs, or even Damian step in and relate to Jason’s trauma or vindicate him. Even when we, the readers, can see parallels and wonder why these conversations or bonds aren’t forming. Jason HAS to be a lone wolf because he is hysterical and a threat to the system of power. This also shows why most of his runs in group settings outside of the batfam fall apart or fall flat. If he was humanized by any other character or had his trauma validated in any actionable way, it would be recognizing the failure of the toxic male power fantasy. The readers are not supposed to see the flaw in this system that allows the bodies of children to pile up and sympathize with one of their voices. It would be a crack in the system of power that exists not only in the source material, but very much within our real world.

Side note: Jason is allowed to interact with others in a wholesome and validating way when he no longer threatens the systemic power of Bruce. When he is silenced by the writers and plays the “nice victim” (like Babs does), he is allowed connection. Only when his healing is done in a way that doesn’t demand action and is only his personal responsibility (gotta love the rampant individualism). If he is hysterical, demands action, and asks for someone to be held accountable for his death, he is shoved away into a lone wolf box. Examples: Gotham Knights (from my very basic understanding, I haven’t played the game, only seen play throughs) and WFA. Victims are acceptable if they do their healing in a neat little box and stay there, but hysterics are the ones who step outside of that box.

Red Hood, The Political Voice of Hysteria and Trauma

Red Hood is deeply political in terms of hysteria and trauma. Herman stated that victims and those that authentically care for them or listen to them intently (whether that be interpersonally, clinically, or professionally) are silenced, ostracized, and discredited. Survivors need a social context that supports the victim and that joins the victim and witness in a common alliance. On an interpersonal level this looks like family, friends, and loved ones. However, trauma is systemic and the social context mentioned above must also be given on a wider social scale. For this to be done, there had to be systemic change and political action. Jason had the interpersonal social support and witnesses to his trauma ripped from him by Bruce. So, we see him move onto a systemic level of addressing trauma in his own political way. He literally cannot escape Bruce and this constant trigger because of Bruce’s philosophy and just... fucking power to define reality... being re-enforced constantly in DC no matter where he tries to go. So, he tries to heal by taking the systemic issue of perpetrators who cannot be held accountable or have fallen through the cracks of accountability into his own hands in a very personal way. A one man political movement.

Whether his methods are moral or ethical doesn’t really matter in the overall framing him as hysteric. He simply has to be opposed by the male power fantasy in some significant way. This shows that the goals, needs, and work towards victim’s and the marginalized’s freedom is dangerous, doomed to fail, and ultimately unethical if the victim is framed in a villain light instead of the more pathetic/pitiable iteration of hysteria. 

You can see how this is not only problematic but also reflects the real world values instilled in arguments against human rights movements (which are intrinsically tied to victims rights). Defunding the police is dangerous, the MeToo movement is dangerous, abolition is dangerous, trans rights are dangerous, etc etc etc. Think of the victims voices tied to each of these movements and how they are integral to the real change offered by these political movements. You can’t have human rights violations without creating victims. And you can’t have political movements surrounding human rights without listening to victims.

We can also see how the individuals within these movements are ostracized, villianized, and often silenced (sometimes ultimately silenced with death) because they rally against the systems of power that victimized them. The framing of traumatized, vulnerable people as hysterical is integral to upholding the system of power that traumatizes and harms them.

A popular comic book movie adaptation that highlights the importance of Jason’s hysterical framing and how it impacts the political narrative/how he is written is V for Vendetta. To be fair, it received an insane amount of backlash by conservatives (not within leftist or liberal spaces) for V’s methods in over throwing fascism, but only because of the movie’s release date being so close to 9/11. V and Jason have many parallels, it’s only the lack of hysterical framing that makes V more palatable to the viewer. We are told, not shown through behavior, that V is traumatized by his past and he does not pick a fight with the protagonist that functions as a toxic male power fantasy. He is the protag, with his version of Bruce being men who are not framed in a sympathetic, heroic, or relatable light. 

Additionally, there is literally an unemoting mask standing between the viewer and V, whereas Jason takes off his helmet to allow the reader to see every aspect of his trauma and pain. V readily dehumanizes himself into an idea, rather than a person. Whereas Jason screams to be seen as a person in a very hysterical way. So, we can see how the framing of Jason as hysteric against the logical, heroic man greatly impacts how the audience reads him when contrasted by a very similar political story/character who uses similar (and arguably more violent) methods to meet his ends. (This just made me realize that I would die for a Jason adaptation written by the Wachowski sisters). 

Jason’s work as Red Hood is seeped in leftist, victim, and community centered politics. His portrayal as a hysterical antagonist (at best an anti-hero) is rooted in misogyny and upholding patriarchal, capitalist, and the prison industrial complex systems of power. He is the righteous embodiment of “the personal is political” for victims. Even his Robin run draws attention to and shows correct, angry reactions to the system of patriarchal power in sexual violence.

Patriarchal Writing and Enforcement

Jason is girl-coded and hysterical because he’s supposed to be emasculated, discredited, and disliked by the reader. He serves the narrative function of boosting the toxic male power fantasy of Bruce and in doing so, the writers use one of the oldest tropes in the book (one that we have all subconsciously been taught since birth) to get the reader on their side. Make him a hysterical woman. 

References: for anyone interested in furthering their understanding of any of the concepts mentioned above and to, you know, use sources for my own writing.

Barstow, A. Witchcraze

Bondi, L., Burman. E. Women and Mental Health: A Feminist Review

Freud, S. The Aietology of Hysteria

Gilman, C. P. The Yellow Wallpaper

Herman, J. Trauma and Recovery

Ussher, J. The Madness of Women.

Van der Kolk, B. The Body Keeps the Score

Wilkin, L., Hillock, S. Enhancing MSW Students’ Efficacy in Working with Trauma, Violence, and Oppression: An Integrated Feminist-Trauma Framework for Social Work Education

[boyfridged]

You may have already mentioned this in some of your other metas, and I just missed it, so please ignore this if it's redundant.

Do you think Bruce is projecting onto Jason by pushing him as a Robin? Obviously, Jason wanted to be Robin and was excited about it, and Bruce let Jason do other things, but (if I'm not mistaken) before Tim came into play, solidifying the whole Batman needs a Robin/support to keep him upright, Bruce and Dick becoming Batman and Robin, in the beginning, was also sort of a coping mechanism.

I think there are a few examples of Bruce enabling this kind of mindset. Like in Gotham Knights #43–44 (sorry), every time Barbara brings up Jason's inner turmoil, Bruce refocuses on his ability as a Robin; similarly, when Jason finds out about Two-Face and his dad, he is hurt, and Bruce acknowledges that but then does the same thing, zeroing in on reassuring Jason that he made a mistake but is still a good Robin.

Like, Jason got it from Bruce, but he unintentionally encouraged that kind of thinking.

oh, i definitely think that bruce is projecting on jason and that it profoundly affected jay. and, while every single one of your observations is apt, i would add that what truly made it so tragic is that he projected his own worst traits on jason while being blind to the fact that jay already shared his best qualities.

tldr: bruce projects himself on jason in terms of grief (saying that jason needs vigilantism to work his grief through) and sees his own worst traits in jason (anger) but doesn't see his own best traits in jay (compassion, love, and sensitivity). ironically, jason does end up developing all of the (projected) worst characteristics of bruce (obsessiveness, and relentlessness in pursuit of the respective perceived idea of justice). this happens even though they were barely present in his early storylines, and only ever manifested when jason was scared or lost. later, they truly came to be because of his trauma relating to vigilantism.

and the long, long version, coming with panels and quotes: under the cut.

first i want to say that the following analysis focuses very specifically on bruce's mistakes, but i don't view the overall of jay's upbringing by bruce solely in these terms. from text it is also clear that bruce deeply loves and cares about jay, and that jay enjoys being robin. now that this is clear, let's get to particularities, and start with jay's origin story.

i truly never stop thinking about the significance of bruce meeting jay in the crime alley, the place of his parents' death. there's a lot to be said about it, but here the focus is, of course, on the fact that he sees a little boy, very much similar to himself, angry and hurt, in the same scenery that brought him so much grief. and jay in some ways does appear to be a mirror of bruce's own agonies, as well as a mirror of his own inclination for seeking justice; and somehow, bruce fixates on the first one, while almost completely dismissing the latter.

bruce looks at him and assumes that the remedy to jason's pain and anger is being robin; and he doesn't stop to think about it. (it has to be noted that there's also classism at play, classism that is mostly a result of writers' own beliefs – collins did state in a couple of interviews that that the motivation behind jason's background was to make his introduction into vigilantism seem less offensive, as jason has already been exposed to crime...)

i think, in this context, it's interesting to look at the two-face storyline even closer, and from the start too. in the beginning, bruce talks of jason's 'street' roots and assumes jay would go "down the same criminal road that took his father [willis] to an early death." he also talks of jason making a lot of progress. later, in batman #411, after jason learns that willis has been killed by two-face, bruce comments that jay "has never been like this...listless...almost pouting--"

this all, along with jay's cheerful and diligent behaviour from the previous issue builds an interesting picture for us: because we essentially learn that jay has been overall an unproblematic child. bruce, of course, attributes this "progress" to the training. however, for anyone else, the logical conclusion would be that jay's quick adjustment was simply a matter of finding himself in a safe and stable environment and receiving continuous support and attention from a parental figure. i find it rather questionable that jason's personality softened down because he had something to punch in the cave–– the more intuitive explanation is of course that he was angry and quick to fight when they first met because he couldn't afford anything else and because he was scared. but months later, in a loving home, he can allow himself to drop his guard; and his cocky attitude disappears until much later.

so the rather unsettling picture that we derive is that bruce is training jay to become a vigilante in order to "channel" his (nonvisible at this point) anger into something useful and just. and he clearly links this to his own trauma in batman #416 (that’s already starlin btw), in his conversation with dick, explaining why he took jay in: “he’s so full of anger and frustration… he reminds me of myself, just after my parents were killed.” bruce also mentions that soon after their first meeting, jason helped him and "handled himself well" in the fight, but he doesn't mention that jay has ran away from a crime "school" and intended to stop injustice on his own only because he was ignored.

the theme of bruce comparing jay to himself appears again in detective comics #574 (barr), where it is approached with a much more... critical look, thanks to leslie's presence and her skepticism of bruce's actions. after jason has suffered nearly fatal injuries at the hand of the mad hatter, bruce reminisces on his own trauma and motives. he tells leslie: "i didn't choose jason for my work. he was chosen by it...as i was chosen." leslie replies: "stop that! (...) you do this for yourself... you're still that little boy (...)" then, the conversation steers to the familiar ground and the topic of anger. in bruce's words, again: “i wanted to give jason an outlet for his rage…wanted him to expunge his anger and get on with his life…” and finishes "and instead, i may have killed him."

the recognition that bruce's projection on jason and involving him with his work might have fatal consequences is, as always, fast forgotten once jay wakes up and proclaims that he wants to continue his work as robin.

but to circle back, i think there's something else worth our attention, something deeply ironic, that is showcased in that issue: that bruce has no evidence for jay's "rage." when leslie talks of bruce's past, she recalls his tendencies to get into brutal fights at perceived injustice as early as in school; when bruce talks of jason, two pictures that are juxtaposed, are that of jason fighting as robin and jason... smiling, playing baseball.

so, in the early days of jason's training and work in the field, we see bruce talking of jason's anger a lot; but we barely see it.

that being said, jay is angry sometimes– and i think your observation about how bruce deals with it is incredibly interesting and accurate.

we first see jay truly and devastatingly angry in the two-face storyline. bruce focuses on jay's reaction as robin, which is, in fact, aggressive. but something that he barely addresses is that jason's first reaction is sleeping all day, and not beating anyone to a pulp; in fact, this vengeful instinct seems to arise only when he is put right in front of two-face. and his third instinct, once the rage (very quickly) dies down after the altercation with two-face, is crying, because bruce hid the truth about willis' death from him. jay, while crying, asks bruce: "you have taken me out into combat-- but you spare me this?" in response, bruce lectures jason about how grief inspires revenge, which is, again, deeply ironic, given that jay seeking out revenge seemed to be prompted and enabled solely by the role of robin. moreover, his question suggests that at this point he saw grief ("you spare me this") and fighting as two different things.

the final is, as you said, bruce focusing on making it into a lesson on vigilantism, or, in his own words, "tempering revenge into justice." personally, i think in this way bruce directs jason to bring his grief into the field as a powering force, something that he didn't necessarily have an own incentive to do. the flash of compartmentalisation between his ordinary life and being a sidekick that jay has shown by questioning bruce's decision is lost. emotions are now a robin thing, and they have an (informal) protocol, a moral code. and when jay is confronted with an emotionally exhausting case next – the garzonas case, i believe that the focus on "tempering revenge into justice" is exactly the problem– we don't see jay crying, we see him frantic about finding the solution. this, right there, is bruce's obsessiveness, that in my opinion, was developed in jay specifically as a result of how his engagement with vigilantism combines with his deep sensitivity.

and, needless to say, his sensitivity is all the same as that of bruce – they both can't stand looking at other people hurting, they both wear their hearts on their sleeve, caring way too much – the thing is, bruce never quite acknowledges how they are similar in this matter. instead, he focuses on his sparse bursts of anger, wanting to bring jason closure in his grief the only way he knows it – in a fight for a better world. so, as you said, he focuses on jason's ability as robin.

which just doesn't work for jason. at all. we know it from how his robin run comes to an end: in the first issue of a death in the family (batman #426) alfred informs: “i’ve come upon him, several times, looking at that battered old photograph of his mother and father, crying.”  to that, bruce contends: “in other words, i may have started jason as robin before he had a chance to come to grips with his parents deaths.” he also tells jay that the field is not a place for someone who is hurting; a message that is the opposite of what he's been saying for years now, and something that i imagine was difficult for bruce to conceptualise, because then he would have to question his own unhealthy tendencies. it's a bit late to come to this realisation; bruce's self-projection that caused him to worry so much about jay's anger has already turned into a self-fulfilling prophecy that will fully manifest itself in utrh, when jason does the only thing he was taught to do with grief: try to channel it into justice.

[withoutalice]

What about comedic over/pan v0re? Over/lord panicking coz Mega/tron is at his door demanding to be let in, and he can't let him see Tre/pan so he just puts the little guy in the safest and most hidden place he could think of. Which happens to be inside him. Then he has to talk to Mega/tron while playing it cool.

I'm-

👀😳

Anon when I tell you I screamed when I saw this?!?! Biggest brain moment right here ^^ 🤌

I'm OBVIOUSLY going to write a bigger fic based on this eventually but omg omg omgomgomg-

;) Here's some art in the mean time ~

But yes anon, Mega/tron shows up to Over/lord's hab for an inspection (most likely because he was tipped off by Tarn, that square). Over/lord knows Mega/tron would kill Tre/pan if he found out, so he decides to keep the mnemo/surg/eon in his tanks, much to Tre/pan's dismay.

I imagine Tre/pan would be kicking and irritating him all the while he's talking to Mega/tron, only prolonging the experience because of how many questions Over/lord is asked about his off behavior while with Mega/tron- (his poor angry tanks 😔)

Maybe even a continuation of the story, what if they were all called into an emergency meeting of Decep/ticons? 😳 And Tre/pan is in there for hours ;) He learns that it's actually quite comfortable 🤭

[redbootsindoriath]

My already-belated Fëanorian Week took another hit when I realized my half-finished Curufin piece might not meet Tumblr guidelines so I’m going to have to start over with that one.  In the meantime, here’s something from a few months ago that feels more like something I might have made in 2019 or thereabouts.

[darklight-owl]

Please post more Juanin

BET. DOODLES BE UPON YE.

If nobody got me I know Juanin got me

[blueberrysan]

MC Yeosang for @kangyeosaang from your atiny secret santa <3

[gotchibam]

Torchic ko-fi doodle for Joey’s Piano!

[mattodore]

can you describe matthias and theo night routines? and their sleep schedule

<3 ly

Theo doesn’t get a lot of sleep since he’s either out partying into the long stretches of the night or up studying until the words begin to blur on the page. I’d say he normally falls asleep around 3AM-4AM and doesn’t wake back up until 7AM. Four-ish hours is pretty average for how much sleep he gets a night… maybe less at times if he’s more stressed than usual. I should add that he does sleep more when he’s staying over at Matthias’s or vice versa, but generally he tries his best not to let Matthias distract him from studying before bed… which only ever works out about a quarter of the time. Matthias can be... very persuasive.

In the case of Matthias, well… he’s a chronic insomniac whose insomnia is exacerbated by hallucinations and nightmares. Unsurprisingly, his sleep schedule is terribly inconsistent, but if he does sleep then I think he normally manages it sometime around noon and will stay asleep for about an hour or two. It’s actually very rare that he falls asleep during the night—especially after Theo begins to sleep over, as Matthias prefers to read and watch over him at that time instead. Theo has fits in his sleep (from nightmares that he never remembers…) and Matthias gently calms him so he doesn’t wake up.

The only time they fall asleep at around the same time is when they’ve been at it for a while and both need a break. Matthias doesn’t stay asleep for long, though… maybe an hour at most. He does sleep easier around Theo, but that’s mostly just when Theo is awake. I think Matthias finds a lot of comfort in knowing Theo is there watching over him. He went through a lot at the reformation school and there were many times within those years where sleep would be abruptly interrupted and then he’d be back on the killing floor, so to speak, so having someone there to watch over him… I think it really helps. Then, on the other hand, Theo sleeps pretty deeply after they’ve been having sex. There’s never a time he feels more cared for and adored than when Matthias is making love to him, so it's... a relaxing experience. It puts Theo's mind at ease and I think it’s probably when Theo feels the safest. So he'll sleep for a long while after, feeling cradled in Matthias's presence, his anxiety finally snuffed out.

As for their actual night routines… hm. They’re very different, especially before and after the start of Echthroi. 

Theo’s night routine stays pretty much the same throughout the story. He’s not one for self-care, like, at all. Because of that, he doesn’t necessarily have a routine… Theo’s honestly only really meticulous in his studies and everything else suffers for it. However, Theo physically cannot fall asleep unless he’s checked the locks on the windows and doors and closed all of the blinds and curtains. That’s the one routine of his he’s always sure to follow through on, even when he’s intoxicated or sleep deprived.

Otherwise, what else he does as part of his “routine” is up in the air. Sometimes he showers before bed, other times he showers after waking up. Sometimes he combs through his hair all nicely and other times he just impatiently rips his fingers through his hair and shrugs. Sometimes he forgets to brush his teeth, other times he forgets that he’s already brushed his teeth and ends up doing it again. He’s a bit of a mess. If he’s actually aware/awake enough to put himself to bed, then he’ll messily wipe any makeup off his face post-clubbing and/or he’ll shower post-hook up (if it’s the pre-Matthias part of Echthroi). If he’s tired from studying he’ll put all of his materials away and then flop down on his bed. If he has to see his parents in the morning then he’ll wind up in the bathroom for too long, brushing his teeth until his gums bleed. If we’re talking about Theo in the post-meeting Matthias part of the story then he might take a cold shower to try and get Matthias out of his head for a little bit, or he’ll find himself laying in bed staring warily at his phone. Hm… and in general Theo will hum lullabies to himself so he can fall asleep easier… it’s a childhood habit.

By nature of Matthias’s insomnia, Matthias doesn’t exactly find himself preparing for bed during the night like most people. He does, however, still run through his personal care routine at around 8pm. He showers, brushes, flosses, cleanses and hydrates, primps and preens, and then he’ll usually find himself entertaining guests or a partner for the night.

For Matthias pre-meeting Theo, he’s often not alone after dark as he has a string of men with whom he takes to his bed or a list of faceless people to call on whenever he wants to be surrounded by bodies and chatter. There are still quiet nights where he’s by himself or just with Imani, but they’re relatively few and far between. For Matthias post-meeting Theo… woof. He did sleep around here and there still, but I think he gave it up pretty early on… his mind was always swimming with thoughts of Theo and he couldn’t focus on nor did he find himself interested in the men he’d have under him. So after meeting Theo his usual night circuit changes and he often finds himself staying home and reading with some wine and the occasional glance at his phone, waiting for a response. Matthias does a lot of waiting when it comes to Theo.

If they're together at night (when they’re dating), then Matthias will usually make dinner for Theo. He likes feeding him (by hand, even, though Theo often protests). Normally Theo will have a few textbooks with him that he can study from while he waits for dinner and he always winds up going "give me a minute" when the food is finally done. They'll enjoy each other's company just fine at home or they'll go out for a drive or a walk. Theo often winds up getting roped into following along with Matthias's night routine and will poke fun at how fussy Matthias can be as Matthias does skincare beside him in the bathroom. Theo tries to get away with studying again later in the night, but Matthias likes to distract him as he’s personally offended whenever Theo whips out his textbooks past, like, 11PM. In general, they'll wind up having sex at some point, or multiple points, and then they'll shower together. After they towel off and Matthias dries Theo's hair, Matthias will most likely end up reading to Theo until Theo falls asleep. If Theo wakes up during the night, Matthias simply kisses him back to sleep.

[macabrecake]

THAT SENT TOO EARLY SEBIWBW7DB HELLO, CAKE, im invading your inbox to request a smol blurb of re6 Leon and fem! Reader where reader is a rookie and Leon is vv protective of them and when Leon thinks reader is accidentally killed but turns out to be okay, he kisses her or sumn idk im blushingbsjwbwebeu

HAHAHAHA HI LYN and oh shit oh my fucking god u H- You're an amazing writer I've been saying that since I first met you (Eros Trials bby godDAMN) so for you to send me an ask that's also RE6 Leon? AAAAA I'M DEADASS GOING TO PASS AWAY 😭 but I'm gonna try my best so here we go!

In the DSO, Leon is known as one of the best agents who gets his business done with complete professionalism, not without some slight snark on the side of course.

He's also kind of your bodyguard of some sort.

He still has no damn clue how you did it, though. After all, you're just a rookie who happened to take a shine to him. Following him around like a lost puppy that's so young, and bright, and eager to try your best. It's like looking at himself in his rookie years. Ok, sure he'll offer some sagely advice in the hopes you don't turn out like him.

And sure he'll accept your company, it's greatly appreciated on the days when work was slow anyways- maybe he'll wait a little until he knows it's you coming. Listening to the sound of your heels lightly tapping the floor along with your voice softly singing whatever tune is stuck in your head that day. But he never meant to get this attached.

Now it's meeting up for coffee on weekends just to chat about everything and nothing all at once. Now it's him stepping in as your shield when other co-workers try to shake you up just because you're the newbie. Now it's his heart stopping because he just watched your body fall limp.

"Y/N!"

God, why did he have to get so attached?

It was your first mission out in the field. You, Leon, and Helena just landed in China- more like crashed. Where you met up with Agent Sherry Birkin and Jake Muller. You've heard about Sherry before and was already aware of her and Leon's history as survivors of Raccoon City. Jake was new though, would've liked a more proper introduction if not for the sudden appearance of the Ustanok.

The behemoth had downed Helena and would've most definitely killed her if you didn't act fast. Before your brain could scream that this probably wouldn't be a wise choice, you gunned for it. Quickly climbing up it's back you start shooting, stabbing, kicking, anything that would buy her some time. It did work, a little too well. Helena managed to clear off but you weren't so lucky when the Ustanok grabs you and tosses you like you weighed nothing more than a bag of bread.

Your world blurs with the sudden velocity, everything too loud to focus on as the wind rushes past your ears, until your back harshly meets one of the shipping containers with a loud bang. Delivering you a stark contrast of sudden silence and darkness.

It's unclear how long you stayed like that until a deep, frantic voice pierces your unconscious veil. "Come on baby girl, get up..." Your body moves but you can't tell where or from what. "Don't do this to me- please!"

Your eyes flutter open with a groan as your hand comes up to hold your aching head, "Did anyone catch the number on that truck?" You weakly ask. Vision focusing on a familiar pair of deep, fear ridden, gorgeous blue eyes shrouded in shiny golden locks.

It sinks in now how close Leon is to you. You can feel his body heat as he holds your smaller frame snuggly against him. Shielding you once again but so much closer than normal. You're worried he's gonna be mad about your stunt and yell at you so you try to soften the blow with a timid, "I'm sorry."

What you get in response instead, is the agent's shoulders loosening up with a sigh of relief then-

Pure plush warmth and spearmint.

You don't get a chance to register or reciprocate the small, but passionate, kiss Leon lays to your lips before he's pulling away as gently as he gave it to you. Leaving you rather dumbfounded but holy FUCK are you fully awake now.

"Did you just...?" You start, hoping he'll answer for you. What you receive instead is Leon's usual little smirk as he stands up and offers a hand to help you up. "Maybe, but you mind holding that thought until we get out of this?"

You giggle and accept, letting him pull you up to your feet with ease and follow him back into the fray.

Your giddy little smile matching his.

[oculusxcaro]

[I portray Rorschach as gay but low-key his bond with Khare is so sweet and meaningful that I could see him being fine with platonically marrying Khare. In a world where that would even be on the table, which I'm sure is not.

but also Khare could get a green card that way. just sayin]

Rue, this is the sweetest thing and I'm sorry it's taken a while to reply to this because I kept coming back to this and grinning like an idiot until my cheeks hurt? Rorschach and Khare's relationship is by far one of my all-time favourite experiences, not just on this one thing but roleplaying in general.

Their connection is one of those things I never saw coming but holy crap, it's so good, the way their bond has grown so much and whenever I'm having a bad day, I just think back to one of their many interactions and start smiling like a loon all over again. It goes without saying your Rorschach is absolutely-fucking-phenomenal - all your muses are, but your writing in particular pulled Watchmen from the deepest recesses of 2009 and dragged it right back into the forefront again. Dan, Liz and Adrian are all beautifully written but I can't deny these two are something deeply special to me. Guilty as charged, your honor. ♥ Your Rorschach being gay (which I adore about him) is so brilliantly portrayed and reasoned, so it's all the more meaningful that, in the best case scenario, he'd actually be okay with platonically marrying Khare? I don't think she'd mind either; sure he's no Bruce Wayne, but that doesn't matter to her because she adores him and he really is the closest friend she's got, both in Gotham and probably in her life which was nothing special until, you know, the whole getting-kidnapped-and-turned-into-an-experimental-guinea-pig type thing. He's been good to her though, and even though not a lot of people like him very much, he's important to her, so even though it's not likely there's a world where this would actually happen given the issues™ our two have, just the thought that he'd willingly do this for her says a lot considering his attitude about women. She gets a green card, he gets a beard so nobody looks at them too closely and Rorschach can continue contending with his feelings and accept his being gay. It's a win/win situation if, you know, Rorschach didn't have a crippling deathwish and Khare wasn't basically rotting from the inside out. Still, it's a very sweet thing to think about and these two being able to heal from their pasts and come out as better people for it.

[melverie]

I thibk if Luci was a teen he woukd have listened to rock

He does give off that vibe!! And at the very least we know that Lucifer at least owns one (1) rock record ever since the 'Lucifer the Demon of Rock' devilgram

My personal headcanon is that after that devilgram, he realized he actually enjoyed the genre a lot and secretly started to listen to more and more rock. So now whenever the brothers go out for karaoke and he accidentally had one to many horns of Demonus, he exclusively sings his heart out to rock songs. He knows all of the lyrics by heart too and he's putting on the performance of a lifetime every single time, but the others know better than to record any of this, so unfortunately you had to be there to experience the full glory of it :(

That's also part of the reason he doesn't want to sing in front of Diavolo. Can't let anyone know that the Avatar of Pride listens to anything but the most exquiste classical music

[lavenoon]

1. "I can't drive" for canon AU! I feel like this could fit Robin or Moon! If we assume their work is within parkor distance or walking distance, I can see both of them reasonably not knowing how to drive and/or not having a license!

As the Crow Flies (They Stall), Canon Drabble, ~2.1K words

Meeting the family always is scary, even under the best of circumstances. Moon and Y/N have a little chat on a roof, again.

[quill-n]

OKAY SO I EAS THINKING WHAT IF EDGEJEANIST BUT PUSS IN BOOTS THE LAST WISH VER DO YOU GET ME !!?

I GET YOU I GOT YOU!!!!!

Ok I couldn't decide who was gonna be who and at first I was gonna do Edge in Boots and Jeanist Softpaws (lmao) because I thought that Shinya's thousand sheet pierce thing wouldn't fit with Kitty's soft paws, BUT then I realized that Shinya's personality probably fit Kitty better + she's a ✨stealthy✨ assassin-type, and I think Tsunagu can match Puss's silly energy too. Also the fact that the whole plot of TLW is him escaping death lmao. Double also Jeanist in Boots.

Apple bottom jeans, boots with the fur—

*cough* sorry.

so

I also couldn't decide whether I wanted to just draw them with the costumes and cat vibes or if I should just cat-ify them so I did both

I was running low on art juice so I only have some shitty sketches to offer, sorry ｡⁠:ﾟ⁠(⁠;⁠´⁠∩⁠`⁠;⁠)ﾟ⁠:⁠｡