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rambling-at-midnight · 1 month

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Second Chances

Summary: It’s not common knowledge that you have a superpower: regeneration. You didn’t think that would be a problem... Jason and Damian think otherwise.

Relationships: Jason Todd x Vigilante!Reader, Damian Wayne & Jason Todd & Reader (platonic because they’re brothers duh)

DAMIAN WAYNE IS MY SON I LOVE HIM SO MUCH (I just watched the Supersons movie he makes me smile so hard)

Word Count: 4.8k

Content warning for temporary character death. Reader’s vigilante name is Ghoul, BTW.

Jason is in the shower when he hears someone break into his apartment.

He groans, makes sure all the shampoo is rinsed out of his hair, then grabs the knife mounted to his curtain rod. It’s not the first time someone has attacked him in the shower, and it probably won’t be the last. Still, Jason wishes they would at least give him time to grab a towel. It’s just as uncomfortable for him as it is for them.

This time, they actually do. Maybe they’re going to be polite enough to wait for him to finish cleaning all of Gotham’s sludge off his body. Jason would appreciate the sentiment more if the upcoming fight wouldn’t immediately dirty his body again with their blood.

He doesn’t turn off the shower when he steps out, dries his feet on the bath mat. He’s reaching for his towel when he hears one of the intruders say something.

He recognizes that voice.

Jason sticks his head out of the bathroom and glowers. “What are you doing here, brat?”

Damian Wayne, one of Bruce Wayne’s many children and the current Robin, scowls right back. “Why is your shower still running, Todd? Do you not care for conservation efforts? There are people in Michigan who would—”

“Okay, Dami,” interrupts another voice.

Jason’s whole body flushes. He makes sure every part of him except his face is hidden behind the door when a second person comes into view.

Your vigilante costume is zipped halfway, the top pulled down and sleeves tied around your waist, exposing the compression shirt with kevlar-like weave you wore beneath it. A large bandage is wrapped around your upper arm, growing redder by the second.

“Hi, Y/N,” Jason says. Does he sound too excited? Does he not sound excited enough?

You just smile. “Hey, Jace. Sorry, we came by for first aid supplies. We’ll be out of your hair in just a sec.”

“No, don’t rush on my account,” Jason says. Does he sound too desperate? “Just give me a—”

He ducks back into the bathroom to turn off the shower after making sure he’s clean and one hundred percent soap-free. Not expecting company, he’d only brought a pair of boxers and military-style shorts in with him. Rushing, hoping you don’t leave before he gets out (Damian can leave, though) he pulls both on and slams the door open.

It hits the wall so hard it rebounds back into Jason’s hand. You jump at the sound, nearly poking Damian with the needle in your hand.

“Watch it, idiot!” Damian snaps. To Jason, he says, “You just dented your wall. Moron.”

“Don’t talk to them like that,” Jason says sternly. God, he knows why the brat is so prickly, but he still got on Jason’s last nerves. He checks the wall, hoping the brat exaggerated, but nope. Another dent to match the nicks, scrapes, and bullet holes that already littered his apartment.

He is never getting back his security deposit.

You’re about to stitch up a cut on Damian’s arm when Jason clucks his tongue. “That doesn’t look good.” The bandage around your arm is sodden with blood.

“It’s not as bad as it looks,” you say dismissively. “Ready, Dami?”

Interestingly enough, the brat doesn’t tell you off for giving him a nickname. It seems to be a privilege reserved exclusively for you and Dick; every time Jason tries, he’s vehemently told off.

Then again, his nicknames are usually derogatory. That might contribute to it a little bit.

Damian sets his jaw and you stitch him up quickly, murmuring, “I’m sorry,” every time his fingers twitch—the only indication of pain he’ll show. Jason eyes the bandage around your arm with worry, but the blood stain doesn’t grow any more in the interim.

As soon as you tie off the thread, Damian hops to his feet and scurries for the bathroom. You start to get up, brow pinched with worry, but Jason says, “Let me look at your arm.”

Your eyes take a while to slide from the shut bathroom door to Jason’s face, but then you say, “Yeah, okay,” and sink back into your chair.

To distract you as he unpeels the sticky bandage from your arm, Jason asks, “So you’re on babysitting duty now, huh?”

“Oh, no, Damian and I patrol together every Friday night.” You use finger quotes with the other hand and say, “B think it ‘promotes more accountability’ when someone gets injured during patrol if they have a partner.”

Jason frowns at the sight of the cut. It’s obviously from a knife, and not pretty, exactly, but also not big enough to let out as much blood as soaked through the bandage. “Who did this to you?”

“Just a typical goon. It’s really not a big deal.” Your eyes follow Jason’s gaze. “I guess it bled a lot, huh? Like a head wound. You know, disproportionate.” You tug your sleeve over the wound.

“Y/N is not as weak as the rest of you,” Damian sneers, having vacated the bathroom on silent feet. You jump, and so does Jason, even though he has Batman-honed instincts.

There’s just something intoxicating about your presence. You’re… distracting.

It was manageable back before Jason was Robin and you were one of his classmates. You were obsessed with Batman and crimefighting, and Jason was a bookworm, so your friendship shouldn’t have worked, but it did.

Then, ironically, Bruce Wayne adopted him and Jason became the crimefighter. He never told you about his identity to protect Bruce’s, but you figured it out when he died.

Then he came back to Gotham, hellbent on revenge, and burned every bridge he’d ever built. Including the one with you.

Jason still could barely believe you give him the time of day after all the awful things he’d said and done. But you’re just as obsessed with redemption and forgiveness as Bruce, and he will never take that for granted.

His fascination with you was manageable before Jason died, but it’s downright consuming now.

Jason can’t believe how you’d grown up to be so… so flat-out amazing. Graceful, and maybe not as skilled at hand-to-hand as the rest of Gotham’s vigilantes, but you adapt with a long-range fighting style. You’re strong, and self-assured, and really, seriously gorgeous.

Jason realizes his hand is still on your arm, touching the soft skin, and he yanks it away as if burnt. He doesn’t understand how you remain so scar-free despite years of crimefighting, and he’s abruptly self-conscious about the marks that litter his torso, arms, and legs. Your eyes roam over them, lingering on his chest and stomach

He’s most self-conscious about the jagged ‘J’ carved into his cheek, and Jason tries to cover it with his hand without drawing attention. That doesn’t work—he looks like a weirdo waving his hands around—so he tilts his cheek away so you don’t have to see it anymore.

You clear your throat and look away, as if embarrassed for some reason.

Damian’s gaze pingpongs between the two of you before he rolls his eyes, sighing dramatically. “Are you two finished?”

You push away from the table and make a grabby hand. Damian rolls his eyes again, but he sidles closer, and you check his stitched cut. Your thumb rubs over the raised line of stitches like you’re trying to wipe his pain away.

Jason realizes he’s staring at the bottom lip you’re jutting out in sympathy. He flushes again.

After everything he did, he can’t expect anything more than friendship from you. If that’s what you’re willing to give, he’ll never push for more.

“I am fine, Y/N,” Damian said, pushing your hand away, albeit gently. A hint of whine entered his voice and Jason blinked. It wasn’t often that he heard Damian sound like an actual kid. “Can we resume patrol now?”

“Wait,” Jason hears someone say, and it’s—him, he’s the one saying it. “Are you hungry? I have a casserole in the oven.”

Damian snorts. “My apologies. I did not know you had adopted the personality of a middle-aged white wom—”

You cover Damian’s mouth with your hand and say, “That sounds great, Jay. Thanks.”

Jason’s greedy. He’ll take whatever scraps he can get from you.

The three of you eat, the conversation pleasant whenever Damian isn’t threatening Jason because Jason taunted him. You laugh as they bicker, used to the antics of Gotham’s vigilantes by now.

Once everyone is done, it’s just about time for the Red Hood to start his patrol, so with a little cajoling from you, Damian agrees to let Jason tag along until your patrol ends. Jason suits up, and you lead the charge out of his apartment window, followed by Damian. Jason is last out, stopping briefly to make sure the window latches before stepping off the fire escape.

The sensation of his stomach rising is familiar from so many years of grappling through the city, but no less exhilarating. He follows your and Robin’s flipping shapes as the two of you tear through the city. The bright primary color accents on Robin’s suit and the pale gray color of your own shouldn’t blend in so well with Gotham’s shadows, but you and Damian manage pretty well. It turns into kind of a game of tag, and whenever he gets close enough, you grin and twist away, muffling laughter behind one hand.

He could definitely catch you, but he thinks you’re enjoying the game of cat-and-mouse just as much as he, if not more.

Jason’s just thinking to himself that there’s not much crime tonight when the Batsignal lights up the sky.

“Way to ruin the mood,” he grumbles. The game is over. The three of you grapple toward the giant light without any more flipping or laughter.

Jim Gordon obviously isn’t expecting them when they land. After all, it’s common knowledge that Ghoul is a Bat-affiliate, but Red Hood’s alliance with the Batclan is still relatively new. Shaky.

And a lot of people still think the Red Hood hates Ghoul. Admittedly, the way Jason tried to kill you when he returned hadn’t helped the rumors.

It made sense at the time. He’d also tried to kill Batman, Nightwing, and Robin, so it’s not like it was entirely personal. You don’t hold a grudge.

“Where’s Batman?” is his first question.

You shrug. “Running late.”

Jason’s not sure if that’s true. With you and Robin patrolling Newtown and Otisburg, Spoiler and Red Robin handling everything from the Coventry to the Upper East Side, and Black Bat and Batwing watching over everything else but the Tricorner, the city is in pretty good hands for the night.

And yes, Jason’s knowledge about patrol schedules is from his days as a crime lord, but it still comes in handy as a reformed vigilante.

“Why did you summon us here, Commissioner?” Robin asks.

“Bane escaped Arkham earlier tonight,” says the Commissioner. “We have reason to believe he’s hiding out in Amusement Mile. The Joker’s not out, for one, and we have a… witness… that claims to have seen Bane in the park.”

“Where is this witness?” Robin demands.

“In our holding cell, sobering up,” Gordon says with a long-suffering sigh.

“Oh, great,” Jason says. “So it might have been Bane, or it might have been one of those giant stuffed bears at every amusement park.”

You elbow him in the side and promise Gordon, “We’ll check it out, Commish. Let you know when he’s handled again!”

You and Robin balance on the edge of the roof. Jason asks in a low tone, “Batman’s not coming tonight, is he?” He would have already been here.

You and Robin share a guilty look.

Jason sighs. Bane is a tough opponent, possibly their strongest rogue. It’ll take a lot of force to bring him down… force he’s not sure you and Robin can muster. You’re good vigilantes, don’t get him wrong, but Robin is a prepubescent boy and has the height and muscle mass to show for it. You’re strong and graceful and should be fine as long as you keep your distance, but Jason’s the only one that comes close to Bane in terms of muscle mass.

It’ll be up to him to keep the two of you safe.

“I think I parked my bike somewhere around here,” you say. “It’ll get us there faster than grappling.”

Jason thinks something is stuck in his throat. He croaks, “You have a motorcycle?”

You nod. He can’t see your face beneath the mask, but he’s pretty sure you’re smiling. “Got it just a couple weeks ago, but I needed Earl to paint it over.”

“It is parked in that alley.” Robin points.

“Okay,” Jason says. “You two drive to my apartment. I’ll follow above, then we’ll head to Amusement Mile.”

“Aye-aye,” you joke. “Come on, bud.”

You and Robin swing away, the younger boy loudly complaining about the myriad nicknames you think up for him. Jason swings away to get a headstart. A minute later, the sound of a bike engine revving hits Jason’s ears, and it isn’t long after that he looks down to see you and Robin on a pale bike painted in the same colors as your suit.

You look up and wave.

Jason almost misses his next swing. He swallows and has to look away. Seeing you on a motorcycle…

As soon as he puts the key in his bike’s ignition, you speed away, tires squealing against the asphalt. Jason grins and twists the throttle. He shoots onto the street and hunches low to decrease wind resistance, pushing the bike hard to catch up to you.

You wear no helmet, but you’d forced Robin to wear one. He sits behind you on the bike, arms locked around your waist. At the sight of Jason, he makes a rude gesture, but Jason just huffs out a laugh. The brat likes to aggravate him on purpose, but it’s hard to feel annoyed when he drives next to you, racing side-by-side.

It doesn’t take long to reach Amusement Mile. You and Jason shift gears, rolling to a stop.

“You and Robin go high,” Jason instructs. “I’ll go low.”

“Roger.” You kick the stand for your bike, then you and Robin shoot your grapples for the nearest roof.

In seconds, the two of you are out of sight.

Jason swallows. He hates this strip of clown-themed land. The Joker isn’t in it currently, but it still reminds him of that madman.

Come on. He shakes himself. Jason can’t afford to get distracted. Bane is dangerous.

Jason makes no effort to muffle the sounds of his footsteps as he strolls through the park. A plastic bag drifts along the path with a gust of wind, and a couple bowling pins on the ground roll. But apart from that, the park is empty and quiet.

Too quiet.

Jason turns just in time to avoid a crushing blow to his head.

He hits the ground rolling and comes up with guns blazing. Bullets deflect off Bane’s armor, and he doesn’t seem to feel the ones that burrow into his skin.

“You will not stop me, Red Hood,” says the mechanized voice. “No one will stop me in my pursuit to break Batman, even though he sent you in his place.”

“He didn’t send me,” says Jason.

Help comes from above. A steel bola—one of your weapons of choice—whips through the air and wraps around Bane’s throat. He chokes and reaches up to untangle it. At the same time, a Batarang slices through the air and cuts straight through one of the hoses pumping super-steroid into his body.

He groans. Drops to one knee.

Jason spares a glance to the rooftops, but he only sees Robin.

That moment of distraction costs him. Bane surges back to his feet and tackles him. Jason hits the ground, the back of his head colliding against the pavement so hard his vision blacks out for a moment.

He blinks away the darkness in time to see a punishing fist aimed right for his head. There’s not enough time to dodge. Jason can only brace for an impact… that never comes.

The hook of a grapple is embedded into Bane’s wrist. Its line is taught. On the roof of a decrepit popcorn stand, Robin yanks back with all his might.

Jason knees Bane in the crotch, then elbows him in the face.

Bane grunts and yanks his arm forward, pulling Robin right to the ground in a flutter of cape, but Jason slips out from beneath him and rolls to his feet. Bane may be strong, and his hits may hurt, but that’s only if they connect. And Bane isn’t very fast.

The engine of a bike roars, and your voice shouts, “Hood, out of the way!”

Jason obeys without thinking. It’s a good thing he doesn’t hesitate, because he barely dodges your motorcycle before you ram it full-speed into Bane.

Not even the giant can resist a motorcycle going full-throttle. He topples back, and you keep driving, treating his body like a ramp.

Jason laughs despite himself. “I can see tire tracks on your face, ugly!” He and Robin throw knives at the same time. Robin’s slices off another steroid line. Jason’s lodges in Bane’s shoulder. It should have severed his deltoid, leaving his arms useless, but the man doesn’t react to the pain at all.

Getting run over pisses Bane off. You turn in a sharp circle on the bike and rev your engine, obviously ready to try the same trick twice.

But Jason sees the tension in Bane’s legs, and he’s shouting for you to stop after you start.

You don’t listen. You just drive.

Bane sidesteps your bike at the last possible second, and his arm shoots out. His hand is large enough to wrap around your entire throat, and it yanks you off your bike, which skids away with a screech of tire and metal. You choke, scrabbling at the iron fingers around your throat.

Jason has his gun out in a second, but Bane holds your body in front of his. So Jason shoots his foot. It doesn't have an effect.

“Ghoul!” Robin shouts. He unsheathes his katana.

“I tire of this,” Bane says through his modulator.

He snaps your neck.

“NO!”

It’s like the world slows down. Jason can only watch as Bane carelessly drops your lifeless body.

He sees Robin lunge with his sword. He sees Bane casually backhand him so hard he drops his katana. Robin flies backward, hits the popcorn stand, and slumps to the ground, motionless.

Bane steps on you—your body—and something in your spine cracks. Something in Jason’s chest cracks, too, and he sees green.

The Pit surges.

After it recedes, Robin’s katana is lodged firmly in a moaning Bane’s side. Every one of his steroid pumps is severed, and his mask is cracked. He’s weak enough without his Venom that three Bat-restraints and a set of handcuffs can hold him.

Huh. Jason’s surprised he didn’t kill him.

His knuckles are bleeding; they’re slick inside his gloves. When he flexes his fingers, pain screams up his nerves, through his arm all the way to his heart. At least two are broken, and another knuckle might be dislocated. His jaw hurts, his brain is pounding—concussion, probably—and his knee feels swollen. But he can put pressure on it, at least, and he limps to a stirring Robin.

“Hey,” Jason says. His voice is rough. He doesn’t remember yelling. He tries to crouch, but can’t with the stiff knee, so he just kind of collapses in front of the kid. “Robin. Status report.”

The kid looks at him, wobbling even though he’s sitting down. One hand goes up to touch the back of his head, and the tips of his gloves gleam with dark blood when he pulls it back. “Possible concussion,” he says with a wavering voice. “Ribs—”

Robin gasps and stumbles to his feet.

“Don’t—”

Jason tries to grab him, but Robin wobbles out of his reach. He walks hunched over in a zigzag, limping to your—

Jason grunts and stands back up. “Hey, hey, Robin.” He gets between the kid and you. “Don’t. Don’t—don’t look.”

“Do not stop me, Todd,” hisses the kid, and wow, he must be seriously out of it to use Jason’s civilian name. “Let me see them.”

“You don’t want to,” Jason says grimly. He’s seen snapped necks before, and they’re… Well, they’re as unnatural-looking as they sound.

He hears a rushing in his ears. A wave of grief is cresting, ready to sweep him away, but Jason has to keep it together for Robin. He barely hears his own voice when he says, “Ghoul’s gone.” He can’t say the ‘D’ word. Not when he feels like puking.

“Unhand me, you blackguard,” Robin hissed. “You do not understand. They might be—”

“They’re not.”

“Todd!” the kid says, voice rising into a shrill.

Something clicks behind them.

Jason whirls around to make sure Bane hasn’t broken out of his restraints.

He hasn’t.

So what made the noise?

He and Robin are looking right at the body when some invisible force takes your head and—and wrenches it.

Robin lets out a low cry.

Jason feels frozen. He doesn’t stop the kid when he stumbles forward and collapses next to the body. His shoulders shake, head bowed with grief.

Jason is still watching when he sees your chest rise and fall with a breath.

“Oh, what the fuck,” he whispers, stumbling back. “What the fuck, what the fuck, what the—”

Your head raises, and you reach to your neck with a wince.

Robin freezes.

“Ow,” you grumble, pushing up to your elbows. “That sucked.”

“What the fuck?” Jason exclaims.

“What is going on?” Robin demands.

You look between the two vigilantes. “Sorry to freak you out, guys.” Which is a completely underwhelming thing to say when you just died and then unsnapped your own neck.

Robin makes a low, wounded sound, then throws himself at you, wrapping his arms around your neck and squeezing hard. You hug him back just as tight, murmuring low things that Jason tries not to hear. It’s a personal moment, and he feels like an intruder, but he can’t move. His feet are planted to the ground.

Seconds ago, you’d been dead. No doubt about it. Bane had snapped your neck and you had crumbled like paper.

Now you’re breathing and alive.

It doesn’t compute. It doesn’t make any sense.

Robin comes to the same conclusion, because he pulls away and pinches your arm. “How is this possible?”

“Bud, do you remember when… you remember when Pyg got me, right?”

“Of course.”

“Well, I don’t,” says Jason. Professor Pyg kidnapped you? What the fuck? When did that happen?

You look up at him, still holding Robin close. “We weren’t exactly on speaking terms when it happened, Hood.”

Oh.

“But Father ran his tests and said his experimentation just gave you advanced healing,” says Robin.

“Which is technically true—”

“Resurrection is quite different from healing!” the kid says.

“Wait, you knew they had powers?” Jason asks Robin.

The kid sneers at him. “Of course. I was the one that found Ghoul, and I patrol with them at least once a week. It would take an unobservant fool to miss their obvious healing abilities."

Jason bristles with indignation.

Robin's head turns on a swivel to glare at you. "It was less obvious that you have nothing to fear from physical injuries. Informing me of this fact would have greatly reduced the chances of experiencing emotional distress at the sight of your dead, mangled body."

"I know," you say, cupping his chin in your hand. "I'm really, really sorry, Dami."

"Do not address me as such," he says, "we are in costume." Robin huffs and scrambles out of your lap, brushing debris off his suit. Then he wobbles and nearly falls over, and you lunge to catch him.

"Woah, bud, you okay?"

"He's concussed," Jason says.

"Too concussed to ride on the back of my bike?"

"Of course not," says Robin. Then he leans over and pukes.

"Oh, Batman's gonna kill me," you mutter.

It's a much tamer drive to the Batcave, in case Robin rolls off the bike accidentally. He doesn't, but you do have to stop a couple of times so he can lean over the side and retch.

When all is said and done and you're back at the Cave and Alfred and Bruce are fussing over Damian, you and Jason hang back a bit. He can't stop sneaking glances at you. Your Ghoul mask is off, and there's a little dried blood around your nostrils, and your hair is a little sweaty, but you're the most beautiful thing Jason's ever seen.

You're alive. He can hardly believe it.

You suddenly sigh and mutter, "I guess you're mad at me, too?"

"What?" Jason startles.

"For not telling you about my abilities."

"Y/N—"

"I just didn't want you guys to think of me differently. Duke has his powers, yeah, but he was born with them. I got mine from Pyg. I didn't want everyone to start treating me like a victim."

All things considered, you're remarkably well-adjusted for someone that survived Professor Pyg's experimentation. "You're the strongest person I've ever met, Y/N," says Jason. "Your powers don't change that. They make me feel a little better about you patrolling at night, anyway. They're basically like... a second chance."

You snort. "I think I'm on my fifth chance by this point."

Jason shakes his head. "How did you keep your powers a secret, again?"

"Well, the first time, Pyg shut off my heart, but that didn't shut down my body. When I actually noticed that I couldn't die, though, was that time one of Cobblepot's goons stabbed me in the neck and I woke up in the middle of a shootout. Now that wasn't fun." You grimace. "A bullet caught me in the head and I died as soon as I sat up. The Bats were too preoccupied to notice me, luckily. Then there was that time with the poison dart that I kept a secret, and now this time." You smirk, cross your arms, and bump Jason's hip with your own. "I'm beating you in the resurrection department, aren't I?"

Jason huffs, pretending to be offended, and your eyes widen. "Oh, my God. That was in such poor taste. I'm so sorry."

"No," he says, trying to hide the twist of his lips. If it was anyone else saying it, Jason would probably kill them. "No, it's okay. I'm just glad you're all right. It would have been awful if you'd died and I never took the chance to..."

"Chance to what?" You look up at him through your eyelashes.

Jason's breath catches in his throat. He's never done this before, dammit, but seeing you die today made him remember just how limited their time is as vigilantes.

Well, maybe not yours, but he walks a thin line.

"Doyouwanttogetcoffeewithme?"

You blink. "What?"

"Do you," Jason says slowly, feeling sweat prickle on his hairline, "want to... Um. Get coffee? With me. As in, like—"

"A date?"

"Only if you want to."

You nod, eyes sparkling. "Hell yeah I want to!"

Damian, Bruce, and Alfred look over at your raised voice. Their disapproving smiles are all eerily similar.

"Sorry," you whisper. You look back at Jason and say, "Yeah, I'd like that. I've been waiting ages for you to ask."

Yes. You said yes. Adrenaline rushes through Jason's veins, and he only barely resists the urge to pump his fist in the air like a moron. He's brave enough to tease, "Well, why didn't you ask me?"

Your face flushes and you look away.

It's at that moment that Damian calls, "Y/N. Stop twittering with Todd and come here. Your presence is required."

"Seriously," Jason said under his breath, "the way he talks like a Victorian child doesn't bother you at all?"

You're smiling. "I think he's adorable." You walk backwards to the brat, making a phone gesture with your hand and mouthing to Jason, Call me.

He definitely will.

"Master Jason," comes Alfred's disapproving voice when he turns back to his bike. "Don't think I didn't notice that you have your own injuries to tend to."

Of course, that sets off Bruce's worry alert even more.

Jason groans. He won't be able to sneak out for coffee with you for an entire week after this whole debacle.

DC Taglist

@evalynanne @mismatchsposts

Forever tag list

@lemirabitur @annymcervantes @queenmissfit @iksey @thehyperactiveteen @luxmoonlight @andreasworlsboring101

Let me know if there's anything you guys want to see with Jason in the future. My requests are open!

#jason todd x y/n #reader insert #jason todd #jason todd fic #jason todd x reader #jason todd x you #damian wayne #damian wayne & reader #vigilante reader

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celaenaeiln · 4 months

Note

Hiii, how are you? I’m new in the Batman fandom, but i saw a lot of people saying that Jason is actually Batman’s favorite child, and when i was reading the comics, i really though that Dick is Bruce absolute favorite, but i saw a lot of posts here on tumblr of the fandom saying is actually Jason and that the batkids all know its Jason, but i don’t know what is canon and what is fanon (quite honestly when it comes about the batfam i don’t like a lot about the fanon version 😭), so i wanted to ask you about it

And sorry if i said something wrong, english is not my first language

Hi and no worries at all!!

Yeah, canonically Dick is Bruce's favorite by a LONG shot and canonically the batkids all know this.

Infinite Crisis Issue #3

It's says right here in the comics. Really explicitly. But not only that, time and time again, there is clear evidence of Bruce's preferential treatment of Dick over the rest of the batkids.

One time the batboys and Bruce are searching for a guy that kinda is using the Gotham criminals as his subjects. So what they decide to do is split up to narrow him down.

Detective Comics (2016) Issue #1057

But they run into issues because the villains chose a 'divide and conquer strategy"

Detective Comics (2016) Issue #1057

Bruce gets swept away! Because of a carefully planned trap. But do you what he does the second he wakes up?

Detective Comics (2016) Issue #1058

JDAKFA;BFJALEC

BRUCE LITERALLY WENT: "I love Dick and all the other not-Dicks equally" !!!!!

As if that's not enough, Bruce's biggest fear is that he's not good enough for Dick.

Bruce's fear about Dick-

Batman vs Robin Issue #3

because he believes this -

Bruce's fear about Jason -

Batman vs Robin Issue #3

because he believed he failed to do this -

Batman: Hush

Reminder: Joe Chill is Martha and Thomas Wayne's killer. Enough said.

If you want to be even more explicit about Bruce's preference for Dick over Jason it can't be clearer than here:

Bruce reflects on Jason's Robin tenure -

Batman (1940) Issue #428

Something a lot of people don't know/refuse to acknowledge is that Jason canonically did have anger issues. There aren't a lot of parallels between Jason and Dick but one particular thing that DC points out is that Jason and Dick both lost their beloved fathers. The difference is that Dick was able to move on and become cheerful even if he didn't get revenge. Jason wasn't able to get over the loss of his father and became angry. UTRH makes a specific point of talking about this too.

Batman (1940) Issue #645 "He knew that Jason Todd was NOT Dick Grayson."

Do you remember why Jason became Robin?

Batman (1940) Issue #416

Bruce wanted Dick. He took in Jason in replacement for Dick. But Jason was not Dick and even on the day he died, all Bruce could think of was that taking in Jason was a mistake.

The batkids are well aware of this. Damian actually calls Jason Bruce's mistake too when he's recounting the story of the robins.

Here's what he says -

Batman (1940) Issue #713

That's Damian's retelling. Tim's is even worse -

A Lonely Place of Dying

Ouch.

Truthfully Jason is like Bruce's 4th favorite. In order of how much Bruce loves his kids it goes:

Dick

Damian

Cass

Jason/Tim (tie)

Tim/Jason (tie)

Steph

I think there's so much confusion about Jason supposedly being the favorite because Bruce grieved over Jason's that but I think a lot of people are conflating grief and self-blame with love. There have been two significant deaths in the family: Jason and Damian. If you look at how Bruce reacted in each aftermath, it becomes clear that he loves Damian more than he loved Jason.

After Jason's death:

Batman (1940) Issue #429

Batman (1940) Issue #431

After Damian's death:

Batman and Robin (2011) Issue #21

Batman and Robin (2011) Issue #20

He would forcefully make Jason relive the worst day of his life so that his other son could enjoy his.

Bruce's behavior after Jason's death was self-destructive and isolative but his behavior after Damian's death was to beat bloodly every single criminal. His reasoning for beating Dick after Jason's death was "Jason was your replacement. If you hadn't left I wouldn't have had to take him in and he wouldn't have died." His reason for beating Jason after Damian's death was "Your trauma matters so little to mean that all I want is Damian to live again and I couldn't care less about how you feel."

In summary, Jason wasn't Bruce's favorite either as Robin or as an adult. But even if it's not Dick, claiming that Jason is the favorite is so far off that no one is DC would remotely believe it. You would think there would be more analysis on Damian's death in comparison to Jason's because they were two big official deaths but I guess not for some reason. I ran out of image space but yeah there's more than just this overall. This isn't to say that Bruce doesn't love Jason. NO! He very much loves him. But he just doesn't love him the most.

On a different note - coming from someone who went from TT show to YJ to fanfic AND THEN reading comics, I've had relearn a lot about each of the characters. But for people still in the process of transitioning from fanfic to comics or just in the fanfic stage, general rule of thumb when it comes to batfamily content - NEVER trust what people say if they don't provide the evidence for it. People in this fandom are so wild that they'll have you believing the earth is the center of the universe, that you'll fall off the world if you go too far left or right, and that pigs can fly.

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linkspooky · 3 months

Text

JASON TODD VS. DABI: WHY NOT ME?

"You haven't been here long but you've seen him, right? The batman. The batman. He lives in darkness, to find the helpless and bring them into the light. So I have to wonder...why couldn't he do it for me?" The Boy Wonder: Issue #2

This is the story of the boy who didn't get saved. The story of a boy who really ought to have been saved. Of course, every victim deserves to be saved, but this boy was the son of a superhero. Can a hero who saves everyone, but fails to save his own son really be called a hero? As for the son, how does it feel to watch his father save complete strangers but let him fall to the wayside?

Jason Todd and Dabi are two characters with similar backstories and motives (so similar it's possible Dabi is outright based on Jason Todd) which are worthy of comparison. These are two tragic arcs which explore the conflict between a hero's responsibility to act as a father, and their responsibility to save people. As I said they are tragic because in both cases the hero fails, as a father, and a hero. However, I'm comparing the two because Jason Todd's story is a well written tragedy, and Toya's story is not.

If you were to write a story of my life, it would surely be a tragedy.

Aristotle's Poetics is the first attempt to define what Tragedy is, not as a story where sad things happen but a specific story structure. He outlines not only what makes tragedy, tragedy, but also what makes a good tragedy.

The Plot, then, is the first principle, and, as it were, the soul of a tragedy: Character holds the second place. A similar fact is seen in painting. The most beautiful colours, laid on confusedly, will not give as much pleasure as the chalk outline of a portrait. Thus Tragedy is the imitation of an action, and of the agents mainly with a view to the action.

I use this quote because the painting metaphor is a great way of explaining what I'm getting at, you can have a painting with the most wonderful colors, you can have a story with really good ideas like the Todoroki family plotline but if you don't use those colors correctly all you're going to end up with is a bad painting.

In poetics Aristotle clearly defines a tight well-structured plot as the first priority for effective tragedy, character as second.

Again, a beautiful object, whether it be a living organism or any whole composed of parts, must not only have an orderly arrangement of parts, but must also be of a certain magnitude; for beauty depends on magnitude and order. Hence a very small animal organism cannot be beautiful; for the view of it is confused, the object being seen in an almost imperceptible moment of time. Nor, again, can one of vast size be beautiful; for as the eye cannot take it all in at once, the unity and sense of the whole is lost for the spectator; as for instance if there were one a thousand miles long

To make sure you understand, it's vital in tragedy for all the pieces to fit together. Tragedy is a specific story format. Good tragedy uses the parts of a story well, but bad tragedy is sloppy and poorly put together. In tragedy, the whole has to be greater than the sum of its parts. The Todoroki Family are all good characters out of context, but the story could have enhanced their characters but detracted from them due to how poorly it is told. The fact that a lot of MHA fans are in love with the Todoroki family out of the context of the story, but also have constant complaints for how Horikoshi handles their plotlines is, in my opinion, very telling.

What Aristotle goes on to posit is the best tragedies do not come about by accident, but rather by the direct actions of the characters.

But again, Tragedy is an imitation not only of a complete action, but of events inspiring fear or pity. Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follow as cause and effect. The tragic wonder will thee be greater than if they happened of themselves or by accident; for even coincidences are most striking when they have an air of design.

Therefore Tragedies require consequentialism, like Newton's Third Law, every action will have an equal and opposite reaction. To simplify a good tragedy arises from the consequences of the character's actions (or inaction). The most basic form is that the hero of the story will have a tragic flaw that they fail to improve upon in time and then leads to their destruction. In essence, tragedy is where the hero fails. Not only does the hero fail, but the hero loses, and that irreversible loss is what defines tragedy. Medea slays her own children, Oedipus rips his own eyes off and deserts his kingdom, Creon Antigone is buried alive and Creon's son, her fiancee, commits suicide.

These events share two things in common, they are irreversible (hence why they feel like good endings), and two they evoke catharsis. Aristotle defines the goal of tragedy to evoke terror and pity. We feel alongside these heroes, Medea was abandoned by the husband Jason who she left her home and slaughtered her own brother for, Oedipus did all of his crimes unwittingly and is a victim of fate, Antigone was doing the right thing by burying her brother so his soul could pass on to the afterlife.

There's all different sorts of tragedies, Hamliet explores more here. I'd say UTRH and Hellish Todoroki Family are tragedies centered around grief.

Tragedy works on extreme emotions, and extreme hard-hitting consequences to the hero's failures. The worst thing a tragedy can be is boring.

The Tragic Hero

Now that I'm done lecturing you let's actually talk about both My Hero Academia and Batman like I promised. Both of these stories don't actually feature the central victim as their protagonist, and that is a feature not a flaw.

Rather, the story we are being told is that of a tragic hero, failing to save a tragic victim because of their own personal flaws.

These flaws are called (hamartia) or "error in judgement". A hero, being called a hero of a story is often unaware of his flaws which is central to what makes them unable to fix those flaws in time. That flaw can later lead to a moral failing, such as Othello's jealousy, initially jealousy is an understandable emotion, but then it leads to him trusting Iago over his own wife and killing his wife in a rage.

Most importantly, the hero’s suffering and its far-reaching reverberations are far out of proportion to his flaw.

Let's begin with talking of the heroes and their flaws, Batman and Endeavor. My main reason for comparing these two is in these specific stories they have the same flaw, inability to move past their personal guilt towards their son, and the same conflict the duty of a father versus the duty of a hero.

However, Batman functions as a tragic hero, and Enji does not. The summary of their conflict is right here in these two panels.

A parent is required to place their children above everything else, because they are the ones responsible for bringing that child into the world. Bruce Wayne made the decision to adopt Jason. Enji made the decision to have children, however with Enji you have the added insidious motivation of he only wanted to make designer babies and just didn't care for the ones who didn't turn out right.

Bruce attempts to do both, to act as a father for Jason and also a crime fighter as batman but he can't do both. This comes to a head in Death of the Family when Jason is having serious trouble because of his lack of a strong parental figure, and Bruce knowing that Jason is in trouble chooses still to go off and fight crime instead of staying with him. The choice to place crimefighting over the child they chose to take responsibility for has the unintended consequence of getting that child killed.

Whereas Enji makes the same choice over and over again, ignoring Toya's clear troubles at the fact his father no longer spends time with him and choosing to run away to the world of heroes because he doesn't want to face the fact that his actions are severely hurting his son. Bruce's motivations are more sympathetic admittedly he wasn't actively practicing eugenics, but the choice is the same and the consequences are the same.

Both Bruce and Enji are forced to bear witness to the deaths of their children when they are not there, specifically because they made a choice to be a hero instead of staying by their child's side. A situation directly caused by their choice to be a hero over a father, and a situation that would have been avoided if they had stayed with their child in their time of need. Jason runs off when Batman tells him to stay and gets kidnapped by the Joker, if Enji had been on Sekoto peak that day Toya would never have accidentally lost control of his fire.

This is just the backstory however, the main event that kickstart this plot is the unexpected return from the dead of both Jason and Dabi. Each story follows the same plot beats. A new villain appears to challenge Endeavor / Batman. The villain reveals themselves as their dead son. Both Endeavor / Batman are given a chance to try reaching out to their sons, but they choose not to.

Then even though they are given a second chance with a miracle of a dead son coming back to them, they choose the exact same thing they chose before, being a hero and because of that the tragedy repeats itself. For both of them they are unable to save their son again, and the son goes through a second death. History repeats itself, the lesson isn't learned.

Their fatal flaw is their guilt. This is a story about grief and mourning after all, a son who is died, buried, but never grieved properly, never mourned, an open wound on the father suddenly coming back. The inability of each to process their grief blinds them from seeing the fact the son has come back, and they have a second chance.

Toya has internalized he is a failure, because Enji literally called him that. Jason believes that Batman thinks he is a failure. In both cases the father is the one who failed, Bruce at least acknowledges this but cannot communicate it in any way shape or form.

This guilt and responsibility both Enji and Bruce feel causes them to self-sabotage. They no longer have the confidence they are in the right (they no longer feel like heroes because they have failed to be heroes to their own son).

You can also add the layer of complication that since both men chose to be heroes in the past, they do not know how to handle the situation as a father now that they're being challenged to step up as one. Unfortunately, they are not the fathers that stepped up.

The reason their grief becomes a flaw is because they put their grief over their victims. . Each man is aware too much of their own failure, and while they should feel guilty they make the classic mistake of placing their own guilt over the feelings of the victim. The guilt they feel for causing the death and the genuine grief of losing a son is given priority over Jason and Dabi who you know... actually died.

An overwhelming grief and guilt is understandable because grief is a messy and human emotion, losing a child is an unimaginable tragedy that should never be inflicted on anyone.

Yet at the same time both Dabi and Jason are grieving to. This paradox that Batman only thinks of his own grief at losing a son and never stops to think about how Jason must feel leads to one of the best lines in Under the Red Hood.

"The father had lost a son, and now the son had lost a father."

Batman's guilt is so strong over being the cause of Jason's suffering, that the suffering of the victim himself is ignored. To be fair to My Hero Academia, the Todorokis say a similar line to Enji.

However, this is where I begin to get into the difference between ideas and execution. Tragedies are stories of actions and logical consequences, every action has an equal and opposite reaction in Under the Red Hood. Batman is punished for the choices he makes, the choices he doesn't make, and the choices he fails to make in time.

The Todoroki plotline features almost none of its character making any choices of substance, and because of that the plotline says the right things over and over again, but it all comes off as tell don't show.

I'm going to quote @codenamesazanka's post right here a couple of times because they describe the complete failure of the Todoroki plotline to show us a reason why we should be feeling things for the characters artfully.

We've heard Enji say this before - I'm sorry, I intend to atone. It's indeed the right thing to say, it's exactly what he should be saying and acting. Natsuo is declaring no contact - That's fine, I'm sorry, I accept this as part of my atonement and will continue. Touya calls him a coward - That's fine, I'm sorry, I accept this as part of my atonement and will continue. The public hates him - That's fine, I'm sorry, I accept this as part of my atonement and will continue. But you can only hear this so many times before you want to snap and beat the character, the story, the writing over the head with Enji's wheelchair. Why is that? He's behaving exactly as he should, and yet...

The reason why it fails to evoke strong feelings is because of what we'd called "narrative dissonance." The actions of Bruce and Enji are the same, they both neglect to do anything, make any real attempts to reach out to their victims because they're paralyzed by guilt.

However, we are told that they have entirely different arcs. Bruce's arc is a tragic fall. He's failing as a hero. While we are being told that Enji is experiencing an arc of atonement. Enji is supposed to be improving himself, and Bruce is supposed to be experiencing negative character development but they both do the exact same thing in story. Bruce neglects Jason, we are told by the story, by the characters in the story that Bruce is failing Jason. Enji does nothing in time to actually atone for Toya or try to help him, yet, we are told again, and again, and again, and again, and again, and again that Enji is atoning with nothing substantive to show us this is the case.

To show what I meant instead of telling this scene is in chapter 252.

This scene is the ending point in chapter in chapter #426.

It's just him repeating the exact same sentiment and yet in a more than 150+ chapter gap, Enji never made any action to show he was now placing his family first. Enji didn't say anything to Dabi when he revealed himself as Toya. Enji didn't look for Toya in the months before the final war arc. Enji literally appeared on live TV in a broadcast that Toya was watching and said the very selfish "Watch Me" atone for the crime of creating Toya instead of literally talking about Toya or too Toya. Well, that would have rocked the boat too much... THAT IS LITERALLY THE POINT. Enji had to somehow break from tradition or make some significant sacrifice onscreen to his social standing to show that he's willing to put his family first. Enji decides to go along with Hawks decision to not face Toya head on, making the decision to be the hero for the final time which directly causes Toya to get up after Shoto brings him down non-lethally and make one last attempt to suicide bomb for his father's inaction.

Bruce does nothing for a long time in Under the Red Hood. He ignores his initial instinct that Jason came back and instead makes a long investigation on whether or not someone can come back from the dead in order to distract himself. When Jason takes the mask off, Batman already knew but was pretending otherwise because he didn't want to face the reality.

Even when Jason takes his mask off, Bruce still takes on the "I need to investigate this" angle even though Jason calls him out that deep down he already knows it's the truth. This of course foreshadows Bruce's underlying flaw, he doesn't want to face Jason head on because he feels too much grief about what happened to Jason and his guilt is more important than Jason's own grief. Just as the father has lost the son, the son has lost the father.

What follows is several chapters of Batman fighting crime as usual and making no attempts to directly search for Jason. They cross paths a few times but when they do Bruce doesn't follow. In fact, Bruce only shows up when Jason sends Bruce a sample of the joker's hair and Bruce knows that the Joker has kidnapped him out of Arkham. Bruce almost lets Jason get killed by Black Mask because he doesn't know whether to stop Jason or save him yet again, and then they have their final showdown where Jason has kidnapped the joker to demand Bruce kill him, and Bruce finally attempts to talk him down.

Out of context it sounds like I'm describing the same plotline, to the point where if you haven't read either, it looks like I'm complaining baselessly. Why is one hero doing nothing until it's too late good, and the other bad? The difference is of course context, or rather framing. Bruce's actions are called out by the people around him (Dick, Jason, Alfred) as him handling the situation wrong. Whereas both Enji's internal monologue and other characters say that he is doing his best to atone for his actions and deserves a chance, but the events we are shown in story are the exact opposite.

Here's another example to SHOW my point. Here's Dabi with my special, hardcover edition of under the Red Hood.

I reread the entirety of the fourteen chapter plotline and the majority of internal narrations come from characters outside of Bruce observing his behavior and commenting on how differently he's acting. Jason's backstory for instance is told by Alfred, not Bruce. Dick Grayson the first Robin comments on Batman's odd behavior. The rest are the third person narrator. Bruce has four instances of internal monologues spanning a few pages each in a 378 page story. (Alfred has the most internal monologues and he's presented as a more trustworthy unbiased narrator than Bruce, to get us to question Bruce's actions).

"Information travels on many routes, sometimes it comes predictably like the tides. You just need to know where to stand and meet it. Other times it's elusive and you have to root through the garbage to find it. In the last few years I've come to rely on Barbara Gordon, Oracle, we all did. Utilizing every form of surveillance equipment she has been the eyes and ear [...] but those days are over. I can't rely on anyone anymore. [...] and tonight it's also about the company I keep. It's different with him [night wing] out here. I think about when he was younger, when I was younger, it was different, simpler and I miss it. I miss those days, for that it's hard to be around him.

This first internal monologue is a case of unreliable narrator, because as soon as finishing it Dick Grayson / Nightwing shows up, offers Batman his help and while Bruce at first refuses it the two of them are forced to work together to fight Amazo. What does this show us? Bruce is not alone, but Bruce actively acts like he's alone ignoring the feelings of the other people around him. It exhibits a flaw of Bruce and the bad headspace he is in mentally (if I remember correctly Stephanie Brown recently died in the comics while this storyline was being published. It establishes Bruce's improper coping mechanism with grief, and how he is going about it the incorrect way.

Bruce says I work alone, and then Bruce says it's easier working with Dick, I miss it, but I can't go back to those days. It's bruce's contradictory thinking patterns in the same chapter that stop him. it's bruce's fault he cannot connect to Dick, and he is actively mourning the past because his relationship with Dick has changed.

Now the final part of the monologue in that chapter.

He's quick. Not just fast, agile. He's not thinking about his next move, he's just making it. He's been trained well. And there's something about him. Something familiar. There was something interesting about before he cut the line, before it had been taught. That had to have been practiced. Either that or just plain dumb luck. No it's not luck.

This is the first hint that Bruce already suspects it's Jason from early on but is in denial about it. This unreliable narrator trope also gives an agency to Bruce's decision, he is actively choosing to ignore the possibility that it's Jason because it doesn't want it to be.

Whereas, a lot of Endeavor's plot takes away any agency from him. For example, he doesn't even know that Dabi is Toya, because if he had the sneaking suspicion and ignored it like Batman did that might have made him look bad. We can't have the main character in a tragedy looking bad now can we?

The second monologue is more denial.

That device is from Kord industries. I should know. Ordered it special from them. How can he have it? No more dead ends. No more questions. No more guessing. Tonight I find out what is passing for the truth.

Reading between the lines this is outright confirmation Batman already knows.

The third is a brief reflection in his feelings for Jason.

The armor has to be light enough to fit but strong enough to protect. But sometimes a great many times, it's not strong enough. It wans't strong enough for Barbara who has to fight from her chair. It wasn't strong enough for Stephanie, other dear soldier enough dear grave. And it wasn't enough for Jason. Willful Jason. Who ignored the danger. Who spat at risk. Who was never frightened enough. I've always wondered... always... was he scared at the end? Was he praying I'd come save him? And in those last moments when he knew that I wouldn't. Did he hate me for it?

This monologue directly shows without stating it outright, Bruce is prioritizing his feelings of grief and failure mixing them in with his genuine grief over the loss of a son. it's selfish of him, but grief is a selfish emotion.

Here's the thing Bruce is allowed to be selfish and to not have the correct reaction to his grief, because the whole story is centered on Bruce being unable to get his shit together in time, and this picture into his emotions is an explanation as to why. Bruce is afraid of being hated by Jason. Jason of course has every right to hate him for failing as a father, but still I think not wanting to be hated to a person you loved so much and feel genuinely sorry over what you let happen to them is an understandable reaction.

Meanwhile we have Enji saying repeatedly all the right things in his monologue, the selfless, I don't need to be forgiven, it's okay if they hate me, I just need to atone but he never actually does anything. There's no explanation for why he isn't doing anything either, so that narrative dissonance. We're shown why Bruce doesn't act in time, he's internally a mess to be frank. We are not shown why Enji doesn't act in time because his internal monologue tells us again and again he's committed to atoning and he understands what the right thing to do is.

As Codenamesanzanka says:

Enji is still saying all the right things, but the story isn't giving him the opportunity to actually do the right things. To have his new actions matter. I have no doubt about his sincerity in his mantra, but without the 'show', it's hollow. Similarly, "Let's talk" is actually kinda bullshit too, because it's so vague. This is less about Enji, and more about the writing, how it set up this scene. "Let's talk" or "I want to talk" or any of that variation is repeated 6 times, without anything more or specific added.

There's an excess of repetition of Enji saying he wants to atone, he's ready to atone, without any of that materializing in the story.

As @class1akids says in this reaction post:

It also feels also super-hollow to say he's sheltering the family from the fallout, after they've just talked about how Fuyumi lost her job (and got a new one through the connections she herself built). How is he going to do that?

The fourth because I don't want to write it down, it's just Batman monologueing on how his partnership with Jason is still good and explaining the technical details of his fight with count Vertigo. It's in chapter 10 if you must look it up.

So four monologues total. Two monologues establish indirectly that Batman knows that Red Hood is Jason and doesn't want to face him. The third monologue establishes why he doesn't want to face him, he's afraid of being hated. The monologue is in line with Bruce's actions in the story, Bruce investigates several ways of reviving from the dead instead of looking for Jason.

The character's reactions around Bruce are also talking about how he's not acting like himself. Especially Alfred's who speaks of Bruce's indecision, on whether to put a stop to or save Jason.

"It is curious. He is lost in thought. It is not like him to spend vast stretches of time immobile, where his mind is gripped in the solitary process of deduction. This is quite different. He is hesitating. At a loss for what to do. I believe it is about Jason. And whether or not to stop him or save him."

This is illustrated in two scenes later where Jason spends a long time simply watching when Jason is fighting enemies, first in a fight against Captain Nazi, and second Black Mask. Jason even gives a direct callout of that behavior.

Jason: What the hell took you so long? Couldn't decide if you wanted to let me live. Batman: Shut up and fight.

Observed by Alfred Bruce is completely stalling and can't choose, observed by Jason Bruce can't decide whether to let Jason live or not. Bruce hesitates twice. We know why. We see it in action. It's called out as flawed behavior.

Now let's cover all the tell that don't show that is Endeavor's many monologues.

Pro Hero Arc:

I have to safeguard the future for them. That's the job for whoever's on top. What about the lives I cut short? Just demanding forgiveness isn't enough, it's too late for that. At this point I need to atone there's no other route.

Hellish Todoroki Family 1:

I'm trying to make ammends going forward. It might be too late. but I fall asleep every night thinking about it. Lately it's been the same dream. The wife and the kids looking happy at the dinner table. But I'm never there with them. It might be too late but I fall asleep every night thinking about what I can do for my family. I wish you could be here too, Toya. It's always the same dream. My whole family's there but not me. If I really care how they feel [I'll remain here].

I'm not going to read 200 chapters so I'm just going to ballpark it based on memory. Here we go.

Dabi's Dance:

My eldest, Toya didn't harbor frost within him. He didn't have a way to overcome the inescapable downside of overheating but I nevertheless sought to raise the boy as a hero. [...] Because Toya had more potential than me I placed my ambitions on his shoulders. I thought it could be you. You could have been the one to reach my eternal goal. My frustration... My envy... The ugliness in my heart... you could have been the one to smash it all to dust.

Plot twist this is the only monologue I like. It's different from all the others, and it's the only one where Enji is being emotionally honest. He put the emotional burden of his own emotional insecurities on an eight year old child, and expected to live vicariously through him and when Toya failed to live up to those expectations he just abandoned him. It alligns what we have been shown so far, Enji is not acting like a reptentant man here who realizes the harm he's done to Toya and only thinks of Toya as an extension of himself and his own regrets.

The Fight Against AFO:

My mistakes took the form as Toya leading to many stolen futures. The past never dies. Rage, resentment and even penace wound together toward the future. And the future is a path for the young. A path with so many branching choices. That's why I must win this. [I'll keep paying my penance. I'll win today and keep my eyes on Toya.]

When Enji decides to double Suicide with Toya:

I take full responsibility. I swore to bear the burden and live my life atoning for it all. However, you've been watching me all this time. While I couldn't be there to watch you. You were someone I especially needed to do right by. No I can't let you meet your end alone, but I won't let anyone else get caught up in our tragedy.

Hellish Todoroki Family Final:

I came to talk about what's to come. I'm retiring as a hero. That was my initial plan even before the war started, but now I can't even walk on my own. The hero endeavor burned to death. Your flames were really stronger than mine. [...] You're right. You know everything about me, Toya. After all you were always watching me. And you wanted me to do the same for you, but I didn't. Not matter what anyone says your heat does come from my hellflame. From now on I'll come everyday, so let's talk. It's too late now, so let's talk. [...] You're free to hate me. Anything is fine really, so throw it all at me.

This one is spoken dialogue but it's still a four-page long monologue. Every one of Enji's monologues with one exceptionsays the same thing: I'm sorry, I'll spend the rest of my life atoning for my actions.

We're repeatedly told Enji is atoning but he acts like Batman. Then, his actions should be framed as Batman, not atoning but avoiding any responsibility.

As observed by Class1akids when we were discussing the update:

Everyone else faces an uphill struggle with their lives, but we should all feel sorry for Enji atoning and being in hell. I hate Hori's compulsion to over-write his abusers and over-explain their atonement. He does this with Bakugou too but with Enji it's more irritating. It was so much more enjoyable when he just wrote the thing but didn't point at them and say -> look, they are atoning. Aren't they soooo cool??

Enji's internal monologues and the other characters frame him as some sort of martyr, while on the other hand it's clear by both Batman's actions and Alfred's observations he's not acting like his usual self. In fact, this is an interpretation of Under the Red Hood that I love from the writers of the video game Arkham Knight that does a less tragic retelling of Under the Red Hood:

Batman doesn't fight victims. He saves them.

Therefore if Batman is fighting Jason, a victim, he's not acting like Batman. I'm also fine with Arkham Knight being an Under the Red Hood retelling because it's a different story. Comics do this all the time, different universe versions, popular storylines adapted into different mediums. It also works as a commentary on the original story, by showing what Batman could have done to lead to a more positive outcome it makes Batman's choices in Under the Red Hood worse and more tragic because he could have saved Jason, there was still a chance.

So here we have two flawed tragic heroes who are meant to be both pitied and condemned for their actions. One of them is all pity with no condemnation. The other is both pity and condemnation, Batman is grieving, but also he's failing his responsibility towards Jason. Therefore one protagonist works, the other fails utterly.

I'm not saying abusers don't deserve redemption. I'm not saying Enji should have died in order to atone. I'm not saying that the underlying problem with the arc is that they decided to make Enji sympathetic and a focus of the arc. The most important problem is the breaking of one of the fundamental rules of storytelling: Show, Don't Tell.

The Tragic Villain

Not only does The Hellish Todoroki Family plotline fail to make Enji a compelling protagonist, it also fails it's biggest victim. Now, these are both stories that end with the hero failing to save their victim. So if both of these stories have the same ending, why am I saying it failed Dabi, but not Jason?

Well, let me explain.

Dabi and Jason are both villains turned victims. The stories themselves are about this ambiguity. How much should the be held responsible for their own choices? If they are actively harming innocent people, then shouldn't they be stopped? Should they be automatically be forgiven just because of the pain and grief they've suffered, even if they've been causing it to others?

Both characters are also reflective of their fathers because they are too being selfish in their grief, they want their grief acknowledged and so are violently lashing out.

Jason and Dabi both make plays at being vigilantes at first, Dabi wants to inherit Stains will, and Jason Todd wants to be a better bat-man by taking control of the drug trade in Gotham and cutting crime down by executing gang heads. However, neither of them are being honest with this and it's shown through their actions, both of them abandon their original plans.

In the final showdown all Toya cares about is facing Enji on the battlefield, and when he's on the brink of death his mind erodes to the point where all he can do is scream for Enji's attention while his flames get hotter and hotter.

Let's take about Jason first and how his narrative treats him a whole lot better and more sympathetically, with more humanity than Batman. Jason is still held responsible for his choices, he is criticized by Bruce for murdering gang leaders and passing it off as justice. He's also blatantly shown to be a hypocrite. My favorite scene from Red Hood: Lost Days, the official UTRH prequel.

"I want to kill the joker in a cool way. Just sniping the Joker from a rooftop isn't dramatic enough for me."

This scene, and the final scene of UTRH underlines Jason isn't executing criminals because he believes it's the right thing to do, or because of his stated motivation that killing the joker would prevent more future victims.

Instead his every action is to set up a scenario where he makes a selfish demand of Bruce. He wants Bruce to prove to him that he would choose him over being a hero, by setting up his final scenario. Him, the Joker, and Batman. Jason will shoot the Joker. Bruce has a gun. He can either choose to let Jason kill the Joker, or kill Jason to stop him, either way it makes it clear what Bruce's priorities are.

The underlying reason for this is similiar to Bruce. Just like Bruce, Jason is deeply afraid that Batman doesn't love him. That he thinks of him as a failure. (This is Toya's main reason too).

He also interprets Bruce's failure to avenge him to mean that Bruce didn't even care enough to mourn him. If Bruce loved him enough, he'd choose him over the joker, but he's so afraid that Bruce doesn't love him enough that he's going to force Bruce to choose.

Along the way he's also going to behead several crimelords in order to put an exclamation point on that point.

The way Jason completely unravels in the confrontation shows this insecurity, he begins with monologueing about how batman should totally kill people, until his fear that he wasn't important enough, and his grief at losing his father is revealed.

Batman: I know I failed you, but I tried to save you. I'm trying to save you now. Jason: Is that what what you think this is about? Your letting me die. I don't know what clouds your judgement worse, your guilt or your antiquated sense of morality. Bruce, I forgive you for not saving me. Jason: But why on god's green earth is he still alive? Ignoring what he's done in the past. Blindly, stupidly disregarding the whole graveyards he's filled with people. The friend's he's killed. I thought killing me - that I'd be the last person you ever let him hurt. Jason: If it had been you that he beat to a bloody mess. If it had been you he left in agony. If he had taken you from this world. I would have done nothing but search the planet for this pathetic pile of evil, this death worshipping garbage, and sent him off to hell.

Direct statement, it's irresponsible of Bruce to let Joker live after killing Jason and should have put him down to prevent future victims. Reading between the lines, Batman not taking revenge for Jason is a sign that he didn't love him enough, Jason loves Batman more because he would have taken revenge.

As the confrontation continues and Jason's mental spiral worsens, to the point where he can't keep up his pretense of self-righteousness.

Jason: I'm not talking about killing cobblepot, or scarecrow, or riddled, or dent. Jason: I'm talking about him. Just him. And doing it because...he took me away from you.

The father had lost the son, and now the son had lost the father.

Jason's revenge is just a cover, for his grief at losing Bruce. I think this also shows a really positive aspect of Jason's character to humanize him instead of condemning him for his actions to ignore or even justify the suffering he endured: Jason really loves Bruce.

I mean how meaningful is the statement: "Bruce, I forgive you for not saving me."

Bruce has been afraid to hear the whole time that Jason hates him, that he won't forgive him, but Jason loves him deeply. In fact his love is almost equal to his rage because Jason is a deeply emotional person, and these little details make him human and not just like a plot obstacle that Bruce has to face. A metaphor for his past failures.

Dabi is drawn as a crying boy who wants comfort, Jason is shown to be a crying boy who wants comfort through both dialogue and action without us directly needing to be told. It's a heartbreaking line and doing it because he took me away from you and it lands perfectly because the narrative wants us to just look at Jason's grief. It doesn't add an asterisk* even though he was in pain, he's done unforgivable things that can't be justified to undercut Jason's suffering.

In fact that might be another underlying problem with The Hellish Todoroki Family, the narrative tries too hard to make you feel a certain way instead of just presenting things as they are to make you come to your own conclusion. UTRH doesn't support Jason's revenge based serial killing of villains. It doesn't say he's justified to cut off the heads of mobsters. However, it doesn't excessively state "Well, I'm really sorry what happened to you but what you've done can't be forgiven" so we don't have to challenge ourselves to feel too much empathy for Jason's suffering.

Meanwhile even when Toya tries to express his rightful anger and grief, we're always met with someone shutting him down and saying well yeah, but you're wrong, involving innocent people is unforgivable.

As said by @stillness-in-green in the replies to this post:

I think so much harm (in-universe, but the state of the Twitter fandom makes me think the messages are pretty toxic irl, too) comes out of portraying the Heroes as needing to weigh in on the *morality* of the Villains' actions before they gauge "saving" them, when that is not a thing that glorified cops have any business thinking they have the right to do. Demanding repentance before the rehab is so bizarre.

You can say someone's actions are wrong without using it as a factor to consider whether or not their suffering as a human being should be acknowledged, and like I said there's multiple instances of people just yelling at Toya how immoral he is instead of addressing the elephant in the room.

You're wrong, you're wrong, you're wrong, you're wrong.

(Okay, I understand that some people have interpreted this as a show of Honnae and Tatamae, the Todoroki's who are a very repressed household are finally talking about their feelings even if those feelings are selfish and ugly).

(I'm not criticizing Shoto for saying that the people he killed were his own choice necessarily, Shoto is a character who's actions need to be read more deeply than his words he was dedicated to bringing Dabi down without him burning himself any further start to finished. My criticism lies in the fact that Hori uses Shoto as a mouth piece because he thinks we need to be reminded that murder is bad).

However, even acknowledging that time and place man, time and place. They couldn't have done that in the aftermath, when Toya isn't burning to death?

Hey buddy, you're being selfish.

Toya: AHHHHHHHHHHHHHHH I'M MELTING, I'M MELTING.

This is I feel the underlying problem with the way the arc is written, not because the Todorokis are a very traditional Japanese family and there are cultural reasons they express their emotions differently, I'll give a caveat to that it's a nuance I might not understand.

However, I am arguing the actual problem is tell don't show. Horikoshi thinks that we as an audience need to be told multiple times that murder is bad, and we cannot be trusted to interpret that on our own.

Under the Red Hood shows both sides of Batman and Jason's debate, and let's us just come to the conclusion that Jason is in the wrong because revenge isn't justice. Horikoshi reaches no shit sherlock levels of telling us that we're not supposed to approve of Dabi's murders.

it's also a matter of giving Dabi narrative space to express his feelings, like every time Dabi tries to talk he is continually shut down (Shoto does engage Dabi talk to him and listen to why he didn't come back though I'll give him that) and it seems to be to push forward this weird idea that you shouldn't sympathize with the pain Dabi has endured or the ways he's dehumanized unless he does something to prove he deserves to be treated like a human being first.

Jason gets to monologue and make an entire argument, and his argument also shows the depths of his love for Bruce and what a deeply feeling person he is, and how those feelings being hurt and twisted could logically lead to his lashing out.

Compare this to Dabi who doesn't get a final monologue, but is instead reduced to a completely mindless state where he just cries out for his dad's attention. He doesn't get to make his argument.

Jason and Dabi both choose to blow themselves up, but Jason gets enough character agency to show this is a deliberate choice he's making even if it's the wrong one. He retains his character agency and ability to make decisions until the end of the narrative.

Jason's also you know physically crying. The end result of the narrative is about wrong choices that both Bruce and Jason make together, and then suffer the consequences together. Bruce watches the same failure play out again and he isn't able to save Jason, Jason doesn't get what he wants, he doesn't get revenge and he doesn't get to reunite with his father. It's tragic for both of them, and brought about by decisions both of them made.

Whereas yes Dabi makes a lot of bad decisions leading up to the last war arc, but in the end his final fate is up to a choice Enji made to not face Toya in the final battle.

However, while the final consequence of the battle is brought about more by Enji's decisions than Toya's, it's Toya who endures all the suffering and punishment. It's Toya who is in an iron coffin, and doomed to slowly and agonizingly die with all of his skin burnt off unable to move. Toya doesn't even get agency after the arc is over. Enji still has a wheelchair, Enji can still move around, Enji's still fucking rich, he's not in prison for his actions, he as Rei wheeling him around.

Toya's agency and choices are all taken from him, presumably to serve the plot purpose of making Enji save him to finish off his arc, and then ENJI DOESN'T EVEN SAVE HIM.

Also I think it's important to mention, Bruce's tragic ending is brought about by him attempting to save both, trying to save the joker and Jason with the same action. Whereas Enji's tragic ending is brought about by Enji NOT LIFTING A FUCKING FINGER TO HELP. Yet, it's Dabi who has the lion's share of suffering, and is sentenced to this horrific state of being skinless in an iron coffin and only being able to be awake a few minutes a day with no choice but to waste away.

Bruce is also immediately called out for his actions, by the Joker of all people, you handled this all wrong, it's your fault. Bruce is right to not kill the joker, killing the Joker would not have solved any of Jason's problems, but the fact that he put off facing Jason for so long, and his inability to communicate that he loves Jason is what leads to Jason thinking that the only way to prove Bruce loves him is to force him to choose. It's because Bruce has utterly failed to show him in any other way that he is loved.

Joker: Oh my god, I love it! You manage to find a way to win, and everyone still loses. I'm going to be the one who gets what he wants tonight, badda bing, badda boom."

I'd also like to add that a lot of agency in Enji's actions are taken away too, to make him look more blameless. It's not Enji's fault that he didn't say anything to Dabi during Dabi's dance, he passed out because he had a punctured lung. It's not Enji's fault that he spent a month protecting Deku instead of searching for Toya, he had to protect innocent people. It's not Enji's fault that he didn't go immediately to face Toya in the final war arc Hawks told him not to.

It's not Enji's fault that he made Shoto and Toya fight like Pokemon instead of cleaning up his own mess, and also he feels really sorry for it and as soon as he's done punching the bad guy he'll look after Toya he promises.

Enji does get called out for this behavior but it falls flat because it only comes from the villain AFO, and Toya himself. As I stated above too, the ending is more influenced by Enji's actions not Toya's (because Toya's agency is stripped away until he's mindless) but Toya is the one who has to die while Enji gets to live and atone.

That is the real sticking point for The Hellish Todoroki Family, the way it ends.

Themes Are For Eight Graders

The underlying problem with the whole arc and why The Hellish Todoroki Family fails as a tragedy, is because it wasn't written to be a tragedy.

The above quote is from an interview with the writers of the widely hated Game of Thrones Season 8, which took a sudden tragic turn for Dany's character, gave her an incredibly dehumanizing ending of being put down like a rabid dog by her own lover, an ending that was neither foreshadowed nor did it match with anything written before.

In this meta here by @hamliet it goes far more into depth that Game of Thrones isn't a tragedy, but a piece of Romantic fiction (not a love story, Romanticism is a genre of big emotions, the beauty of life, larger than life ideas hence why it fits well with fantasy genre, it can be sad but it doesn't follow tragic structure).

Dany is a romantic heroine, a deconstruction of the idea of the classic warrior princess trope, and you know a colonizer, but she's not meant to be written as an inherently bad person. There are people who say that Dany was going to die in the original books. I'm one of those people. Me. However, context and framing matters, Dany for all her colonizing ways does genuinely want to do the right thing, so it's likely she'd die a heroic death as a reflection of her selfless intentions (and intentions do matter for fictional characters) whereas in the show she's put down as a villain.

Now watch me I'm going to coin a term for future literary critics to use: Narrative Gaslighting.

Narrative gaslighting is different then Show Don't Tell, where an author has just failed to properly show what they're trying to tell you in the story. Narrative Gaslighting is when a narrative deliberately tries to mislead you, straight up lies to you, or just insists things that did not happen totally happened guys. Much like real gaslighting, Narrative Gaslighting makes you feel stupid for interpreting things a certain way and insists you were wrong all along.

Narrative gaslighting is when Tyrian gives a speech that everyone should have suspected Dany when she burned slavers alive that she was secretly evil and would one day turn on them.

Like, no.

Dany is flawed because she is a foreigner, interfering with the politics of a different country that she does not understand in order to gain enough resources and men to return to her home country and invade that country to exercise her right as a Targeryn to uphold the divine right of kings.

Game of Thrones doesn't mention any of that shit that's in alignment with the previous actions in the story, it's just insisting the very ableist notion that Dany was insane all along and her violence towards other people is the result of her mental illness.

(Also before anyone says, so if she's a colonizer than how can she have good intentions, everyone is Bad in Game of Thrones, they're all waging war to vie for a throne, monarchy is bad guys. IDK how to tell you that Game of Thrones has gray on gray on gray on gray morality).

(Also this aside ties into the hangup of MHA and most popular fandom culture on Twitter, that Dany's moral failings somehow disqualify her from her humanity. In spite of the fact that on top of all of that she's a rape victim, and like, Dany's only on that continent in the first place because she was sold as a bride.)

But here's the same weird subtext that Horikoshi's writing of Dabi. The fact that Dabi was continually victimized and denied human dignity does not need to be addressed, because he did the bad things and didn't atone properly enough for it first.

In essence this random post on the gunnerkrigg court forums I found on the same day the chapter came out, displaying apollo's gift of prophecy.

"When someone is persecuted, it's important to inform everyone about their flaws. That way you don't have to feel anything about all the times that they were denied human dignity."

So, Dany is not written as a tragic hero but a romantic one, we as an audience are both meant to acknowledge her flaws and sympathize with her, not demonize her in an ableist way for being insane, and even if Dany is meant to die the tragic way she dies does not match up with all of the narrative foreshadowing that was built before that.

Like, for instance a lot of POC after the show ended kept telling everyone that Dany's actions in a foreign country were seriously problematic, and not only did the audience not listen but the showwiters didn't acknowledge it with the same subtlety as the books. So those people especially were able to pick up Dany's character flaws, and when the show finally acknowledged them it's not even in the way that critiques of the show were pointing out Dany's flaws it was just "she was insane all along." Not like taking time to go "no matter what the intention, interfering with the politics of a foreign country is wrong."

The problem with the Todoroki arc is essentially the same, down to the ableism (because outsiders continually call Dabi either a maniac or insane Demon without even giving credence to his grievances about hero society he's just reduced to an insane fringe element of society, and Dabi himself is reduced to a completely mindless, childish, insane screaming state where he can't make active decisions).

The Todoroki Arc is not set up to us as a tragic one. The ending is pretty clearly telegraphed to the whole audience. People are not wrong for thinking that Toya's ending would be either rehabilitation like Rei with the eventual hope of being welcomed home, or some kind of house arrest where he still gets to be with his family.

Everyone happy at the Dinner table and Enji not sitting with them.

"I wish you could be here, Toya."

"We all have to go stop, Toya."

"In that case, I'll make him sit down for a bowl with me."

Even Shoto's efforts to take down Toya non-lethally are rendered completely pointless, because Toya gets back up again and then burns himself alive (completely by his own choice so no one has to feel bad that they failed).

The story sets up the expectation that Toya is going to be brought home and sit down for a meal with his family. Then it makes you feel stupid for going in an entirely different direction. It was always going to end this way didn't you know The Todorokis are a tragedy?

Well, I just spent a very long section of this thesis statement illustrating that if it's supposed to be a tragedy, then it's still not written well.

It's a written as a romantic story of a family healing, and the villain getting saved, only for the villain not to be saved and the story to just keep on going like not getting saved isn't a huge failure. This is something that should permanently destroy the main characters, that they got the chance to repeat Sekoto peak and be there this time and they all utterly failed. I feel bad for Shoto most of all because he did everything right, and he still loses his brother, but does the story show that?

The problem is the story is blatantly lying to you about the fact that Toya was somehow saved, even though he LITERALLY LOOKS LIKE HELLRAISER. To quote Codenamesanzanka again:

But I feel the story couldn't give us that because it will remind the reader and everyone just how much Touya will be missing. In-story, talking any more will overburden Touya's heart - and how apt is that metaphor? So let's talk about how we'll talk, but that's all that's allowed here for this scene. Else we'll see how unfair it is that Touya has to be confined to this room, he isn't with his family and they have to come to this prison just to tell him about their day, and soon he will be gone. Details make it real, and it would've exposed the lie that Touya was saved in an actual way. The story knows it too - "this extra time Shouto gave us." This is all 'extra', and not the core. [...] If the story was sincere that this is a case of "it's simply too late" - as it should be!!! imo, to really drive in the clear point that they failed, they did not get the save they wanted, because that's the truth - the tone of the chapter isn't tragic enough for that. The tone is going for 'Making Peace With This'. We've skipped the stages of grief and all we have is acceptance. The characters have accepted this, and so must the readers as well.

Therefore it's narrative gaslighting, the story is making us doubt our perceptions and trying instead to manipulate us to feel a certain way. We don't have to question the unfairness of Toya's fate, because look at all the people he's hurt, and look how Enji is atoning and taking responsibility.

The story builds up the idea that Enji will choose Toya. That he will choose being a father over being a hero. Enji doesn't do that, and it's Toya who suffers the horrific, painful consequences while Enji gets off mostly scott free. Mind you it's also ableist to suggest that being in a wheelchair is some sort of life-ending consequence like he's fine. The story even goes out of its way to say how avoidable this ending could have been if Enji or Rei or someone lifted a single finger to give Toya the acknowledgement he wanted, and then gives it a "Too little, Too Late" conclusion but doesn't acknowledge that this is where it's ending and instead tells us that Enji has successfully atoned.

"Everyone's watching me. So this is what it's like. If it was such a simple thing, then why not sooner?"

If it was going to turn out this way Toya should have just died here, not because death would somehow be a mercy compared to life in prison, but because the Todoroki Family doesn't deserve to get to pat themselves on the back. If they let Sekoto Peak happen a second time, then they should have to deal with the consequences of that.

It would be consistent is my point. This is written as a "Too Little, Too Late" kind of ending, but we don't get the emotional response from the Todorokis that they've let Toya die a second time.

On the other hand, UTRH has the exact same tragic ending but it doesn't make me angry because it's honest about it. The Todorokis let Sekoto peak happen a second time. Batman let Death in the Family happen a second time, but look at how even the narration and comic panels of the story acknowledge it.

"Fate is a funny thing. It swells up like a raging current and we are forced to travel. It provides us no exit. No deviation. It drops us in a bottomless ocean and compels us. We either swim, or drown, and sometimes as we struggle against the tide, a great truth arises."

One ends with Enji meaninglessly stating that he'll spend the rest of his life atoning for Toya and watching over him (which I guess will be like two months tops) for the fifth time. The other ends with Batman being lectured by the Joker of all people of how he chose wrong and being forced to watch once again as a warehouse blows up, and he's completely helpless to save Jason.

UTRH ends with the message that Batman sucks, Enji's atonement arc ends with Natsuo calling him cool for atoning and UTRH makes me like Batman way more as a character. Whereas at this point I feel nothing from the Todoroki Family, except for a disgust for the way that Toya not only has to die, but has to die a slow, gruesome death while the rest of his family walks away with the small comfort of "oh at least we'll get to say what we need to say before Toya passes."

Especially with the fact that Toya's greatest fear was that when he died, he died meaninglessly because his family never grieved him and all moved on with their life. I guess we don't have to analyze how gross the underlying message that criminals don't deserve to be sympathized with because themes are for eighth graders.

EPILOGUE

The post is finished but apparently everyone expects me to cover every single possible angle even in posts this long.

You didn't address the cultural aspect. Under the Red Hood is a western story, and Todoroki Family is based on eastern concepts.

The post isn't about that. The post is long enough I can't cover every single topic. Here's someone who covered that topic thoroughly. This one discusses more about the nuances of collectivism.

Also, since the Todoroki Family obviously copied Under the Red Hood's homework, it warrants a comparison. Especially since it seems to critically misunderstand what made the original work.

Which is a valid form of Literary Criticism, as Ursula K Le Guinn once said:

It doesn’t occur to the novice that a genre is a genre because it has a field and focus of its own; its appropriate and particular tools, rules, and techniques for handling the material; its traditions; and its experienced, appreciative readers—that it is, in fact, a literature. Ignoring all this, our novice is just about to reinvent the wheel, the space ship, the space alien, and the mad scientist, with cries of innocent wonder. The cries will not be echoed by the readers. Readers familiar with that genre have met the space ship, the alien, and the mad scientist before. They know more about them than the writer does.

The Todorkis aren't all to blame for Toya. Natsu, Fuyumi and Shoto are innocent:

You're right. It's just easier to refer them as the Todorokis then specifying "Enji and Rei" each time.

You didn't mention Shoto once in this post:

I have no cricism for Shoto's role in all this. In fact I think he's the best written part. I praise it here.

Shoto is a good boy, and he deserved to spend more time with his brother. The fact he won't be able to sit down and have dinner of him, is the greatest tragedy of them all.

#mha meta #mha spoilers #mha 426 #mha 426 spoilers #shoto todoroki #dabi #toya todoroki #enji todoroki #under the red hood #jason todd #bruce wayne #batman #mha critical #todoroki family

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pinkcowzz · 7 months

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i like to hc that tim drakes worst trait is being a guilt tripper.

i don't think many people would argue that the batfamily has done some nasty shit to tim. bruce's dismissal when tim first started training, dick giving away the robin mantle without consulting tim, damian's & jason's murder attempts, alfred's silent complicity. tim has led a traumatizing life.

however! when put into their original context, the actions (except alfreds i love him but his compliance is so unforgivable in my eyes tbh) of the family make sense. bruce was grieving his dead son, of course he didn't want to take someone else's kid under his wing. dick had so much on his plate of course he thought tim could handle himself. jason was back from the dead and thought his family had replaced him without another care and damian felt so threatened and out of water in gotham he wanted to prove himself the only way he knew how at the time.

but tim? tim holds grudges. he is constantly angry and seething but he waits. he waits until a small minor disagreement occurs and pulls up the past to shame his family into giving him his way.

bruce doesn't want to approve a mission because it puts tim under unnecessary risks? "oh so you still don't trust me bruce. no it's fine, i understand. i'll hand off this mission to dick or damian since they're better suited for it. " how could bruce not change his mind. "no tim it's not that. of course i trust you i just wanted to make sure you were being safe. it's your call."

dick is busy juggling (circus pun intended) the titans and his job and patrols in bludhaven and his social life and his relationship with babs and his commitment to damian and "sorry tim i can't hang out this week. can we schedule something for next month?" and tim pulls his famous "oh no it's fine. don't even worry about me i'll just...well maybe cass is free to see the movie with me. i just figured since we haven't spent all that much time together since i brought bruce back it'd be nice to spend time out of the masks together...but it's fine." and dick is suddenly choking on the guilt of firing tim and the chasm that separates them now.

damian is being a regular angsty teen and is being rude to tim? "geez damian i thought you grew out of this phase. you haven't insulted me like that since you first got here. whatever you want blood son" and damian is suddenly doubting his place in the family again because if they kicked todd out because of his anger and violence where does that leave him. and the next day damian leaves a drawing for tim to find as an apology.

and maybe it's just my middle child syndrome speaking but i also think that jason is the only one who sees tims stunts for what they are. jason will get a text from dick in the middle of the night saying "i may never understand why you do what you do but i am here to back you up if you ever need me. just call. love you little wing" and jason is rolling his eyes and texting tim "wtf did you tell dick and why is being brotherly to me? as someone who tried to kill you over the grudge i was holding you really need to let yours go"

idk. just something to think about.

#batboys #robin #nightwing #red robin #red hood #dick grayson #tim drake #bruce wayne #batman #batfamily #damian wayne #dc comics #dcu #jason todd

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spacedace · 1 year

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Here have some snippets of the AU that’s taken over my brain (featuring Elle unintentionally dunking on both of Bruce’s identities, Clark realizing he passed his taste in partners on to his son, a bit of pre/unaware that they are dating Super Serious Chaos, and some blink-and-you-miss-it background Enemies to Lovers Dick/Dan)

---

“Sorry, who’s Bruce Wayne?”

The room when quiet. All heads turned to look at Elle at the end of the table. Bruce didn’t visibly react, but Clark could make out the subtle indication of disbelief that his old friend was feeling - that they all were feeling at the interpreter’s question. Elle, suddenly aware she had the full room’s attention, had the look of someone who realized they’d said something wrong, but didn’t know what.

“You’re kidding.” John said, “You know Bruce Wayne. Everyone knows Bruce Wayne.”

Elle blinked. “I don’t.” She glanced from face to face, “Is he like a big deal? Does he work here or something? I haven’t been around that long so I might have missed him.”

It took every bit of self control Clark had not to laugh. His voice still came out a bit strangled from the effort as he offered, “No he doesn’t work here.” If Bruce was the type to do so in uniform, he’d be kicking Clark under the table.

“You live in Gotham. You have to know Bruce Wayne.” Barry said, voice going a bit high with growing bewilderment. “Mega ba-jillionair. CEO of Wayne Tech? Richest man in Gotham - in the world? Has like a hundred kids?”

Their interpreter’s nose scrunched. “So he’s like…in one of those fundamentalist cults obsessed with having a bunch of kids or something?”

Bruce actually twitched at that. The sound of utter disgust in Elle’s voice at the concept, the complete and total lack of any kind of recognition she had for the single most famous non-crime or crime-fighting related person in the city that she lived in, she truly had no idea who they were talking about. Clark had to get a recording of the room’s security feed, Lois would love this. Oh, wait no, Bruce’s kids. Maybe if he was fast enough he could text Dick to get there ASAP so he could see it all in person before it was over.

“No! Nothing like that! He adopted them - well most of them.” Barry tried to explain, looking utterly lost as he turned from Elle to the rest of them and back again. “You’re messing with us right? This is like a joke?”

Elle shook her head, looking just as lost as Barry did. “I have no idea who you’re talking about.”

“Do you know Dick Grayson?”

“I know of an officer Grayson who is a dick. Total tool. He’s been making my brother’s Dan’s life miserable for like a year now. Pretty sure not who you’re talking about though.”

“Jason Todd.”

“The library goon?”

“Tim Drake.”

“Sounds like a Dark Wing Duck character.”

“Cassandra Cain.”

“Isn’t that the author that started out writing incest Harry Potter fanfic?”

“Duke Thomas?”

“What’s he a Duke of?”

Barry snapped his fingers, pointing emphatically at Elle with a look of victory on his masked face as he shouted, “Damian Wayne!”

Damian, who had at that moment just walked into the meeting room with Jon at his heels paused in his place just behind Elle. He did pretty well at hiding his surprise at Barry seemingly shouting his civilian name and pointing at him upon walking in. Though the tense line of his shoulders suggested that if Barry was actually revealing his secret identity without warning or permission, there would be blood.

Stella Nightingale, unaware of the almost-kinda identity reveal going on around her, tilted her head in confusion at the speedster. “I’m assuming he’s related to that Bruce Wayne guy?”

“They’re all related to Bruce Wayne.” John said with open amusement now. The Green Lantern had given up on the research entirely, watching the entire debacle with a growing smirk he kept casting towards Bruce. “That man’s face is plastered absolutely everywhere in the news. How do you not know who he is?”

“If Lois Lane hasn’t written about him he can’t be that important.” Elle said with a casual certainty of one speaking a core tenant of their beliefs. Clark’s opinion of the young woman - already quite high considering her ferocious loyalty and fondness to Jon - rose sharply.

“You’re read the Daily Planet?” Clark asked, warmth curling in his chest at the mention of his wife and her work.

“I read articles by Lois Lane.” Elle said promptly, “I tried reading some articles that Kent guy she partners with sometimes wrote on his own but I couldn’t get past his writing style. Dude sounds like he’s from outer space with his word choice sometimes.”

Bruce, looking far too pleased, gave a quiet and not terribly convincing cough as Clark tried to will his soul back into his body.

It was going to be a long day.

—

“You are at least aware of who Gotham’s vigilantes are, yes?” Damian asked with a raised brow behind his mask.

Elle shrugged, giving him a sly smile. “The relevant ones.”

Clark tried to hide his short laugh with a feigned cough. Elle at least was distracted enough with Jon and Damian’s attention to notice but Bruce was giving him a look over the tablet he was trying - and undoubtedly failing - to review files on.

Jon grinned eagerly from his spot beside Elle as he asked, “Aren’t they all relevant to you? You live in Gotham.”

“I live in Crime Alley.” Elle corrected, bumping his shoulder with hers. “We have different standards of relevancy there.”

“So what are the relevant ones then?” Clark asked, pointedly ignoring Bruce’s burning stare. They’d get back to the research. Eventually. Finding out if the Gothamite who had been spending all her free time with Phoenix and Flamebird for the past year and a half was as oblivious to her city’s heroes as she was its celebrities was too entertaining a notion to pass up.

“Phoenix, obviously.” She grinned cheekily at Damian across the table, ticking names off her fingers as she continued. “Red Hood. Spoiler. Uh…Orphan?” She trailed off, forehead scrunching in concentrated thought.

“That’s can’t be all the ones you know.” Jon gaped, eyes sparkling with amusement as he glanced over to were Bruce was seated, not five feet away before turning back to watch Elle try to rack her brain for any more Gotham vigilantes. Clark could see the moment that the words are taken as a challenge as Elle sat up and looked more determined.

“No, shut up, I know more. Uh…there’s the one, um Red Sparrow? It’s another bird one with red name, I’m pretty sure. And the one with the blue - fuck I should know his name. Nightjar? Wasn’t Nightingale I would have remembered that…shit, dude threw up on our couch once I should remember his name -“

“Nightwing threw up on your couch?”

“Nightwing! That’s the bitch! He got poisoned or something and Dan drug him to our place to patch him up since Doc Thompkins’ clinic was closed.”

Clark shared a look with Bruce and Damian. Dick had failed to mention that little event. Clark could see Bruce reaching for his wrist computer, undoubtedly typing out a message his eldest about what he’d just heard - possibly another to Alfred if he was feeling like pulling out the big guns.

At the other end of the table Elle ticked Nightwing off with a nod, even as Jon squawked that it shouldn’t count since he’d given her the name, “Then there’s…uh…oh! Harley Quinn!”

“Harley Quinn does not count.”

“She beat up a guy trying to mug me last week and got me a hot chocolate afterwards, she totally counts!”

“Someone tried to mug you?”

“Crime Alley, Nix, if someone doesn’t try to mug me while I’m out I get worried that I missed Hood calling in a Street Clear for something big.”

“We’re going to circle back on that later.” Jon said, sharing a pointed glance with Damian. It looked like young Miss Nightingale was going to be getting escorted to and from the Watchtower from now on.

Ah, Clark mused, falling head over heels for someone with no understanding of the concept of self-preservation and a stubborn determination to run straight into the heart of danger without a second thought. It brought back such fond memories. Of both Lois and Bruce. And Diana. And - Hmm. Kara might have been right. Clark might have a type.

Watching the three at the other end of the table and taking them in, Clark realized he might have passed his taste in partners on to his son. Well, at least he’ll be able to give Jon some advise on how to handle the heart attacks Damian and Elle will inevitably give him.

“Harley Quinn doesn’t count. You got any more?”

Elle rolled her eyes, muttering about Harley totally counts, before leaning back in her chair. “I think I’m out. I know there’s more but,” She gave a shrug, “I’m tapped out. Those are all the ones I can think of.”

It was, surprisingly, Bruce that spoke up at that declaration, a slant of amusement to his lips as he asked, “No one else comes to mind?”

Elle waved him off, attention turning to the mountain of alien script they needed her to translate for them. It was the reason she was even there rather than in her office trying to translate whatever incredibly dangerous magic tomb JL Dark had dropped off without accidentally summoning a demon or ending hte world in the process. J’onn was right, they really should give her a raise.“That’s all I got.” She said with a sigh, “Like I said, I know the relevant ones.”

“Hn.”

Twenty minutes of shared looks of amusement and suppressed laughter later Elle’s head shot up, a look of wide eyed embarrassment on her face. “Oh my god.”

“There it is.”

“About time Nightingale, I was starting to be concerned about your mental faculties.”

“Shut up, this so embarrassing!”

“Don’t sweat it kid, we all have our moments.”

“I can’t believe I forgot Signal.”

“What.”

---

Context of this snippet if anyone is interested:

This is actually the same AU as the Steph & Jason sibling bonding Anger Management snippet from a bit ago (I’m calling it my Ghosts in Gotham AU in scrivener so I guess that’s what I’ll call it here lol). This time focused on Elle and her misadventures as a Totally Normal Civilian (TM) working for the Justice League with her two besties Jon & Damian (none of them realize yet that they’ve been dating for months).

No idea when this is supposed to take place in terms of timeline with the other snippet, but kinda vibing the idea that while Steph & Jason are having a heart to heart on a rooftop over their shared background and Jason’s future as a dad, Elle is up in the Watchtower telling Bruce Wayne to his face that she has no idea who he is and forgetting Batman is a Gotham vigilante while he’s sitting at the same table as her.

Anyway, this AU has taken over my life. Expect more nonsense to come lol

#dp x dc #dc x dp #dpxdc #dani phantom #danielle phantom #super serious chaos #superseriouschaos #jon kent #jon el kent #Damian Wayne #clark kent #justice league #bruce wayne #barry allen #john stewart #ghosts in gotham au #batfam #elle doesn't pay any attention to the famous people in gotham unless they're trying to kill her or save her #and she might not even pay attention then #and yes this is more of my headcanon that the Justice League is the world's biggest polycule #no i will never let that headcanon go i love it too much #there's a version of this world where Elle never figures out that Bruce Wayne is supposed to be kind of a big deal #years in the future she Dami & Jon are married & she has a new friend she's made over for lunch #and they see some of the family photos and are like #is that fucking Bruce Wayne at your wedding?#Elle - oblivious: oh you know my father-in-law?#Bruce gets unmasked before Elle knows about everyone's identities & he's freaking out while she's just #full lex luthor moment: I have no idea who this is #Bruce: you know who I am now #Elle - does not know who he is but doesn't want to admit to it guessing: Clark Kent?

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catgrandpa · 1 month

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I started this post with the intention of asking for fic recs where Bruce gets his kids early, but then I ended up just writing some ficlets

_(:3 」∠)_

I still really just want recs I swear but I wrote these anyway and am incapable of doing more with them so here

☆彡

Dick Grayson is 8 years old when he watches his parents die. Bruce is 24 years old when he sees a young boy’s life fall to pieces. He’s far too young to be a single father. But he sees too much of himself in the child, and he knows in his heart that he won’t be able to walk away from him.

He talks to Alfred about his fears of only furthering Dick’s trauma by failing him as a guardian. It takes some time, but Alfred is able to convince Bruce to find a therapist and take some discreet parenting classes. He’s still Batman, and I don’t think he’s capable of Gentle Parenting™ but he does do better. Plus, Dick is young enough to learn to read Bruce before the teenage hormones kick in so they manage to communicate much more effectively with each other.

☆彡

Bruce meets Catherine Todd by chance because there was a cool park Dick wanted to stop at. She’s trying to deal with her hungry and fussy 3 year old step son, but she’s young and stressed out and hungry herself and she just doesn’t know what to do. Bruce offers to take them out for lunch. He asks Dick to take Jason to the play area in the corner while they talk.

She breaks down and tells him of her struggles with addiction. She does her best to keep Jason fed, but it’s so hard. Feeding him means she goes hungry most of the time because she can’t quit using. Jason wouldn’t survive if she had to go through withdrawals with him.

He’s not even her kid! Not really. Her husband is just an abusive deadbeat so she doesn’t have a choice. She does love him, but she never wanted kids, and she can’t just let a child die when she can do something.

Bruce fills their fridge and cabinets to the brim (he offers to do much more for them but that’s all she will budge on. She has too much pride to accept outright charity, but she will do what she can to keep her kid safe) and he makes it clear to her that he is willing to take care of Jason for however long is necessary when she decides to take the first step to get clean.

Two months later, Willis gets arrested and Catherine shows up at Wayne Manor and tells Bruce she signed up for inpatient, but she thinks it would be best for Jason and for herself if Bruce would be willing to take permanent custody. She stays in Jason’s life, just not as a mother figure.

☆彡

A year or so later, Bruce gifts Alfred with a vacation as an early birthday present. Things have been hectic with the sudden acquisition of two sons, and Alfred has done so much, he deserves a break. Bruce promises he’ll be able to handle two kids on his own.

Turns out, he was mostly right, but only just barely. The kids are fine, the manor not so much. He ends up hiring a few services to help out with general housekeeping. A couple of those workers also happen to be regular hires for the Drakes.

Bruce overhears them talking about how sad it is that those awful people treat their toddler more like a doll than a child. He learns that not only do they leave for long periods at a time while not hiring a proper nanny to watch over their son, just expecting the help to take care of him, but they also lock him away on his own whenever it’s ’not fashionable’ to have a 2 year old around.

Alfred comes back to the manor on August 15th, just in time to celebrate his and Master Jason’s birthdays together. He opens the door and dodged around a very excited 4 year old jumping up and down in the entry hall.

“ALFIE! ALFIE! BOOSE GOT ME A BABY BWOTHER FOR MY BIRFDAY! LOOK! LOOK! HIMS NAME IS TIMMY AND HE’S THE BESTEST!”

Alfred leans over to peak behind the boy, and sees a very quiet, very small child standing behind him.

“Oh, dear.”

☆彡

The day Bruce got the call from Talia telling him she was pregnant with his child was one of the best days of Bruce’s life. The day she called to tell him she miscarried was one of the worst.

The only blessing was that he didn’t need to explain it to his kids. Talia was going to move in once she was in her second trimester, and they planned to reveal her pregnancy together.

He got the call two weeks before her flight out. He begged her to come anyway, he loved her, they could still be a family. She refused.

Six and a half months later, he walks into his bedroom to find Talia standing by the window with a squirming bundle in her arms. With equal measures steel and sorrow in her eyes she tells Bruce she is sorry for what she put him through, but it was the only way to keep their son safe. He gathers them both in his arms and holds them tight as she explains.

Her father had planned to raise an heir to be the Demon Head. He would be kept a secret from Batman until the very end. But when Talia gave the final push to birth their son, he came out quiet. She panicked for a moment until her midwife quietly leaned down to listen to the baby’s breathing and then looked up with a soft smile, she bundled up the small thing and handed Talia her baby. Big beautiful green eyes blinked up at her. The midwife leaned closer to Talia and whispered, “Sadly, your son was stillborn. I’m deeply sorry for your loss, but surely The Great Head of the Demon would be willing to allow you some time away from your duties while you recover.” Talia allowed the woman to cover her beautiful cooing baby gently with soft linen and silk and carry him from the room. Later that night she left her home with her son and boarded the first flight to Gotham.

Tears gather on Bruce’s lashes and he tells her everything will be alright because now they can finally be together as a family. Once more, she refuses. She tells him Damian and his boys are far too precious for her to bring the danger of the league of assassins to their door. Bruce closes his eyes in sorrow, but nods his acceptance. He asks her to at least stay the night together. They fall asleep wrapped in each other’s arms with their baby boy safely bundled between them. Talia is gone when he wakes.

☆彡

It’s been one week since Talia left and, while still beyond upset, Bruce feels like he’s starting to have a decent handle on things. He is sitting with his boys at the breakfast table, Dick and Jason to his left, Tim to his right, Damian in his arms, and Alfred across from him. They’re finally able to have a relaxing breakfast. No babies crying, no food fights, no arguing, just the sounds of eating and gentle chatter.

He feels a small hand grab his right sleeve and give a gentle tug.

“Boo?” Tim asks, quietly. Bruce feels his heart warm at his son finally feeling like he can speak up without permission.

“Yes, sweetheart?”

“Why isn’t Big Sister sitting with us?”

Alfred is the only person in the room other than Tim to not startle at the sudden appearance of a 5 year old girl standing next to Bruce at the dining table. He simply sighs, stands up, and grabs another place setting for her at the table.

#to this day nobody knows how Cass got there #but Tim says she came with baby so they assume she hitched a ride with Talia somehow #notice how I /very discreetly/ made it so Jason knows Catherine isn’t his birth mom?#Bruce communicates with him when he’s older that if he ever wants to find his bio mom he will help him and they can do it together ❤️#No dead robins for me🧍🏼‍♂️#Sorry Duke but it’s because I love you that I’m allowing you to stay with your parents 🫶#IM SORRY DICK I WROTE YOUR PART BEFORE I HAD ANY REAL CREATIVITY AND NOW ITS ALL DRIED UP #I LOVE U BB BUT UR STUCK WITH TWO SUCKY PARAGRAPHS ✌️#also? I don’t even ship Brutalia. like I’m almost a hater. but they took me over here ig #if I was writing more of this just know that Clark would show up with Jon at some point #batfam #dcu #fanfiction #ficlet #batman #brutalia #bruce wayne #dick grayson #jason todd #tim drake #damian wayne #cassandra cain #alfred pennyworth #shut up grandpa #dcu ficlet

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apolloskyes · 3 months

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Jason Todd: soldier, brother, son.

Closeups and some info abt designs under the cut

So this definitely isn’t my final Jason robin design, I drew this a few weeks ago and have different opinions about how he should look now. But this was my first pass at a robin design for him, also, if you couldn’t tell, I’m not great at drawing kids. Jay should look much younger than he does, but it’s fine. I can just get him better next time. And who knows! Maybe I’ll redraw this at some point idk. Anyway, I had a very vivid image of the red panel in my mind and I decided to make a whole piece out of it, I like it a lot. Also I would’ve loved to use dicks mullet but it didn’t look good with the disco wing collar :(. Also feel free to use the close ups as like a phone background :3

Reblogs highly appreciated!

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beingsuneone · 11 months

Text

Memories & Delusions

PART ONE | PART TWO | PART THREE

SYNOPSIS: Jason Todd is dead, you have to remember that; even if the newest villain in town is both incredibly sexy and reminds you of the boy you used to love.

FANDOM: DC

PAIRING(S): Jason Todd x Fem!Reader

RATING: PG

CHARACTERS MENTIONED: Bruce, Alfred, Dick, Tim

GENRE/AU: fluff, different timeline AU (not mentioned in detail but the timeline is different than canon), canon divergence, reader is kind of like Stephanie so NOT Bruce’s kids but she does live in the manor.

WORD COUNT: 3.9k

WARNINGS: Swearing, mentions of blood and injuries.

A/N: I could fs do a part two to this ;)

DEDICATIONS: Myself for having this idea for more than two years and finally getting it out in writing in some way

CREDITS: N/A

“Jesus Christ! Who the fuck is this guy, Batman?” You exclaim, panting hard through your mask; whoever this Red Hood guy is… he really knows your team's weaknesses. It’s disconcerting.

Weirdly enough, he’s left you mostly alone.

Bruce shrugs from across the room. “That’s what we’re trying to figure out.”

It’s a blur of movement as Red Hood tries to attack mostly Bruce, only attacking Dick or you if you get in the way.

He’s said almost nothing since this fight started.

After a few minutes, Bruce sends a signal and jumps out of the half destroyed building; Dick follows and jumps out shortly after.

Leaving just you and Gothams latest criminal.

You’re about to turn to jump again, when suddenly your wrist is caught in Red Hood’s hand.

The familiarity of it makes you gasp and freeze.

He stares down at you, intimidating and silent through his red helmet.

Returning his stare, with as much fiery energy as you can muster, you try to pull your wrist away; His grip is like iron and you can’t.

“Don’t get in my way, Y/n.” He says, making your heart drop with the use of your civilian name. “I won’t choose between you and my goal.”

Your back is rigid and you’re breathing has stopped… if he knows your name, that means he probably knows everyone else’s too.

Fuck.

He finally lets go, brushing past your stiff body.

You’re too shocked to follow him.

….

“He knew my name, Bruce!” You say, feeling panicked. “Do you know what that means?”

Bruce nods curtly. “It means you aren’t suiting up until we’ve taken him down.” You try to protest but Bruce holds a hand up to cut you off. “It’s not up for discussion.”

You fidget with the small red pendant hanging around your neck, something you do whenever you’re feeling too many emotions.

It reminds you of Jason, the first boy you’ve ever been in love with and also the last; Jason was also Bruce’s second adopted son.

Jason Todd died five years ago.

But when he was alive… There was something special about him. He was always so eager to help Bruce by being robin.

That was back before you had your own suit; really, you’d only gotten a superhero identity so you could hunt down the joker and get revenge for Jason, but Bruce had managed to convince you not to do that in the last five years.

Probably for the best, even if seventeen is too young for someone to die; even if having a strong bond ripped away from you before it could become anything still hurt so badly.

You follow Bruce down into the batcave. “What do we know about Red Hood? Do we have any idea how he originated? It seems like he just popped out of nowhere.”

Bruce contemplates his answer as he unlocks the bat computer. “All we know is that he would have had to fly under our radar for months in order to take over the whole underground drug ring.”

You over hover his shoulder, trying to see what’s on the screen below him. “I don’t understand how we wouldn’t hear anything about him? With that many people who work for him, you’d think one of them would mention something.”

He hums in response. “They must be terrified of him.”

Alfred inserts himself into the conversation and ushers you back into the main part of the manor. “Alright, Miss. Y/n, You’re officially off duty indefinitely.” He pauses. “Like Master Bruce said, it is safer if you disconnect yourself from your hero identity.”

You frown. “If he knows my real name, he probably knows where I live.”

“He also told you, quote ‘don’t get in my way’ end quote.” Alfred tuts. “He clearly has no intention of hurting you as a civilian.”

You huff and head up to your bedroom, feeling like you really need to be out there but not really knowing why.

You suppose you don’t know what to do with your time anymore, now that you’ve been superhero-ing for so long.

When was the last time you read a book? Or watched a movie, just because you wanted to? It’s been too long…

Your bookshelves mostly carry decorative encyclopedias and other books that would bore you to sleep, so you leave your room and head just down the hallway.

The door creaks as you push open and clicks when you push it shut; then, you’re left in the silence of Jason Todd’s bedroom. Unchanged and untouched from the last moment he was in here.

It’s a little messy but nothing out of the ordinary for a teenage boy; the bed was never made, and his clothes were ever put in his drawers despite them being washed.

There’s books pulled out and just scattered in places, schoolbooks, comic books, novels… finally you spot what you wanted to find.

It’s a very old and very worn copy of Jane Austen’s Pride and Prejudice, something the two of you used to read together when you’d sneak onto the roof of the manor at nighttime.

You’d watch the stars and one of you would read the book out loud, until eventually you both would pass out and give Bruce a heart attack the next morning.

Maybe it was time to revisit that tradition, even if you were only reading to yourself.

Bruce and Alfred are in the Cave so you find your way into the roof and lay back. The shingles are definitely more uncomfortable without Jason to lay on, but it’s still a nice feeling nonetheless.

Just the act of laying under the stars with that book in your hands, makes you feel a kind of warmth that you haven’t felt in years.

You close your eyes and take a long, deep breath of night air; It’s fresh and ever so slightly damp, but in a way that makes you feel nice. The cold nips at your body in all the right ways.

Unfortunately, all bliss is momentary, and someone clearing their throat makes you jump a couple centimeters upwards.

You’re met with the bright red helmet of Red Hood.

“Pride and Prejudice, huh?” He says casually, though you're pretty sure he has a voice changer on, which makes his voice sound more irritated than it probably is.

You back up a few inches. “Bru-” Red Hood slaps a hand over your mouth before you can finish yelling for help.

You squirm in his grip, but he just maneuvers you so that your back is to his chest and you can barely move which makes your body lock up again— you can’t help the feeling of familiarity that settles in your stomach, or the way your body reacts to his.

Worst of all, he smells just like… no, it must just be where you are.

Jason Todd is dead.

And yet.

“Relax, Y/n, I’m not here to hurt you.” Something about him makes you listen and you relax your body. He kind of half-scoffs in response. “Are you done?”

You nod as best you can. He releases you.

“Who— why are you here?” You say, trying to ignore the fact that everything about this masked man reminds you of Jason.

Your chest rises and falls irregularly as he stares at you.

His head snaps away randomly. “Why should I tell you that?”

“Don’t answer my question with a question.”

“Don’t ask questions you don’t want the answer to.”

There’s a look of defiance shared between the two of you, or, at least, on your end. You can’t actually see his face so you’re really just assuming.

You spin away and blow out a labored breath. “God, I must be going insane…” Even the way he talks with you sounds like Jason.

“You’re so short, you look like a bunny who lost its carrot.” He says with a laugh.

“I do not!” You exclaim angrily, your mouth dropping open. “Okay, that’s it, I’m calling Bruce.” Your hand slips into your pocket to pull out your phone, and just as it's out of your pocket, Red Hood grabs your wrist; he traps it in one spot and yanks the phone from your hand.

He gently sets it on the ground. “Tell that fucker whatever you want, but wait until I’m gone.” The tone in his voice sends a chill down your spine. He seems so angry…

With that, he leaves, taken the same way that you took off the roof.

You stand there until you hear the roar of his motorbike, and then you finally retreat from the roof with the book clutched tightly to your chest.

…..

“I’m going with you, Bruce. You can’t stop me.” You say, already moving to try to grab your suit.

“No, you’re not.” He says sternly, blocking your path. “You need to stay out of this fight.”

You raise your eyebrows in challenge. “I’m going whether you let me wear that suit or not.” Bruce apparently doesn’t like this because he frowns even harder than before. You continue, “You can’t go alone. Dick is out of town and Tim is at school. Let me come.”

“You forget I did this by myself for quite a while before I adopted Dick.” He says firmly, leaving no room for argument.

Bruce doesn’t need your help, you know that; helping him isn’t your real goal.

Ever since the rooftop incident with Red Hood you’d gone into some sort of obsessive spiral over his similarities to Jason.

You feel like you need to talk to him again, touch him again… just to see why he’s so familiar; you feel insane.

The deepest parts of your brain scream at you that it’s not just similarities, that he really is Jason but… he can’t be; you watched them bury Jason’s body.

“There’s something else going on with you.” Bruce says, basically sizing you up.

You stiffen, which unfortunately gives away your next lie. “There’s nothing going on with me.” No excuse comes to mind so you don’t say anything more.

Bruce pauses for a beat.

“This has nothing to do with Red Hood.”

“Okay? Why would that matter?” You say dismissively, but also way too fast. “I don’t think keeping me locked up at home helps anyone.”

He sighs and finally caves. “Fine, you can come.”

…..

You aren’t sure how this situation devolved so quickly, but your communications got cut off a while ago and you haven’t been able to find Bruce or navigate very well through the rubble.

You’re bleeding heavily from a few different cuts and you’re pretty sure you sprained your ankle.

The faint cackle of the Joker makes you dive under a fallen piece of concrete, because if he comes this way he’ll surely kill you.

But the laugh recedes so you crawl out and sit against it instead.

You’re just about to start sobbing from the pain when you hear footsteps again; you go silent and try to move but you don't allow that.

You see a flash of red, and then Red Hood turns a corner into your line of sight.

“Christ’s sake, Y/n.” He mumbles. “What happened?” He approaches and drops down so he’s sitting on his feet, he stares for a moment, and you assume he’s assessing your injuries.

“You can’t call me that— here.” You hiss when he presses a finger against your ankle.

He stands up and takes both your hands, completely ignoring what you said. “Up. But don’t stand on your bad ankle.”

You grip his hands and stand up, holding your bad ankle in the air; Red Hood scoops you up bridal style not a moment later.

You squeal. “What are you doing?”

He stops walking and turns the face of his helmet directly toward you. “I’m taking you back to my base so I can help you get fixed up.” He interrupts you before you can speak, answering the question you were going to ask. “Batman isn’t here anymore, he went to follow after the Joker.”

It’s a rough walk to his bike, and it lasts for about ten minutes; ten awkward minutes of you being carried by Red Hood.

Red Hood who’s supposed to be a criminal and your enemy. Red Hood who brings you more comfort than he should just because of who he reminds you of.

He settles you onto the bike, pulling out an extra helmet before he speeds off.

…..

“Jesus, you sprained your ankle really badly.” He curses, performing whatever medical procedures as you hiss and whine at the pain.

He’s already stitched and/or dressed any of the open wounds you had and he saved the worst for last.

“Okay,” he says absent-mindedly. “I can’t do this properly with this thing.”

He reaches for his helmet but you stop him. “You’re taking your helmet off?”

He hesitates, then nods slowly. “I have to. If you don’t want to see, then shut your eyes until I’m done.”

You nod and squeeze your eyes shut.

He sighs softly and gets back to working on your ankle.

…..

“I swear to god, Bruce, it’s him. Red Hood is Jason.” You say, purposfully making your voice flat and void of emotion. “He has to be.”

Bruce just stares.

And stares.

Sympathetically, softly. But he stares.

“Jason has been dead for a long time, Y/n, and you know that.”

“No— I know, but he can’t be— that has to be him.” You back up into one of the chairs in the batcave, trying to calm your racing heart; you still try to keep a calm outward facade.

“What makes you think he’s Jason?” Bruce asks.

You weakly gesture at nothing with your hand. “Just look at him. He’s— everything about him is the same.”

Tim snorts from the computer. “The running drug rings and murders?”

“Not appropriate, Tim.” Dick says flatly and Tim’s face falls quickly.

You don’t blame him, you probably would have made a joke like that too.

Shaking your head, you stare at the floor past Bruce. “They sound the same, they talk the same way, they look similar— hell, they even smell the same.”

Bruce’s brows furrow. “How do you know what he smells like?”

“Uh…” you stall. “You know, close combat.”

Apparently, he drops it even though he clearly doesn’t believe you, because he asks another question. “We’ve never seen Red Hood unmasked, how do you know they look similar?”

You shrug. “They just do. There’s just something about him. I haven’t been able to shake the feeling for a while.”

It’s silent again for several long moments.

Then Bruce shakes his head absentmindedly.

“Jason is dead, Y/n. No matter how much we miss him, he can’t come back.”

But he’s wrong, he has to be.

Because no one is that similar to someone. You’re sure of it.

……

Your cheeks are wet and your eyes are starting to become raw from you rubbing at them.

Sobbing pathetically on the rooftop of the manor because you had to be reminded about a death that happened a long time ago is not the highlight of your day.

It’s stupid, going from sure of yourself, to telling yourself you’re so stupid for ever thinking it could be true in the first place.

There’s footsteps beside you, but you don’t look up. You don’t care enough to see who it is.

You fidget with the necklace around your neck as you sniffle into your knees.

Something clicks and then hisses as if air pressure is being released before you hear a tiny thud, and then someone pulls you into them.

You know who it is now.

“What’s wrong?” He asks quietly. You know you could look up and confirm your suspicions at any moment but you just can’t bring yourself to do it.

It’s not true, after all, because it can’t be. It’s not possible.

You shrug against him. “I’m reopening old wounds for no reason.” You pause. “Why do you trust me?”

He’s silent, contemplative for a while. “You’re you.”

You laugh dryly. “That doesn’t explain anything.”

“You haven’t even bothered to look have you?” His hand strokes lines in your hair. “You could. I don’t think I’d mind.”

“I don’t want to know.” You say, wrapping your arms around his waist. “I’m not ready for that.”

He nods, you can feel the movement through his body, even though it’s subtle.

You sit, wrapped up in his arms for a long while before he clears his throat softly and asks, “what old wounds have you been reopening?”

Your eyes well again, but you choke back the tears. “An old… friend, I guess. He died.” You start to pull back but you don’t look at his face.

Instead, you bury your face in your hands again. He lets you pull back. “I’m sorry for your loss.”

You shrug. “It was a long time ago, he just meant a lot to me— and it’s really hard because you remind me so much of him.”

He makes a sort of strangled sound and then clears his throat again but more rough this time. “Why do you say that?”

His voice sounds even more similar without the helmet and voice changer. This man is going to be the death of you. Maybe literally. “I don’t… I don’t know. It’s just everything.” You shake your head and laugh sardonically. “It’s driving me insane.”

“How did he die?” His voice is darker than before, and there’s a sort of undertone you can’t place.

“Brutally.” You stop, take a deep breath, and offer only a bit more context. “The Joker.”

He hums. “The Joker‘s alive and ruling this dumb city.” He pauses. “How do you think your friend would feel about that?”

“Probably about the same as I do. Sick.” You run a hand through your hair, purposefully trying to avoid seeing his face. “That’s why I became a hero, you know. I wanted to kill the joker because he killed Ja- um, my friend.”

“Why didn’t you?”

“People stopped me before I did something I couldn’t come back from.” You say, wrapping your arms around your legs. “I hope the joker suffers a terrible death, but I don’t think it should be by my hands. He wins if I spend the rest of my existence regretting it.”

Red Hood picks up his helmet and clicks it back on. “Right.” He stands and stares down at you. “I have to leave now.”

You shudder at his sudden coldness, and stand abruptly. “Okay, I— um, goodbye…?” You want to smack yourself at how unsure you sound. “Did I say something wrong?”

He shakes his head. “I just don’t know why you would ever regret ridding the world of someone like The Joker, that’s all.”

Stiffly, you nod and wipe your hands on your pants.

“Sorry about your friend.” He finishes, before leaving you alone on the roof again. “Too bad I didn’t know him.”

Basically, crushing any hopes you might’ve had that he was Jason.

……

This is an atrociously stupid idea, you know; driving directly into the den of Gotham's biggest drug lord is the smartest thing to do.

But Gotham's biggest drug lord is Red Hood, and you’re fairly sure he won’t hurt you. Mostly.

His lackeys though, don’t seem so forgiving.

“Who the hell are you?” The man who barks the question at you, is raggedy looking and has the worst, most distasteful tattoos you’ve seen in your life.

“I’m here to see Red Hood.” You amend quickly, “I’m a friend of his.”

“Yeah, right.” The other guard says, a bulky looking woman who is also insanely beautiful… unsettlingly so. “A fragile little thing like you, friends with our boss… please.”

You scoff. “Trust me, I’m not fragile.” Stopping, you contemplate whether it’s a good idea to start something, considering your ankle is still healing. “Just call him.”

She rolls her eyes. “Fine, whatever.”

An old phone hangs on the wall and she picks up the receiver and quickly dials a number. “Hey, I have a woman here who says she’s the bosses friend— her name? I have no clue— Oi, what’s your name?” The woman barks at you.

“Y/n.”

“Her name’s Y/n.” She’s silent for a minute while we all wait, then she hangs up the phone aggressively and yanks your arm into her grip. “Lucky. Let’s go.”

The corridors are a bit confusing to navigate, but you’re mostly just following the woman, who seems very familiar with them.

After ten minutes you reach a door, it matches almost every other door, but it has ‘boss’ written crudely on it in spray paint.

“You’re on your own from here.” She says gruffly before stomping away.

You take a moment to collect yourself before you knock, and the door swings open before you can even finish knocking.

“Why are you here?” Red Hood sounds breathless behind his mask, as if something winded him. “How did you remember how to get here?”

“I’m… actually not sure.” You chuckle quietly to yourself as Red Hood pulls you inside.

He sits down at a desk after pulling a chair out for you to sit in. “Again, why are you here?”

Your heart seizes for a moment as if the reason why you’re here hit you all over again. “I want you to show me who you are.”

“Are you sure?” Red Hood questions slowly, his body locking up. “You’re not going to like it.”

You nod curtly. “Yes, I need to know.”

He takes a deep breath and stands up, coming right up close to you. Far enough that you could see his face clearly but close enough to have your knees buckling.

He reaches up and presses a button you can’t see. The helmet hisses and opens, he pulls it off.

And your jaw drops.

Standing there, in grown up glory, black hair, green eyes that used to kill you, is Jason Fucking Todd.

“You’re— You’re not— dead.” You stammer, almost reaching out to touch him before you yank your hand back.

You’re so irrationally angry and also relieved and devastated all at the same time.

Jason sets the helmet down. You can’t decide whether to hug him and never let go or slap him for waiting so long to tell you. “That’s a… complicated story.” He pauses. “I promise I’ll tell you that story but I just— can’t get into that right now.”

You nod slowly. “Okay… that means I can get fucking pissed now.”

You’ve clearly confused him when you wrap your hands around his waist and squeeze tightly while also cursing him out. “I can’t believe you waited this long to show me.”

You can see the smart-ass comment on the tip of his tongue but he bites it back. “I knew you’d find out eventually.” His eyes caress your body and there’s a look of longing lingering in his eyes; he seems to be contemplating something. “Fuck it, I’ve been waiting too long to do this.”

You barely have time to react as Jason lowers his face down to yours and kisses you; As soon as you realize what he’s doing, you kiss back.

His hands go to rest on your hips, as you slowly get pushed back into his desk behind you. When you hit the ledge of if, Jason lifts you onto its surface, and pulls back.

“I’ve wanted to do that since we were kids.” He says quietly.

You gently touch your lips, almost in disbelief. “I’ve been wanting you to do that since we were kids.”

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