For the Hell of It - Rescue
Characters: Jason Todd x fem!oc
Rating and warnings: T, brief description of violence.
Word count: 990
Summary: Red Hood comes to her rescue.
Masterlist
She woke slowly, sedately, to the touch of Jason’s fingers trailing down her cheek.
Eyes shut, she leaned into it.
The hand cupped her jaw, tilting her face up. There was no light scrape of rock hard calluses against her chin. The skin was smooth.
Andy’s eyes snapped open.
Black Mask looked down at her.
She recoiled. Or tried to. Her body responded slowly, groggy and jerky, against hard metal restraints. She was bound to a chair.
“Red Hood’s squeeze, hmm? Lucky find,” he said. He wasn’t talking to her. He tilted her chin back the other way to look her over. “I knew he was just a man under that helmet.”
A large man covered in tattoos stood behind him to his right. He looked down at her in disdain.
“Anything you want to tell me, Miss Wright?” Black Mask drawled.
She kept her mouth shut.
The second man hit her on the face. Her head rocked back. Her ears rang.
“He asked you a question.”
She bit her tongue to stop her pained whine.
“He doesn’t know you’re missing,” Black Mask said. “And he won’t, not for days. No masked maniac coming to rescue you. Your chances of getting out of here start and end with not pissing me off.”
She looked at the nasty grins on the face of the two hulking enforcers standing by the door. The uncaring menace in the man who hit her. The mocking glint in Black Mask’s eyes.
“You’re not letting me out alive anyway,” she said, with mounting terror. It churned in her gut.
Black Mask barked a hoarse laugh. “Don’t worry, I’ll wring every last secret out of you before I do you the favour of letting you die.”
One of the enforcers turned his head, his brow furrowed.
Something rattled onto the floor, then blinding white exploded everywhere. Her vision blanked out entirely, one final image burned into her eyes: Red Hood standing behind Black Mask, with his gun pointed at his head.
She was thrown sideways in her chair and landed hard on the ground. Guns fired with deafening reports, too loud for her to tell where or from who. Blind and still reeling from the impact, she felt the tattooed man grab her hair. He was ripped violently off of her a second later, and she went skidding sideways across the ground.
Everything got lost in the chaos and noise, before a blow to the head knocked her out.
-----
Andy woke to Jason’s hand in her hair.
Her heartbeat picked up, foreign alarm she couldn’t name or understand in her throat, until she registered the familiar calluses against the small of her neck. Strong hands, scarred and rough, massaged her skin with all the gentleness in the world. She breathed out in relief, and her eyes fluttered open.
Her head lay in Jason’s lap. He was reading a book, his wrist propped up against her shoulder. A gun sat on the bedside table. They were in a safehouse. She didn’t recognise it.
She felt perfectly safe. It took her a moment to process why that mattered, and why her mind even presented it as meaningful.
Her brows pinched and the side of her face stung at the movement. She brought up a hand, and felt butterfly strips across her brow.
Patchy memory filtered in.
Jason turned a page with his thumb, calm and measured. He radiated fury. It wasn’t at odds with the gentleness of his hold on her. His calm methodical rage was so dangerous it could burn Gotham to the ground if he loved it any less.
“What happened?” she asked. Her voice was raspy and her throat sore. She had the vague idea she might have been screaming during the scuffle.
“Black Mask’s second in command launched a coup and murdered his Boss,” Red Hood said, still looking at his book. “He’s trying to pin it on me to keep the support of Sionis’ loyalists. Nobody believes him.”
She remembered, sudden and clear as day, burned into her mind against the pure white of a flashbang grenade: Red Hood pointing a gun at Black Mask. A fan of blood and viscera, in a frozen still, exploding out behind the black skull.
She sat up. She stared at him.
Jason hadn’t killed anyone in years. He wasn’t allowed to, or Batman would run him out of town.
The enforcers, any witnesses, they’d know what happened, they would have to be– he couldn’t have just walked out with her, she was dead weight, had he really–? Had he– For her?
A quiet, hard thought cut through her muddling.
There had been a good reason Jason didn’t kill Black Mask during his initial rampage, and it wasn’t lack of opportunity. He had plans, counter plans, acceptable losses, and goals he wouldn’t bend on. Necessities balanced on delicate scales sometimes called justice but more accurately called reality. The power vacuum hadn’t been worth it.
And he’d done it anyway. He’d killed Black Mask, in the middle of Batman’s city, for her.
He looked back at her, unflinching.
She lay back down, putting her head in his lap.
He ran his hand over her again, carding it through her hair and burying it deep beneath her curls.
Those men, however many it was, died for her sake.
Did their blood stain her too? Did it stream down from his hands onto her head, dripping through her hair to streak across her face?
They would have tortured his secrets out of her, that hard voice said in the back of her mind. She was alive because Jason killed them first.
“Thank you,” she whispered.
I love you. I love you. I love you.
He curled over her and looked into her eyes. The hard fury cracked and she saw the desperate storm in his gaze.
“You don’t have to thank me for that.”
I love you.
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I know we constantly talk about Jason being a classic lit person, but most people only use P&P and exclusively Jane Austin novels, like yeah my homie she is great but I wanna see more content where Jason’s niche is purely books that people think are related to his death but also not at all related to his death: Frankenstein by Mary Shelly, Metamorphosis by Franz Kafka, The Picture of Dorian Gray by Oscar Wilde
Why people think Jason loves Frankenstein: he relates to the Creature, being born again after death but not quite right, rejected by father figure, causing a separation between him and all the humans, thus plunging him into isolation, highly literate but not taken seriously because he doesn’t have a degree from an accredited school (basically self taught)
Why Jason actually loves Frankenstein: it is written through letters!! There are like 4 stories going on at once all embedded in one another, like that’s so fuckin cool! He actually relates to Robert Walton, as he travels the world only to form the outlaws, taking these misfits with him, like how Walton traveled to the North Pole only to find and befriend Victor Frankenstein, taking him with
Why people think he likes the Metamorphosis: Jason relates to Gregor because he turns into something nonhuman overnight only gaining consciousness again after the transition period and although he still feels the same, everyone will forever fear him as something other, just like Jason after the pit which seemed like it changed him overnight as he woke up something othered
Why Jason actually liked the metamorphosis: Kafka didn’t like metaphor so he made the transformation something literal, and he subverted the expectations of transformation at the time as usually transformations were done to give the character some upgrade but in metamorphosis it was a downgrade, ruining Gregors life instead; not to mention for a story about a man being transformed into a bug, not a lot actually happens in the story nor does Gregor actually do a lot, it is less a narrative in the traditional sense and more a stream of consciousness kind of writing which helps it feel different, also I think he would relate to Grete, always trying to help adults around him who were self-destructing a lot of the time, probably especially his parents, I mean he died by trying to save his mother only for her to turn on him, he was fighting crime to help Bruce, etc. Grete was still a child who was helping her brother stay alive when no one else would, she tried to protect her parents from having to deal with Gregor in his transformed state, she even got a job to help the family (similar to Jason becoming Robin to help Bruce)
Why people think Jason liked the picture of Dorian gray: the theme of fleetingness unless intervened through supernatural means (aging painting keeping you young forever or being reborn again despite original life fleeting) only to eventually cause your untimely demise (likely how others view Jason’s perception of himself)
Why Jason actually liked Picture of Dorian Gray: it has so many takes on society that even if you don’t agree with all of them, it at least forces you to think about your own stances and understanding how you view the world around you, it puts a high value on the arts and takes them seriously, it has very well-developed and deeply flawed characters that are fun to read about, and the novel has an interesting history of it being used as evidence in Wilde’s criminal case for being queer
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Red Hood Characterization
This is really long so I'm putting a cut here, I've been thinking about Jason Todd's character motivations and the question of whether or not his actions are based in a Moral Code (I don't think so, not to say he's without any morality) and I talk about that in more depth here.
I saw someone say on here that Titans: Beast World: Gotham City was some of the best Jason Todd internal writing they'd seen in a while, and I've been a Red Hood fan for 8 years or so now? pretty much since I read comics for the first time, so I went and checked out and I thought it was good! The way the person I saw talking about it as if it was rare and unusual made me wonder though, because as well-written as i thought his stances on crime were, there wasn't really anything in it that went against the way I conceptualize Jason?
This kinda plays into a larger question I've been thinking about for a while with Jason though, which is that, do people think that the killing is part of a fundamental worldview that motivates him a la batman, and that worldview is the reason he does the things he does?? Because 8 years ago i was a middle schooler engaging with fiction on the level that a middle schooler does, so I simply did not put much thought into it beyond "poor guy :(" but ever since I actually started trying to understand consistent characterization, I don't really see Jason as someone who's motivated by a moral code in his actions the way batman or superman is!
tbh my personal read is that he's a very socially-motivated guy, his actions from resurrection to his Joker-Batman ultimatum in utrh always seemed to me like every choice made leading up to his identity reveal was either a. to give him the leverage and skill necessary to pull off his identity reveal successfully, or b. to twist the knife that little bit more when he does let Bruce find out who he is. Like iirc there's a Judd Winick tweet like "yeah tldr he chose Red Hood as his identity because it's the lowest blow he could think of." And I think that's awesome, I think character motivations rooted so deeply in character's relationships and emotions are really fun to read! I also think it's where the stagnation/flatness of his character comes from in certain comics, because if his main motivation is one event in one relationship that passes, and he is not particularly attached to anything in his life or the world by the time that comes to pass, it's a little harder to come up with a direction to go with the character after that, because there isn't much of a direction that aligns with something the character would reasonably want? But I do think solving this by saying "all of the morally-off emotionally driven cruelty he did on his way to spite Batman was actually reflective of his own version of Batman's stance that's exactly the same except he thinks it's GOOD to kill people" isn't ideal. To be fully honest, it seems to me like he never particularly cared one way or the other about killing people to "clean Gotham of crime," he just did everything he could to get the power necessary to pull off his personal plans, and took out any particularly heinous people he encountered along the way (like in Lost Days.) Not to say I think the fact he killed people keeps him up at night anymore than everything else in his life events, I just never really thought he was out there wholeheartedly kneecapping some dude selling weed or random guy robbing a tv store for justice.
Looping wayyy back to my question, Is this (^) contradictory to the way he's written/the overall average perception of the character? Because like I enjoyed his writing in Beast World i have zero significant issue with anything there, I just didn't believe it would be a hot take, like yeah, that is Jason. It's been a while since I've read utrh and lost days, but I don't think my takeaway directly contradicts either of those too bad iirc. Idk all this to say I think Jason killing and being alright with killing is an obvious and objective fact, but i guess i've always seen it as more of a practical tactic than a moral belief, and I think taking the actions made during the lowest points of a character's life where he is obsessively focused on this ONEEEE thing and trying to apply it as a Motivating Stance to everything he's done after that, doesn't really follow logically for me.
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i missed that class what dont you like about starlins rendition of their relationship?
(and also like, DID you think he did something in particular well or was it all…meh
the crux of my issues in this regard stems from batman #416. in the post-crisis era you began to see this way more lopsided depiction of bruce and dick's relationship wherein the former was portrayed to be almost.. bitter that dick had moved on to establish his own life. and it stood in great, great contrast to the bruce of the pre-crisis era, who was certainly devastated at the realization that dick was growing up, but also very intent for him to find his own happiness and way in life. they would have their disagreements on occasion (e.g., bruce initially disapproving of dick dropping out of college, bruce immediately taking leadership of a situation where the titans were involved when dick was better equipped to handle it, etc.) but the outcome of those situations was never outright bad yknow. bruce was very much capable of recognizing where he might have overstepped and subsequently stepped back to let dick have his own space. and i think initially max allan collins expanded on that dynamic in the post-crisis era in interesting ways by juxtaposing bruce's desire to see dick flourish against his own constant fear for dick's life. so instead of mike w. barr's comedic and lighthearted backup stories in early 80s tec where bruce disguised himself to keep an eye on dick's shenanigans and assure himself everything was going alright, you got this more serious confrontation within bruce with regards to his position as a parent. i don't think a lot of people read it that deeply but i've always viewed batman #408 as one of the most sensible depictions of that dilemma. the general complaints tend to be that this issue robbed dick of his pre-crisis decision to retire robin on his own, and i'll concede that as a worthwhile concern. but i don't think it's esp damning what with the implication that bruce no longer wants to be the person indirectly making the decision for dick to continue to be in this line of work. their moment at dick's bedside is less about bruce robbing him of the decision and more about him saying, if i let you still be robin, that's a direct reflection on me, bc i'm the one who got you to do all of this originally. i'm the one who put you directly in harm's way. if you're going to do this from now on, you need to do it on your own terms. you need to decide for yourself that this is who you want to be, without your relationship with me even being a factor.
it's a moment contributive to that delicious dynamic between them wherein every decision bruce takes to service dick's agency is inevitably read the wrong way by the latter to imply that he's not valued or not worthy of being seen as bruce's equal (and before the hounds pounce on me this obv does not include the increasingly abusive depiction of their relationship as the 90s progressed). that is an unavoidable dilemma when you're simultaneously someone's ward/adopted son and also their partner-in-crime! dick wants to be bruce's son and to be entitled to all of the love and care and protection that that entails but he also wants to be bruce's brother, his equal, his confidante, the one person he trusts more than anyone else in the world, etc. it's a tough place to be! it is paradoxical! and i'm so, so open to seeing that explored and think the way collins attempted to approach it in #408 was marvelous. but the way starlin (and other writers as well) totally swerved right in #416 to create this sudden resentment in bruce that dick had grown out of needing him was.. so utterly bizarre. like completely out of left field in a way i don't understand why people don't question it anymore bc in light of everything in the immediate fifteen years prior to the crisis it makes so little sense. their relationship with each other was so valued, bruce was so anxious to see dick establish himself while nonetheless maintaining a protectiveness over him, but it was all very much in good will even if he could overstep on occasion. it had all of the potential to allow for a very nuanced, empathetic exploration into the dilemmas of parenthood and esp when you are someone like bruce who has to forever live and contend with the crime of taking kids with him out onto the streets. bc he has to feel guilty! there is no escaping it. this is history, done and dusted forever, can't go back in time, so on and so forth. whatever harm comes any robin's way he has to live with as in some part being traceable back to his own actions. and i frankly believe that would be far more likely to evoke grief and anxiousness and concern than it would be bitterness that his son is charting out his own life
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