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you said Jason Todd would be an annoying bf, do you have any specific thoughts on why?? im a long and diehard fan of him, I’ve read the fics, the comics, seen the movies, etc. I KNOW he’d be a difficult piece of shit but I wanna know the almighty Kat’s take on it.

NOT ME GETTING LIKE 20 MESSAGES ASKING FOR JASON THOUGHTS GUYS PLS??? I DON'T EVEN GO HERE, BUT FUCK IT, FINE. 18+ for nsfw. mdni. ✶ DICK'S VER.

JASON TODD AS YOUR BOYFRIEND HDCS—

Loving Jason Todd is not easy. It's a lifestyle adjustment at the bare minimum, and the first thing to understand is that he's not some soft golden retriever boyfriend. Never has been, never will be.

He's not Dick (charming, attentive, performative), he's not Tim (anxious, observant, analytical), he's not Damian (devoted to a fault, awkwardly sincere); he's the one who came back wrong and never fully unlearned the rage or the wrongness of that come back.

He doesn't meet people the way normal men do. No Hinge profile, no striking up conversation at a coffee shop unless he's already aware of you as a potential informant.

The way he ends up in your orbit is one of three things: you crossed paths with one of his cases (you witnessed something, you live above the wrong building, you're the cousin of some dead girl, you work at the diner three doors down from the safehouse, and he noticed you because his job is noticing things, and then he kept noticing you, and that part wasn't the job); or you're tangentially Bat-adjacent (you work at WE, you're an old friend of Babs's, you patched him up once at a free clinic and didn't ask questions), which he hates in theory and seeks out in practice; or you're a complete civilian and he's furious about how attracted to you he is, which is the funniest one (for us) and the most dangerous one for him.

For the first dozen interactions he's rude. Not really cruel or anything. Jason has a deeply skewered and fucked up moral spine despite everything but he has it. He's brusque, he's short with you, he gives you the kind of one-syllable answers that make you check whether you've offended him somehow, and you haven't, he just doesn't waste words on people he hasn't decided require air from him.

But here's the thing: he keeps showing up.

You'll see him at the bar three nights in a row, sitting where he can see the door. You'll mention offhandedly that you can't find a decent mechanic one time and a week later your car runs better than it did when you bought it and the guy at the shop says "yeah some big guy paid in cash, told me not to mention it"; you'll say in passing that the back lock on your apartment door sticks and the next time you come home it's been replaced with something that looks like it could survive a small explosion. He'll never bring any of this up, and if you bring it up, he'll go "don't know what you're talking about" with that infuriating half-smirk and change the subject completely .

This is his love language and it's unbearable, because Jason won't ask you out, he won't say anything, really. He's just slowly making your life safer and more functional and waiting to see if you notice, and every time you do notice, he gets a little more annoyed that you're getting under his skin and keep noticing.

When he finally starts engaging with you, his flirting is mean. Affectionate-mean. He'll roast your taste in music, your coffee order, your shoes, the book you're reading, the way you say a particular word. He calls you stupid pet names that are technically insults: sweetheart, princess, trouble, and the one he reserves for when he wants to see you actually flustered, baby, and he watches you very carefully to see how you respond.

If you bite back his entire face changes. He gets delighted, he'll lean in over the table and go "oh, you've got a mouth on you, huh?" and you can see him tucking this information away in real time. If you go shy he'll keep pushing, gently, until you laugh, because he's testing you, he needs to know you can handle him before he lets himself want you any more than he already does.

You will not have a defining-the-relationship conversation. He will not ask you to be his girlfriend in some sappy way. One day you'll just realise he's been at your apartment four nights in a row, there's a toothbrush in your bathroom that isn't yours, he's eating your leftovers like he pays rent, and when his phone buzzes he angles it away from you with a look that says don't ask.

And if you ask what you are to each other he'll say something like "the hell kind of question is that?", not unkindly, just like the question itself is so ridiculous he can't believe you wasted a breath on it; obviously you're his, he thought you knew, he's been acting like it, hasn't he? Keep up!

He hasn't been acting like it in any way a normal person would recognise, but to him the fact that he hasn't killed anyone over you yet is a love sonnet <3

His texting habits are a horror show: he doesn't text first, ever, until suddenly he texts you twelve times in a row at 2 a.m. (u up. u home? answer the phone. fine. ignore me. fuck. txt back when u see this) he leaves you on read constantly (he's not ignoring you, he read it, he doesn't see why a "got it" was needed), his messages are all lowercase and full of typos because he texts with one hand while doing something else (cleaning a gun, driving, running across a roof), he'll send you a single question mark in response to a long vulnerable message and then forty minutes later show up at your door with takeout and not mention it.

He saves your contact under something stupid like Trouble or Headache or Don't pick up.

He works nights, he gets shot some of those nights, and he'll absolutely disappear for 48 hours with no contact and then reappear in your kitchen at 3 a.m. bleeding from somewhere he won't show you. When you panic he'll go "Jesus, breathe, it's not even that bad" (which is the sentence equivalent of holding a grenade) and he'll not apologise for the disappearing, but he will look slightly ashamed when he realises you actually couldn't sleep.

He doesn't know what to do with the fact that you worry about him; it short-circuits him, people don't worry about Jason, Jason worries, or Jason handles it, and the role reversal, the uncomplicated care, is a wound he can't reach to scratch.

Then comes the obnoxious-about-your-attention phase, which is when he gets very annoying and very hot simultaneously, because Jason is territorial in a way that would be a red flag if he weren't so weirdly principled about it.

He'll not tell you who you can talk to, will not check your phone, he will not get jealous in the openly controlling way that signals abuser. He's not that.

But what he will do is loom (when you're at a bar and a guy is talking to you, Jason who was across the room is now somehow magically standing directly behind you with a hand on the small of your back, not saying anything, just radiating, and the guy will leave, and Jason will not comment);

Scoff (anyone shows interest in you within his sightline, he makes a noise: short, derisive, almost a laugh, like the idea is so absurd it's funny anyone is trying);

Ask too-casual questions ("who was that on the phone?" he says, not looking up from the gun he's cleaning on your coffee table (concern.) and you can hear that the casualness is performed, that he's in fact extremely invested in the answer, and he's furious with himself for caring);

Mark you in stupid little ways (steals your hair tie and wears it on his wrist, leaves his jacket at your place "by accident" four times in a row, bites the side of your neck where it'll show above your collar and is unrepentant when you complain about it).

Now: the slap-on-the-ass-then-prickly move, which is the Jason behaviour pattern that will define the first six months of dating him.

He's physically affectionate in a way that's cocky, performative, almost rude (the hand on your ass when he's walking past you in the kitchen, the fingers around the back of your neck when he's leaning over to grab his beer, the bite (he's a biter, I'm afraid, that man cannot keep his teeth to himself) at your shoulder, your jaw, your ear, the teasing physicality of pulling you back into his lap when you try to get up, holding your wrist when you reach for something, hooking his ankle around yours under the table).

All of this is easy for him, it costs him nothing because he's performing the part of "guy who is comfortable touching his girl" because it's the closest he can get to being affectionate without admitting that he wants to be.

But the second you try to flip it, try to initiate genuine closeness, try to climb into his lap when he didn't put you there, or to cup his face and look at him too long. Even say something soft like I missed you in a voice that means it, Jason goes rigid. Not for long, a second, maybe two, but you'll feel it: the full-body lock, and then he'll deflect with a joke. A kiss that's more aggressive than tender, a hand on your waist that turns you around so you're not facing him anymore.

He can't take it when you mean it. He can give and give in the language of teasing physicality, but tenderness received, sincere tenderness, the kind that means I see you and I'm not going anywhere, that's the language of the family that buried him while he was still dying, that's the language his mother used, that's Bruce's voice in the cave and Bruce's silence in the alley after.

He doesn't trust it, he doesn't know how to be on the receiving end of it without flinching, and this will be one of the hardest things about loving him.

You can't push, he's spent his whole afterlife being pushed, and you have to be willing to let him deflect six times before he takes it on the seventh, and it takes months, sometimes longer, before he can let your hand stay on the side of his face for more than a second without turning into it like he's trying to escape his own want.

The way you eventually crack it is sneakier than confrontation. You do it in transit, in passing, when he's distracted: a kiss to his shoulder while he's at the stove, fingers through the hair at the back of his neck while he's mid-sentence about something else, I love you mumbled into the crook of his arm at a moment when neither of you is looking at the other.

It has to be cheap, it has to be easy to ignore, because if you give it weight he can't hold it. Over months, he learns to take it without flinching, then to lean into it, then (eventually, miraculously) to ask for it (never with words, he will never use words for this, but he'll plant himself within reach of your hands and wait, like a stray cat learning where the food bowl lives).

He's also annoying about your safety in ways that are sometimes touching and sometimes infuriating: he has opinions about every person in your life.

He's run background checks on people you went to college with and isn't sorry, he will text you the route home (not ask, tell) take 5th not the alley tonight, he has bought you (without asking) pepper spray (good), a small folding knife (lowkey concerning), a panic button that is wired to him specifically (worrying that this exists, kinda sweet that he thought of it), and a self-defence class he'll not attend with you because "I'll just correct her form and piss her off".

He gets weirdly quiet when you mention being scared of something (not comforting, quiet, you can see him processing: who, where, when, can I get there in under fifteen if she needs me) and you have to actively redirect him before he goes and breaks someone's hands.

He'll never, ever tell you not to do something dangerous, because Jason understands the impulse to walk into things, but he'll follow you in from a respectful distance where you can't see him. Close enough that if anything happens he's the second person who knows, and this is actually one of the most loving things he does.

He doesn't try to keep you small, he just makes sure that if the world tries to swallow you, it has to go through him first.

The intimacy doesn't really start in bed, it starts in his apartment.

The first time you're allowed in there (and you have to be allowed, because Jason has safehouses you'll never see and he has the apartment, and the apartment is the closest thing he has to a self he doesn't have to hold a weapon against) and the thing that will undo you is how much care lives there: there are books everywhere, dog-eared, some stained, there's good coffee, a record player, spices in the kitchen that mean he actually cooks for himself, and the bed is made.

The bed is made. This is the detail that will catch in your throat. Jason Peter Todd, who came back from the dead, who lives with a body that's been to war, makes his bed every morning (some habit from the manor, or from before the manor, or from somewhere he won't tell you about) the corners are tucked, the pillows are arranged, and he'll be sheepish and dismissive if you notice but he'll not stop doing it.

Now, the first time. It doesn't happen in his apartment, you don't get into his apartment for months. The first time happens at yours, and it happens because the tension has been so unbearable for so long that one of you finally has to break it, and it's going to be him, and the way it happens is going to feel (at the time) like an accident, even though it absolutely is not.

He's been at your place too late, he's been finding excuses to be at your place too late, and on this particular night the excuse is your faucet, sweetheart, you said it was leaking, I can fix it, no I'm not gonna pay some guy to do it when I'm right here, and he does fix it, except then he doesn't leave.

You open a beer for him, and the two of you end up on your couch, and there's a moment (a very specific moment) where you've been laughing about something stupid and the laughter trails off and he's looking at you and you're looking at him and the whole apartment is suddenly quiet, and you can hear the fridge humming, and the click of the clock, and the way his breathing has gone shallow.

He'll break it the way he breaks everything: with a joke, with a deflection ("what," he says, low, rough, daring you, half a smirk on his face) and you're going to call his bluff, because by now you know how he works.

You're going to lean in first, and his whole face is going to do something you've never seen it do before (a flicker of oh, fuck) and then he's going to kiss you back like he has been thinking about it for a year, which is because he has been thinking about it for a year, and the kiss is not soft. It's a hungry thing. The kiss of a man who's been holding himself back from this for so long that the moment he stops holding back, there's no halfway; his hand goes to the back of your skull, immediately, fingers in your hair, and he tilts your head where he wants it, and the small noise he makes against your mouth is the first time you've ever heard him sound undone.

Jason pulls back first, and his hand is on your jaw, his thumb on your bottom lip dragging across it. He's looking at you with an expression that's somewhere between starved and pained, and he says (and you'll remember this forever, "you sure?") and the question is not a polite formality, he needs you to look him in the eye and confirm it, and when you do, when you say "yes," clearly, no hesitation, he's on you in a heartbeat.

The first time is fast, not because he doesn't have control (Jason has frightening control), but because he has too much tension in his body and he genuinely can't moderate it on the first pass.

It's also slightly clumsy in places. He knocks over your lamp (oops), he'll laugh about this later, and you'll be on the floor before you make it to the bedroom. Your shirt doesn't survive (rip). He tears the collar of it dragging it off you, mutters fuck, sorry without sounding sorry in the slightest, and goes back to your throat, and it's intense in a way that doesn't feel like sex so much as like finally, like something that's been building between you for months has finally been allowed to happen.

His hands are everywhere and they're huge. You'd noticed the size of his hands in the abstract before. The way they wrap around a coffee cup, the way they look on the steering wheel.

But the first time you feel one of them spread flat across your stomach, fingertips just barely under the waistband of your jeans, you understand the reach of him in a way you didn't before.

The sheer span, the way one of his palms covers ground. He's careful with his strength even when he's gone. In a sense, he's been careful with it his whole life because he's had to be, and the carefulness shows up as a deliberate slowness even when everything else is fast. Fingers on the inside of your thigh that take their time getting where they're going, a thumb on your hipbone that presses just hard enough to be a question

He's going to be louder than you expected, with his mouth, not his volume.

He runs commentary even the first time, which is partly nerves (Jason gets mouthy when he's anxious, you'll learn this) and partly that he genuinely can't help himself. He'll mutter against your throat ("Fuck, you have no idea how long—") and then cut himself off, because he didn't mean to say that out loud, and instead he'll bite, hard, just under your jaw, like he's trying to put the sentence back in his mouth.

He'll say "look at me, look at me, baby," not as a command but as something closer to a request, and you'll realise later that he needs you to see him for this, that he can't do it with you looking at the ceiling, that some part of him needs proof of recognition.

He'll bury his face in your shoulder when he comes and his hands will go tight on your hips; tight enough to leave marks, you'll find them in the morning, four little crescents low on each side, and the surge you feel at seeing them in the bathroom mirror will be embarrassing to think about.

He will be, for one breath, two, completely undone, and you'll feel the shudder run all the way through him.

And then almost immediately, the second it's over, the shutters come back down. Not fully, but you can feel it, the way he reassembles himself, the joke he reaches for to cover the rawness of what just happened ("so, the faucet's fixed," he'll say, voice rough,) and you'll laugh, and that will be his way of saying don't make this a thing or I will lose my nerve.

He doesn't stay over that first night. He kisses your forehead in your doorway (which is somehow more tender than anything that just happened) and he says, "I'll text you," and you know he won't, and he doesn't.

Three days will pass and you will think, oh, that was it, that was the thing, and on the fourth day he'll show up at your door at midnight with takeout and a look on his face that says I tried to stop thinking about you and it didn't work, and the second wave begins.

The early sex (the first month, maybe two) has a specific flavour to it that's worth naming: it's frequent, very intense, and it has an undercurrent of him trying to prove something, though even he doesn't know what.

He fucks you like he's daring himself to keep doing it, like every time he expects you to be different in the morning, colder, distant, regretful (or maybe he's expecting himself to be those things), and every time he's mildly stunned that you aren't, that he isn't, and he punishes himself for the relief of it by being slightly more of an asshole about everything else for a few hours after.

Physically, in this period, he's exhausting in the best way.

His stamina is genuinely a problem (he's in extraordinary physical condition, he can go for an extremely long time, he has the recovery of a man who jumps off buildings for a living), and you will, at some point in the first month, look at him afterwards while you're trying to remember how to breathe and say something like Jesus Christ, Jason, and he'll grin at you, sweaty, smug, infuriating, and say "problem?", and you will hit him with a pillow.

He'll laugh, fully, not the half-laugh he gives most of the time but something that comes from his actual chest, and you will realise, then, you're going to love him for the rest of your life and it's too late to do anything about it.

He's also a tease from the very beginning. Catastrophically so, but in the early days the teasing has a sharper edge to it. Almost competitive, like he's trying to see how far he can push you before you break. Like he needs the proof that he can take you apart in order to believe that this is real.

He'll get you right to the edge and then slow down deliberately, two fingers stilling exactly where you need them to be moving, his mouth lifting off your skin at the worst possible second, and when you complain (when you swear at him, which he loves, which you'll learn fast he loves) he'll laugh (that low, mean, delighted laugh, mouth right against your ear) and say something like "you got somewhere to be, sweetheart? we got all night", and you'll want to kill him.

He loves it when you try, it's free foreplay, and the rule he has invented entirely for his own amusement is that the more you mouth off the longer he draws it out, and he'll absolutely tell you this to your face ("you wanna keep talking? we can keep going. I got nowhere to be") while you're shaking apart underneath him, and the bastard means it, too.

He's very good with his mouth, and he knows it, and he treats it like a settled fact you don't need to discuss.

The first time he goes down on you, he does it with the same focused, watchful attention he brings to everything else. Eyes up, watching your face, two fingers wrapped around your wrist where it's gripping the sheet because he likes feeling the pulse there, and he will not be hurried, will not be talked out of taking his time, and he will absolutely look up at you afterwards with his mouth still wet and say something insufferable like "yeah, I thought so," and you will want to push him off the bed, and he'll laugh every time you try.

The shit-talking is non-negotiable from day one, he can't keep his damn mouth shut.

He runs commentary the entire time, and the commentary breaks down roughly into three modes that he flips between without warning.

The first is mean (observational, smirking, designed to make you squirm) "oh, that's what does it for you, huh?" breathed against your ear when he's noticed exactly which thing is making you fall apart,

"look at you, fuck, you're a mess for me already and I've barely touched you," "yeah? you gonna ask nice?", "that's it, that's it, sweetheart, you can do better than that, c'mon, let me hear it,"

And the meanness is never actually mean, it's delighted, you can hear the smile in it. He's having the time of his fucking life winding you up and he wants you to know it.

The second mode is filthy, full stop. Jason at midnight with his hand between your thighs is saying things like "fuck, you're so wet, you're soaking through my fucking jeans, baby, you been thinking about this all day or what?"

Running narration of what his hands are doing right now ("that's it, just like that, you feel that? right there?"), running narration of what his hands are about to do ("gonna take my time with you tonight, gonna make you beg for it, you know that, right?"), running narration of what he's planning to do once he's recovered ("give me ten minutes, sweetheart, ten minutes and I'm gonna have you on your knees, gonna fuck your mouth till you cry, you want that?"),

and (most catastrophically) running narration of what he was thinking about doing earlier, when you were just standing in his kitchen in his t-shirt making coffee and didn't know he was watching: "you have any idea what you looked like in my kitchen this morning? in my fucking shirt with nothing under it? I had to leave the room, sweetheart, I had to go take a cold shower like a goddamn teenager, I was gonna fuck you on the counter, I was thinking about it the whole time you were talking to me about your friend, you didn't even notice—"

He likes hearing himself called things, sometimes. Likes the specific small power of Jay, please, Jason, fuck, please please please. And he'll work for it, he'll deliberately drag it out of you, "what do you need, baby, you gotta tell me, I can't read your mind," knowing perfectly well he can, in fact, read your mind, knowing exactly what he's doing.

The third mode is the one he doesn't mean to do, and it slips out anyway, usually when he's lost focus and his guard drops for half a second. Almost devastatingly tender things that he covers within two seconds because he didn't mean to say them out loud, "god, you're so fucking pretty like this," and then, immediately, recovering, "yeah, you like that, huh, you like when I say nice things to you?" with a smirk back in place, like the first half of the sentence didn't happen;

Or "shit, sweetheart, look at you, look at—fuck, c'mere" and then he kisses you hard enough to shut himself up;

Or, the worst one, the one he'll pretend for years he never said, said quietly into the curve of your shoulder when he thought you were too far gone to hear him: "I don't know what to do with you, I don't know what to fucking do with you,", and he panics about it the second he hears himself.

Because I don't know what to do with you is dangerously close to a confession he isn't ready to make, and so he bites your shoulder hard enough to leave a mark and follows it up with "you got such a pretty mouth, you gonna put it to use or what?" before the pause can land.

He calls you everything (sweetheart, baby, princess, good girl, brat), and in the early days these are all you get.

He uses your name only when he's serious, when he's looking at you and he means it, and you will learn to clock the difference: the pet names mean I'm having fun, your name means I love you and I'm not going to say it yet, and you will notice (months in, looking back) that for the first stretch of your relationship, he never said your name in bed, not once.

The night he finally does (really says it, low and ragged, looking at you, fuck, followed by ragged exhale of your name breathed against your temple, is the night you'll know something has changed in him that you don't have words for yet.

Jason, almost as a rule, likes when you talk back. He likes it when you mouth off. The single fastest way to get him to lose his composure is to be a smartass while he's trying to wreck you.

He'll go "oh, you've got jokes," and then he'll prove a point, and the dynamic this creates is one of the most addictive things about being with him: you can spar with him, in bed, all the way through, he will not shatter, will not get hurt feelings, he will meet you every time, and the back-and-forth is genuinely funny in a way that almost nothing else in your life is.

Sex with Jason is, weirdly, often fun, in a way you didn't know it could be. You laugh, sometimes, mid-thing, and he laughs too, his forehead dropped against your shoulder, his whole body shaking with it for a second, and it doesn't break the heat, it deepens it, because it's involuntary, it's unguarded, and he gives it to you anyway.

Jason has a body that has been through something. He has scars he doesn't talk about, he has somewhere in him a permanent tension (a vigilance) that doesn't fully go away, ever.

In bed that tension goes somewhere; he fucks like he's trying to outrun something, and there's a quality to it (especially in the early months) of too much, too hard, too fast, like he's trying to drown out a noise in his head with the sound of you. And it's incredibly hot but it's also, sometimes, a flag.

For the first stretch he refuses to be seen during sex, in a particular way that takes you a while to clock: he prefers positions where he's behind you or above you, where you can't easily reach his face, where his expression is something you have to work to read.

He keeps his shirt on more than you'd expect for the first month or two. A faded grey henley, usually, that he won't take off, even in your bed at 2 a.m., even with his hand down your pants, and you'll learn not to push it.

He avoids long eye contact; and if you reach up to cup his jaw mid-fuck he'll catch your wrist and pin it, gently, smoothly, like he's playing, but he's not playing. It's redirecting, and you'll eventually understand that he can't let you look at him like that yet because if you do, he'll feel it, and feeling it is what he came to bed to not do.

Jason's body is a map of the life he's lived, and you'll learn it in pieces. Slowly, over months, because he doesn't sit you down and explain it. You have to find each one and decide whether to ask.

It's worth saying clearly that his scars aren't pretty. They're the body of a man who's been beaten, shot, burned and stitched up by his own hands more times than is reasonable.

There's the long, ropy line down his left forearm from a knife in Hong Kong (he'll tell you that one, eventually, a clean story he can shrug off); there are the round puckered scars of bullet wounds in his shoulder, his thigh, low on his right side where it nearly took a kidney (these are boring to him, he genuinely thinks they're uninteresting, "occupational hazard, sweetheart"); there's a long pale stripe across his ribs from something he won't name, and a smaller jagged one at the corner of his eyebrow you'd noticed before you ever saw the rest of him.

There are the ones that don't have stories he wants to tell. The scars on his back that don't match anything ordinary, a clustered constellation of marks across his shoulder blades and lower spine that you won't ask about and that he will not explain, ever. The pattern of which you will eventually stop being able to unsee, and there is, at the back of his neck, just below the hairline, a thin curved scar he touches absently when he's thinking and will never tell you the origin of.

The crowbar is not a single scar, it's a map. A knot of healed, raised tissue along his ribs where one strike landed wrong, a notch missing from the side of one knee, a hairline kink in the bridge of his nose that you can feel when you kiss him, and a small permanent deviation in the way he holds his left wrist that you'll notice when he's gripping a glass. None of which he names for you, and none of which you ask about, because some part of you already knows, and he can tell that you know, and that knowledge is part of why he can let you near it at all.

The rule, for all of it, is you don't flinch.

The first time he lets you really look at him in full light (really look, not the half-dark of your bedroom but the morning sun coming in over the bed) he's watching you like he's waiting for you to recoil, holding too still, and what you do in that moment will determine what he can be with you for the rest of your life.

And the right move is to look, to actually look, not perform unbotheredness, not avoid; trace something, if he'll let you, with one finger, pick the smallest scar, the one at his eyebrow maybe.

Something he doesn't have feelings about, and start there slowly, and don't say anything stupid, don't say anything at all if you can help it, just look at him after like yeah, and?, because that's what he needs: not for it to be invisible, but for it to be uninteresting as a verdict on whether you want him.

After that morning, eventually, he stops keeping the shirt on.

Eventually he stops flinching when you touch the rougher places mid-sex. Eventually (months later, maybe a year) he'll let you press your mouth to the worst of them, deliberately, while you're on top of him. Your lips against the knot of healed tissue along his ribs, and his breath will catch and his hand will close hard around your wrist but he'll not stop you, and that (that, more than the first I love you, more than any of the words) is the moment you'll understand he has decided to stay.

When he's having a bad night (when something happened on patrol, or someone said the wrong name, or it's an anniversary of something he won't tell you about) he'll want you in a way that is almost desperate.

He won't say it, he'll just show up at your door at midnight with a bruise on his jaw and his hands already on you, your back hitting the door before it's fully closed. His mouth at your throat hot and wordless in a way it usually isn't, and the first time you realise he's doing this (that he's using you, sweetly and gently and not in a bad way, as anchor) you'll have to make a choice: you can either let him have it, no questions asked, every time, and let him use sex to skip past the feeling, or you can occasionally slow him down.

Catch his face in your hands, say his name, make him look at you, make him be present in his own body with you, instead of running through it.

He'll hate this but he'll need it, both, equally, and the very first time you do it (the first time you stop him, hand on his jaw, Jay, hey, look at me) he'll go completely still for a beat too long, like a circuit shorting.

His body braced against yours, his breathing ragged, and you'll see an emotion go through his eyes that you don't have a name for, and then he'll press his forehead to yours and exhale, hard, like he didn't know he was holding it, his nose against yours, his whole frame trembling with the effort of not running.

That exhale is one of the most intimate things he'll ever give you, and if you handle it right (don't say anything, don't make it a moment, just stay, just stay) he will, slowly, come back to his body with you in it, and the sex that follows that pause will be different. Slower, quieter, his hands less grabbing and more holding, his mouth against your shoulder more like a kiss than a bite, and afterwards he'll not joke, just lie on top of you with his face hidden and breathe.

That moment is the hinge of your sexual relationship. Before that night and after that night are different countries. Because once he's done it once, once he's let himself be slowed down, there's now a possibility in the room that wasn't there before. From that point forward the sex begins, very slowly, to deepen: still mouthy, still teasing, still possessive as hell, but with windows in it now, moments where he lets the noise drop out and just lets himself be there with you.

Around the three or four month mark you'll notice him starting to do small things differently: he'll keep the lights on instead of always reaching for the switch; he'll let you push him onto his back instead of always being above you; he'll let you take a turn driving the pace, which in the early days he wouldn't, he had to be running it (because if he was running it then he could control how close you got to him), and the first time he just lies there and lets you set the rhythm and watches you, eyes half-lidded, his hands loose at his sides instead of on you, a little stunned at the quiet of it.

Then his hands do come up, slowly, to settle on your thighs, not gripping, not directing, just resting there, his thumbs stroking idle patterns against your skin. You'll realise, then, that this is a gift, because he's not a man who gives up control easily, and what he's doing is showing you that he doesn't need to be the one with his foot on the gas to feel safe in this room with you anymore.

You'll also notice (and this is the one that hits haard) that he stops looking away: in the early months his eyes were always somewhere else (your throat, your mouth, the line of your collarbone, anywhere but your eyes), and one night, somewhere mid thrust, you look up and he's looking at you. Full-on, unblinking, eyes dark, expression open in a way you've literally never seen on his face before.

Jason doesn't break it, and the quality of the sex changes in the next ten seconds because he isn't running anymore, he's just here, and he stays here, and afterwards he doesn't joke. He just lies on top of you with his face in the curve of your neck and breathes for a long time.

That's the night you understand that he is in this, not just with you but in it, and you don't say anything about it because you know better, but you remember it for the rest of your life.

By six months in, he's started giving you the slow nights, the ones where he fucks you like he's trying to savour you. He'll go slow, keep his forehead against yours, say your name, your real name, in a voice he doesn't use anywhere else.

He'll move like he has nowhere else to be and nothing else to do, and his eyes will be on yours the entire time; on these nights his hands are different too, more reverent, less hungry. One cradling the back of your head, the other splayed flat on your back, holding you against him, and he kisses you between every other thrust he does, constantly, like he can't stop coming back to your mouth.

The rhythm itself is different, deep and unhurried, like he's trying to make it last, and you'll feel (for once) that you have his whole attention, not the part of him that's always halfway watching the door.

These nights are still rare, still precious, still earned, but they exist now, they're in the repertoire, and that's a thing that did not exist in month one.

The kissing on those nights is different too, and over time it becomes the way you can tell what kind of night it is going to be.

Jason normally kisses like the kissing is a fight he intends to win. With teeth, with intent, a hand at the back of your skull holding you exactly where he wants you. Deep, hot and a little punishing.

But on these nights he kisses you like he's apologising for something, slow, full and quiet, mouth soft, tongue languid, slipping deep, his hand on your jaw instead of gripping your hair.

He'll come back to your mouth between everything else like a bookmark, like he's checking you're still there, and the first time he kisses you like that you'll feel a shift in your chest, and after enough of those nights you'll learn to read it from the first kiss of the evening: oh, it's that kind of night, and you'll know, and he'll know that you know. Neither of you will say a word about it.

He has a thing (and you'll notice it over time, a thing that gets more pronounced as he gets deeper into his feelings) about your hands.

Jason likes them in his hair (and his hair, you'll discover, is soft, a fact that always weirdly disarms you given the rest of him, and he has a small tell that he likes having it pulled, just slightly, just at the back, and the first time you do it without thinking you get a sound out of him that he has clearly not meant to make).

On the back of his neck where the muscle is always tight, on his face if you've earned it, and he'll bring your hand to his mouth at strange unguarded moments and press his lips to your knuckles like a reflex, and he'll absolutely not acknowledge that he does this.

If you tease him about it he'll get pink at the back of his neck and tell you to shut up.

He also has a thing about your throat. Not in a violent way, in a possessive way. The flat of his hand resting there, his thumb at your pulse, like he's checking you're right there where he needs you, real and solid,a nd his. And he has, devastatingly, a thing about being held.

Actually held, after, with your arms around his ribs and your face in the curve of his throat, and he'll never, ever ask for this, but if you do it he'll not move for a long time.

And as Jason gets deeper into it, the things he wants change: in the early days he wanted you under him, fast, now; later he starts wanting things he doesn't have a way to ask for. Wanting you to stay over even when nothing is going to happen, wanting to be the little spoon (which he can't request and you have to figure out by trial and error, because one night you'll do it almost as a joke, fitting yourself behind him, and he will go extremely still in a way that you'll learn means yes don't make me say it, and then he will reach back and pull your arm tighter around his ribs without a word).

Wanting your hands on him in non-sexual ways during sex (your fingers in his hair, your palm flat on his chest over his heart, the small of his back, the back of his neck, you lips at his jaw, the corner of his mouth), wanting foreplay that's genuinely about touching him, not just escalation.

Wanting, in short, all the things he couldn't bear to want in month one, because back then wanting them meant admitting that he needed them.

In the early days the sex is frequent because the itch is mutual and unscratchable. He wants you, you want him, the chemistry is loud, and the hunger is mostly physical, mostly now, mostly the kind of want that has a clear destination and a satisfied stillness on the other side of it.

He texts you at midnight because he can't stop thinking about your mouth, you go over because you can't stop thinking about his hands, you fuck because the tension is unbearable and the release is the point. Afterwards he leaves or you doze and the want, briefly, quiets. That's month one. That's month two. The math of it is simple: stimulus, response, relief, reset.

But somewhere around the four or five month mark (somewhere after the hinge night, somewhere after the windows started opening) the math stops working.

He'll have you, fuck you properly, completely, and an hour later he'll still want you, more than he wanted you before, in a way that doesn't make sense by the old rules. He'll be lying with his head on your stomach, fully spent, your hand in his hair, and you'll feel him press his mouth against your skin like he's checking, like he's making sure you're still there, and then he'll roll up onto an elbow and look at you and you'll see it in his face.

Not finished, not in a sex way, in some other way, a way he doesn't have language for. And he'll kiss you again, slow this time, and you'll realise the wanting hasn't gone anywhere, it's just changed shape.

What it becomes (and this is the part he couldn't have explained to you on the night you met him, the part he can barely admit to himself even now) is anchoring.

Sex with you stops being an itch he scratches and starts being a place he goes to feel alive. Jason came back from being dead, and most of his life since has been spent at a slight remove from his own body, vigilant, watchful, half a step outside himself in case he needs to move; with you, in your bed, his face pressed against yours, your hands on his back, your breath on his throat, he is (for the duration) in his body, in the moment, here, and he can feel his heart going, and he can feel yours, and the proof that he's still alive is so loud it drowns out everything else.

That quiet, that presence, is something he can't get anywhere else and has stopped trying to find anywhere else.

So the appetite changes shape. He still wants you fast and rough (that mode never goes away, that's just in him) but a lot of the wanting becomes about closeness, about contact. Feeling you pressed against him in real time.

He wants long unhurried hours where neither of you has anywhere to be. He wants the lights on so he can see you. You on top of him with his hands on your hips so he can feel you moving, breathing, being there. He wants to fall asleep with his face against the back of your neck because the rhythm of your breathing is the only lullaby that ever worked. He wants (and this is the one that costs him the most to want) to be held while it's happening.

Your arms around his ribs, your mouth at his temple, your whole body wrapped around him while he moves inside you, and he will never ask for this, but if you do it, if you wrap your legs around his waist and pull him down against you and hold him tight, his whole frame will settle in a way you've never felt from him before, and the sound he makes will be something between a groan and an exhale and a quiet, broken fuck, and you will know.

You'll catch him, sometimes, in the middle of it (eyes closed, forehead against yours, his rhythm slowed almost to nothing, just staying there inside you, breathing, his hand splayed flat on your sternum over your heart) and he'll not be moving toward an end. He'll not be building toward anything. Just be with you, in his body, breathing in time with you, and you will understand that he isn't trying to come, he's trying to stay, he's trying to make the present moment last because in the present moment he is alive and you're alive and the both of you are warm, breathing and the world has not ended yet.

And the tell (the one that gives him away, the one you'll learn to read) is what Jason says at the end. In the early days, after, when he could still pretend, he'd give you the smirk and the joke: "yeah, that'll do, sweetheart," a kiss to your forehead, a stretch, a deflection.

Later, after the wanting changes, he stops saying anything at all for a long minute, and then what comes out (quiet, half-mumbled, into your hair, like he's not sure he means to let you hear it) is some version of "don't move, just—don't move yet," or "stay there, stay right there," or simply "god, I needed that," and he's not talking about the sex, not really, he's talking about you, about the warmth of you, about the proof of you, about the fact that he's here and you're here and for one more night he gets to stay.

He also gets quieter over time in general, which you will find a little shocking. Jason is mouthy, Jason is a shit-talker, Jason will happily narrate the apocalypse if he could.

But as he gets deeper into his feelings there are stretches in bed when he just goes silent, and the silence isn't absence, it's the opposite. It's him being so present he can't quite manage the words.

The first time it happens you'll wonder if something is wrong, and it's not, it's the most right something has ever been. You'll feel his breath ragged against your shoulder, his hand fisted in the sheet next to your head instead of running its mouth, his rhythm slowed almost to nothing.

The first time he comes quietly (without the muttered curse, without the bitten-off line of dirty talk, just a long shuddering exhale against your throat and your name, once, not loud) you'll know that something has migrated in him, that this is the version of him that didn't exist three months ago, and you will stroke the back of his neck and not say a word about it.

The vulnerable conversations happen at 3 a.m., in the dark, when neither of you is looking at the other, because he can't do them face to face. He needs the cover. He'll tell you things in bed, after sex, in the warm aftermath when his guard is down. About Ethiopia, about Sheila, about waking up in the dirt, about the year he can't really remember.

He'll tell it flatly, quietly, and wait for you to react, and don't react big: don't gasp, don't well up, don't reach for him too fast, he's testing whether you can hold it without dropping it. The way to win is to listen, to ask a quiet question, to not try to fix anything, to let him say the thing and then let it just exist in the air without you needing to clean it up or soften it.

If you do that, he'll tell you more, slowly, over months and months. The story of him will arrive in fragments and you will assemble it like a mosaic, and he'll never once say "thank you for listening", but the way he kisses your forehead before he leaves will mean it. You'll eventually realise that the sum total of what he's told you is more than he's ever told another living person, and you'll understand that this is what he has instead of words for love.

He will also, occasionally, ask about you (quietly, in roundabout ways, in the dark) and the rule there is the inverse: he wants the real answer, not the cleaned-up one, because he can smell a lie at fifty paces and the fastest way to lose his trust is to give him the version of yourself you give to people you don't know yet.

Jason doesn't want to be one of those people, even though he hasn't earned the right to ask not to be, and what he's doing when he asks you a question at 3 a.m. is asking let me in to the room I haven't earned yet, and the answer is supposed to be yes, but the yes has to come in the same coin he's paying in: quiet, unfussy, no big deal, while neither of you is looking at the other.

He doesn't say he loves you for a long time.

The first time will be by accident, muttered into your hair when he thinks you're asleep, and you have to pretend you didn't hear it because if he knows you heard it he'll panic and undo it.

The second time will be in a fight, yelling, angry: "Because I fucking love you, you idiot, that's why!" and then a horrible silence, then him walking out, then him coming back four hours later with takeout and not bringing it up.

By the time he can say it sober, calmly, looking at you, it will have been a year, maybe more. When he does it will undo you, because he will say it like it's been on his tongue the whole time and he's just finally letting it through, and his voice will be a little rough, and he'll not break eye contact, and the way he says your name after will be the kindest sound he has ever made.

And the first time he says it in bed (which is later, much later, because for him these are different rooms) the first time he says it mid-fuck, breathed against your throat, ragged and ungoverned, I love you, fuck, I love you, you'll know that the wall has come down all the way.

That this is the version of him no one has ever gotten to see, and what you do in the next thirty seconds will become the foundation of the rest of your life with him, and what you do is: you don't make it weird, you don't make him repeat it, you don't perform astonishment, you just say it back, simple and sure, and you let him hear it, and you let him have it, and you let him know that the room he just opened a door into is one he is allowed to live in.

Aftercare, which he would rather die than call aftercare but which he does, every time: he gets you water (always water, the man is on a mission), he cleans you up (his hands are surprisingly gentle for someone who breaks ribs for a living, there's a particular thing he does where he runs a warm cloth over your stomach, your thighs, with the same focused patience he uses for cleaning a wound, and you'll never quite get used to how careful his hands can be when he wants them to be).

He'll check casually like it's nothing whether anything hurts, and if it does he'll be quiet about it but he'll be careful with you for the rest of the night; he'll get you food if it's that kind of hour, he'll let you wear his shirt.

He likes you in his shirt, and he doesn't have the language for why, but there's a softness in his face the first time he sees you in one of his too-big henleys that you will think about for years, and if you fall asleep on him Jason will not move. He'll lie there dead-still for hours even if his arm goes numb, because he doesn't want to wake you, and this is the most romantic thing he's capable of and he does it constantly.

The aftercare also evolves: in the early days it was efficient, almost practical (water, check-in, joke, distance), and over time it becomes longer, more lingering.

He stays in the bed instead of getting up, he traces shapes on your back with one finger while you doze, he'll talk to you about nothing, real nothing, the stupid shit. What he ate that day, something a kid said in a bodega, the dog he wants you both to maybe think about getting (a sentence which makes him visibly regret saying it the second it's out of his mouth), and these post-sex small-talk hours become, by month eight or nine, one of the most important parts of your relationship.

Because this is when he's most himself, the least armoured, and also the funniest, and you'll find yourself looking forward to them in a way that has nothing to do with the sex and everything to do with the man underneath the noise.

On the nights when he needs aftercare (and there are nights) he won't ask, but you'll be able to tell: he'll be quieter than usual, his hands will linger longer than usual, he won't joke as fast as he normally does, and the way to handle it is the same way you handle his trauma stories: don't make it a thing, don't ask if he's okay (he'll lie), just stay close, bring him water, run your fingers through his hair while he's lying with his head on your stomach pretending to be asleep.

When he eventually says something (usually a half-sentence, half-mumbled, bad day, or just don't go yet) you say okay and you don't go, and that's how he learns, slowly, that there's somewhere on this earth where he's allowed to need things, and that the somewhere is you.

Jason doesn't sleep well. This is the single most important thing to know about being in his bed.

He doesn't fall asleep easily, and when he does he doesn't stay under, he's a light sleeper because if he wasn't he'd be dead again. He has nightmares all the time (about the warehouse, about the crowbar, about his mother, about the Pit, about Bruce's face, always the face), he wakes up with his hand already moving toward where his gun isn't.

Early on this means he doesn't sleep over: he'll fuck you and leave, or he'll wait until you're under and slip out the window, and he'll feed you a line about "shit to do" and you both know it isn't true.

When he finally starts staying (and it'll take time, and you'll want to mark the date) there are rules nobody told you about that you'll learn by trial and error: he sleeps on the side closest to the door, always, don't argue.

He keeps something within reach (a knife under the mattress, a gun in the drawer), he won't apologise, you'll get used to it or you won't.

Don't wake him by touching him. Say his name first, say it twice, thrice. He has exactly once grabbed your wrist hard enough to bruise it because you reached for him at the wrong moment, and the look on his face when he registered what he'd done was the closest you've ever seen him come to regret. He didn't sleep over again for two weeks after that, and the thing that finally fixed it was you showing up at his apartment with your wrist healed and saying nothing about it, just climbing into his bed like nothing had happened, because he needed to learn that you weren't going to keep score, and you needed him to learn it on his own.

He runs hot (stupid hot) he's a furnace and he steals all the blankets and he doesn't care, and if he stays the whole night you'll wake up tangled around him.

Because he's a clinger when he's actually under, he'd just rather die than admit this, and you can feel his face against the back of your neck and his arm heavy across your waist and his breathing slow and steady, and it's the only time you ever see him truly soft, and it's gone by the time he wakes up.

The morning after the first time he stays the whole night, he'll be weird about it. Quiet, gruff, making coffee with his back to you. You'll think you did something wrong, but you didn't; he's just rattled, because he slept, actually slept, and he didn't wake up swinging, and somewhere in the part of his brain that doesn't talk to the rest of him there's now knowledge that says safe here, and he doesn't know what to do with that, so he is, as always, an asshole about it for a few hours until he settles.

The big picture, the actual truth of dating Jason Todd is this: he will never be easy.

He'll never be the boyfriend who texts back in under ten minutes, who shows up on time, who tells you he loves you in the morning over coffee. He's been broken and reassembled and broken again, and the seams show. He's dangerous and grey in a way that means sometimes you'll not love what he does. He kills people (he has rules about it, but he does), he keeps things from you, he disappears, he's occasionally an asshole.

But he's also the man who, when you're sick, will sit on the edge of your bed for six hours and not check his phone once. He's the man who memorises your coffee order the first time and never gets it wrong.

He's the man who, when you tell him about a thing that happened to you when you were younger (a thing you've never told anyone, a thing that still wakes you up sometimes) will sit with you in the dark and not say anything at all. Because he understands that some things can't be fixed and he won't insult you by pretending they can.

He'll just stay, all night, without moving, and he is, against everything that was done to him, a person who chose to love you, knowing what love costs, knowing what it does when it goes wrong, knowing how it ends sometimes in a warehouse in Ethiopia with a crowbar and no one coming, and he chose anyway, and he keeps choosing, and that is not nothing—that is, for Jason Peter Todd, everything.

He is the worst and you will love him forever, godspeed.

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