Lucky Charms
Looney Tunes Part Two
Konig/Reader
Word Count: 1.4k
No use of Y/N
Summary: You have some more encounters with König, the mysterious man who lives in your apartment building.
A/N: König being unintentionally terrifying is so funny. He’s shy and he’s a giant murderer for hire, excuse him for constantly throwing off the vibe. Let me know if you want to be tagged in part three!
AO3 Link: Looney Tunes
You've got bags of groceries hanging from your arms, pinching at your skin, precariously balanced, a white knuckle grip on the laundry detergent that's determined to slip through your fingers before you reach your apartment. The man steps on the elevator with you, and you can feel your face heating up as he looks at you.
You haven't seen him since the night he'd kissed you, and you wondered if he thought of you everytime he rode the elevator. You certainly thought of him.
He makes no effort to disguise his staring, looking down at you with a flat expression, taking in your overflowing arms.
"I hate making more than one trip to my car," you say, answering the question he didn’t ask, shrugging as much as you can with your arms full. You swear you see his eyebrow twitch.
Amusement? Irritation? It's impossible to read him. Instead, you drop your gaze, feeling his eyes still on you.
"My name is König." He says abruptly. Your eyes jump back up to his face, and it's his turn to look away as you grin, introducing yourself.
When you go to get off the elevator, he plucks the detergent out of your hand, gesturing silently for some of the bags you carry. He follows you to your apartment soundlessly, placing the bags down outside of your door. You throw your 'thank you' at his retreating form, and he doesn't acknowledge it.
Later, when you're putting away your groceries, you say his name out loud, tasting it on your tongue.
One of the lights in the parking garage is flickering again, and you sigh in annoyance as you look up at it. The apartment complex took months to fix the last broken bulb, so you’re unenthusiastic about the prospects of a quick repair. It puts you on edge, affecting the visibility and giving the garage an eerie feeling.
“It’s just like a horror movie,” you mumble to yourself, attempting to break the tension you feel as you head towards the exit. It’s late, your workday running longer than it should’ve, and you can’t help the itch of anxiety crawling up your spine.
You pass an unfamiliar man, standing still in between some of the cars. His eyes are on you, and you grip your keys tighter in your hand, speeding up. You hazard a glance over your shoulder and find he's disappeared, and your eyes search the parking lot behind you.
Distracted as you are, unfocused on where you're going, you slam straight into a solid wall of a person. You let out a shriek, head whipping back around and nearly fall backwards as you attempt to scramble away. Two solid hands firmly grip your shoulders, preventing you from tripping. König is standing in front of you, and you sag against his hold in relief.
“You scared me!” you exclaim, a hand going up reflexively to your chest.
“You should be more cautious, häschen,” König responds, and you swear there’s the faintest trace of a smile on his face, the subtle quirk of scarred lips. “Most people look where they are walking to, not where they are walking from.”
You let out a sigh and roll your eyes with a smile, the anxiety seeping out of your body. “The stupid flickering light really freaked me out,” you say, gesturing at the ceiling. “And then there was a man staring at me, but he disappeared.” König nods thoughtfully. His hands are still on your shoulders, and there’s a beat as you both stare at each other.
König clears his throat. “I will speak to the complex maintenance about repairing the light. As for your mystery friend–” König pulls back and slides one finger across his throat. You laugh at the joke, even though he’s not smiling.
König insists on walking you back to your apartment despite your objections, and although you know you were just being silly, you’re touched by the gesture.
“Thank you, König,” you say, lingering in the doorway, and something in his eyes seems to sharpen when you say his name.
You're eating cereal on your couch, watching cartoons when you should be sleeping. It's a childish habit, but after a long day, you're feeling sentimental and too burnt out to process anything with substance. Scrolling through your phone, half paying attention, you almost miss the soft knock on your front door.
König is standing outside, his face obscured by something that looks like an executioner's hood. The gear he's wearing makes him seem even more massive, a mountain of a man standing in front of you.
"May I come in?" He asks, his accented voice low, and you're so caught off guard by the request that your jaw drops.
König stares at you and you stare back, contemplating the matter.
You probably shouldn't let him in, this hulking monster in a mask. You don't even know him really, only interacting a couple of times. He's kissed you, and it was a knee buckling, eye rolling kiss, but does that necessarily grant him access to your apartment?
Your logistical side loses when he lets out a sigh, a huff of air that borders on a whine. You step aside, waving him to the couch as you go to the kitchen to grab another bowl of cereal for him. You want to know why he's here unannounced, but you're unwilling to disturb the delicate balance between the two of you, so you say nothing. He pulls off the mask, eyes on the TV.
“Looney Tunes?” he asks, his voice amused. Daffy Duck lets out a shriek in the silence between you two, and you snort.
“Call it a guilty pleasure,” you reply. König’s eyebrow twitches. You offer him the bowl, and his large fingers brush against yours, shockingly warm and rough. His eyes seem to glint at the contact, an almost avian intensity that makes your skin flush.
You sit down a measured distance away from him, and go back to eating your cereal, attempting to display a level of casual that you do not feel. König seems unaffected, sprawled on your couch, crunching away like he does this every night. He's got his boots on still, tacky with a dark liquid you think could be blood.
"Uh… not that I don't appreciate the company…" you begin after a beat of silence, turning to face him. It's the first time you've seen him really smile, and a part of you is unsure if you like it, the almost predatory glint of teeth.
"I just wanted to see if you'd invite me in." He responds to your unspoken question, his voice rumbling deep from his chest, and there's a sharp edge to his words that make the hairs on the back of your neck prickle.
There's a beat, and your expression must tip him off to your discomfort because his eyes widen.
"I didn't mean– I am sorry I misspoke– sometimes my translations are–" he's stammering, and you instantly relax, feeling guilty for your involuntary reaction.
"No! No it's okay I was just… surprised. I'm glad for the company" You say in a rush, your voice unnaturally high. "You're always welcome to come over."
He smiles again, softer than before. His eyes haven't quite lost the cutting focus, but you smile back, relaxing a little as he takes another bite of cereal. You fall back into companionable silence.
It's late, and you're starting to fade, eyes drooping, curled up into yourself. König hasn't moved from his post on the end of your couch, his empty bowl still cupped in one hand, and you drowsily wonder if it's a military habit, the way he sits with perfect stillness. You stifle a yawn, and he glances over at you without moving his head.
"It's getting late," he says quietly. You watch as he rises in one fluid motion, large strides leading him with a seemingly practiced familiarity to your kitchen. He places his dish in the sink and reaches for the soap. You sit up.
"It's alright, I'll wash the dishes tomorrow," you call out, wiping your eyes, and he nods. You stand as he heads towards the door, your legs slightly unsteady.
"Thank you for the cereal," he says quietly, a hand on the doorknob. You think there is a light dusting of pink around his ears, but it's too dark to really tell.
You smile at him. "You're welcome."
König pauses, turning towards you.
You idly wonder if he'll kiss you again. He looks down at you with an inscrutable expression, bringing a large hand slowly up to your face, the ghost of his fingertips skimming your jaw. You let out an involuntary gasp at the contact, your skin electrified, and he drops his hand.
He opens the door, and you notice his fingers are still curled, as if he's cupping the sensation of your skin against his, holding it in his palm.
"Good night little rabbit," König whispers, a silhouette in your doorway. "Catch you later."
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Taglist:
All for you @whos-fran my beloved (the first person to ever ask to be tagged)
If anyone else would like to be on the taglist for part three reply or reblog this post :)
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stuff i never finished and why
hello and good night . i'm just gonna ramble about stuff so yeah
swings
oh man i really loved this drawing . but it was a PAIN IN THE ASS .
i had a bunch of problems with this one . i spent an embarrassing amount of time doing the line . then after i started painting it on Ibis paint i realized that i should've done the line with a textured brush .
then the background . i really couldn't make it look nice even if i tried . i spent so long just trying stuff and searching for references but i just couldn't get it right . the colors and the lightning kept looking weird .
and just when it was looking decent , oh no the file is corrupted !!! and if i wanted it back i would have to go through a speedpaint of a drawing that took me 28 hours ( i actually tried it 😭😭 but it was taking so long and after some time the app crashed )
so , i decided to just give up . i was already fed up with it . maybe some day i'll try to redraw it or something
edit : oh wait a second . this drawing makes no sense without the background . edgar looks like that because there's supposed to be a puddle under scriabin's swing and he's trying to get edgar wet with it
otgw x chapter 20 / 21
i just said i loved the other one but THIS ONE . this one is SO PRETTY and i was so excited to try some new brushes and overall just finish this . excited enough to start painting edgar without even finishing scriabin's line .
i was using a small tablet my friend let me borrow . it was actually so helpful because i could draw on my phone with it !! i used to work on this when i was at school .
then i started having problems with the background . again
then my friend told me that his mom didn't agree with him giving me the tablet and that he should give it to his sister instead so i had to give it back . great . at that point i didn't feel like finishing it so
random reference i found in pinterest
this is like a month old maybe ???? i just thought " oh this would be such a fire pfp " and after finishing the sketch i was like " alright i'll finish this tomorrow " ( i never finished it )
mostly didn't finish it because i didn't have any idea to make it look lifeless and tragic . oh well . maybe i'll try it someday i still think it's cool
papa's cheeseria
this one isn't really unfinished . i just wanted to make a doodle sheet but never drew anything else so now he's just there . alone in a blank space . poor guy .
so yeah . everytime i play papa louie's games i always make the workers look like edgar and scriabin . i thought this default outfit looked pretty cool so so i had to draw it
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oh man ok i need to gush about moonlight chicken for a second lol
i adored how this show didnt shy away from the messiness of real life and relationships! like u hav a single gay working class man desperately trying to make ends meet and struggling with the guilt of his past lover having died tragically whilst bringing up his nephew who wants to be taken seriously and finally fly the nest to live his own life whilst at the same time navigating his crush on a lonely deaf boy who just wants to be understood and respected. and then you have a man stuck in relationship limbo where he's unable to let go of his past love but also yearning to move on and free them both from the pain they cause each other... and that's not even to mention the side characters who deal with the loss of parents, unfaithful partners, unplanned pregnancies, trying to be a better mother to your son, etc...
no one was a villain, instead you had a group of people who needed to grow and learn in a very natural way, and that's just so refreshing to see! honestly one of my fav parts of the story is that rather than inventing some arbitrary dramatic reason for wen and alan to break up, it just happened because their love had fizzled out, a thing that happens all the time in real relationships! and even though their love had died, it was still obvious that they cared deeply for one another which made both of them trying to move on so much more painful...
so much of this show was about the cycles of emotional abuse that can develop when you're stuck in the past... jim is unable to see a happy future for himself because he blames himself for beam's death, and he let's that anger and resentment inform how he treats li ming. wen is ignoring the messiness of his relationship with alan in favour of pursuing jim, but knows deep down that neither will be able to truly move on unless he deals with the situation. even heart's parents are stuck unable to relate to or be willing to understand their deaf son as they continue to isolate him from the outside world, thinking that it will protect him but all it does is make him even more lonely!
idk i just loved how the show focused so much on living in the moment. that the past is fixed and the future is uncertain, but there will always be now where you can always find some glimmer of joy and optimism.
and then there's ofc the queer element of the show where we get to see how internalised and external homophobia exist as perimeters to queer people being able to truly be themselves. one of the most heart wrenching scenes is at beam's funeral where his parents come up to jim and effectively tell him that because he and beam weren't married, he has no legal rights to any of the things they had worked so hard for together! and this is something you hear time and time again, both historically and now, where queer couples in countries that dont recognise gay marriage or even civil partnerships are denied so much (particularly when one of them dies) because their relationship is deemed illegitimate by law.
jim as a character has internalised this so much that when he finds out his nephew is gay, he lashes out (in one of the funniest scenes ever, mind you lol... literally the whole 'why are you gay, isn't being poor enough of a challenge!?' thing is gonna stick in my mind forever i love it sm lol) because he knows first hand how hard it is to be a queer man in a society that still doesnt fully accept you! (and it rly showed the disparity between him, a working class man, and wen, someone from a middle class/wealthy background when it comes to queerness that i don't think gets discussed as much... cos the fact of the matter is that for a long time queerness /was/ effectively reserved for wealthy people, as working class people wouldnt have had as much of a choice in how they could live their lives, so jim's reticence when it comes to accepting li ming's (and his own) queerness is directly tied to how being poor doesnt always allow you the luxury of simply 'being yourself'...)
and i think it was especially interesting that this show didnt present homophobia in individualistic terms. we don't get a character calling them slurs or saying that they're wrong for being gay, instead we get systemic and societal prejudices showing up in insidious ways, which feels so much more realistic! (like even jam, who is presented as having outdated and homophobic opinions, isnt presented as some evil villain. she's just a product of a homophobic society that teaches people being gay is a sad way of living, and she has to unlearn that as both her brother and son prove her wrong!)
i honestly could (and probably will) go on but yeh... this show man... this show
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You may have already mentioned this in some of your other metas, and I just missed it, so please ignore this if it's redundant.
Do you think Bruce is projecting onto Jason by pushing him as a Robin? Obviously, Jason wanted to be Robin and was excited about it, and Bruce let Jason do other things, but (if I'm not mistaken) before Tim came into play, solidifying the whole Batman needs a Robin/support to keep him upright, Bruce and Dick becoming Batman and Robin, in the beginning, was also sort of a coping mechanism.
I think there are a few examples of Bruce enabling this kind of mindset. Like in Gotham Knights #43–44 (sorry), every time Barbara brings up Jason's inner turmoil, Bruce refocuses on his ability as a Robin; similarly, when Jason finds out about Two-Face and his dad, he is hurt, and Bruce acknowledges that but then does the same thing, zeroing in on reassuring Jason that he made a mistake but is still a good Robin.
Like, Jason got it from Bruce, but he unintentionally encouraged that kind of thinking.
oh, i definitely think that bruce is projecting on jason and that it profoundly affected jay. and, while every single one of your observations is apt, i would add that what truly made it so tragic is that he projected his own worst traits on jason while being blind to the fact that jay already shared his best qualities.
tldr: bruce projects himself on jason in terms of grief (saying that jason needs vigilantism to work his grief through) and sees his own worst traits in jason (anger) but doesn't see his own best traits in jay (compassion, love, and sensitivity). ironically, jason does end up developing all of the (projected) worst characteristics of bruce (obsessiveness, and relentlessness in pursuit of the respective perceived idea of justice). this happens even though they were barely present in his early storylines, and only ever manifested when jason was scared or lost. later, they truly came to be because of his trauma relating to vigilantism.
and the long, long version, coming with panels and quotes: under the cut.
first i want to say that the following analysis focuses very specifically on bruce's mistakes, but i don't view the overall of jay's upbringing by bruce solely in these terms. from text it is also clear that bruce deeply loves and cares about jay, and that jay enjoys being robin. now that this is clear, let's get to particularities, and start with jay's origin story.
i truly never stop thinking about the significance of bruce meeting jay in the crime alley, the place of his parents' death. there's a lot to be said about it, but here the focus is, of course, on the fact that he sees a little boy, very much similar to himself, angry and hurt, in the same scenery that brought him so much grief. and jay in some ways does appear to be a mirror of bruce's own agonies, as well as a mirror of his own inclination for seeking justice; and somehow, bruce fixates on the first one, while almost completely dismissing the latter.
bruce looks at him and assumes that the remedy to jason's pain and anger is being robin; and he doesn't stop to think about it. (it has to be noted that there's also classism at play, classism that is mostly a result of writers' own beliefs – collins did state in a couple of interviews that that the motivation behind jason's background was to make his introduction into vigilantism seem less offensive, as jason has already been exposed to crime...)
i think, in this context, it's interesting to look at the two-face storyline even closer, and from the start too. in the beginning, bruce talks of jason's 'street' roots and assumes jay would go "down the same criminal road that took his father [willis] to an early death." he also talks of jason making a lot of progress. later, in batman #411, after jason learns that willis has been killed by two-face, bruce comments that jay "has never been like this...listless...almost pouting--"
this all, along with jay's cheerful and diligent behaviour from the previous issue builds an interesting picture for us: because we essentially learn that jay has been overall an unproblematic child. bruce, of course, attributes this "progress" to the training. however, for anyone else, the logical conclusion would be that jay's quick adjustment was simply a matter of finding himself in a safe and stable environment and receiving continuous support and attention from a parental figure. i find it rather questionable that jason's personality softened down because he had something to punch in the cave–– the more intuitive explanation is of course that he was angry and quick to fight when they first met because he couldn't afford anything else and because he was scared. but months later, in a loving home, he can allow himself to drop his guard; and his cocky attitude disappears until much later.
so the rather unsettling picture that we derive is that bruce is training jay to become a vigilante in order to "channel" his (nonvisible at this point) anger into something useful and just. and he clearly links this to his own trauma in batman #416 (that’s already starlin btw), in his conversation with dick, explaining why he took jay in: “he’s so full of anger and frustration… he reminds me of myself, just after my parents were killed.” bruce also mentions that soon after their first meeting, jason helped him and "handled himself well" in the fight, but he doesn't mention that jay has ran away from a crime "school" and intended to stop injustice on his own only because he was ignored.
the theme of bruce comparing jay to himself appears again in detective comics #574 (barr), where it is approached with a much more... critical look, thanks to leslie's presence and her skepticism of bruce's actions. after jason has suffered nearly fatal injuries at the hand of the mad hatter, bruce reminisces on his own trauma and motives. he tells leslie: "i didn't choose jason for my work. he was chosen by it...as i was chosen." leslie replies: "stop that! (...) you do this for yourself... you're still that little boy (...)" then, the conversation steers to the familiar ground and the topic of anger. in bruce's words, again: “i wanted to give jason an outlet for his rage…wanted him to expunge his anger and get on with his life…” and finishes "and instead, i may have killed him."
the recognition that bruce's projection on jason and involving him with his work might have fatal consequences is, as always, fast forgotten once jay wakes up and proclaims that he wants to continue his work as robin.
but to circle back, i think there's something else worth our attention, something deeply ironic, that is showcased in that issue: that bruce has no evidence for jay's "rage." when leslie talks of bruce's past, she recalls his tendencies to get into brutal fights at perceived injustice as early as in school; when bruce talks of jason, two pictures that are juxtaposed, are that of jason fighting as robin and jason... smiling, playing baseball.
so, in the early days of jason's training and work in the field, we see bruce talking of jason's anger a lot; but we barely see it.
that being said, jay is angry sometimes– and i think your observation about how bruce deals with it is incredibly interesting and accurate.
we first see jay truly and devastatingly angry in the two-face storyline. bruce focuses on jay's reaction as robin, which is, in fact, aggressive. but something that he barely addresses is that jason's first reaction is sleeping all day, and not beating anyone to a pulp; in fact, this vengeful instinct seems to arise only when he is put right in front of two-face. and his third instinct, once the rage (very quickly) dies down after the altercation with two-face, is crying, because bruce hid the truth about willis' death from him. jay, while crying, asks bruce: "you have taken me out into combat-- but you spare me this?" in response, bruce lectures jason about how grief inspires revenge, which is, again, deeply ironic, given that jay seeking out revenge seemed to be prompted and enabled solely by the role of robin. moreover, his question suggests that at this point he saw grief ("you spare me this") and fighting as two different things.
the final is, as you said, bruce focusing on making it into a lesson on vigilantism, or, in his own words, "tempering revenge into justice." personally, i think in this way bruce directs jason to bring his grief into the field as a powering force, something that he didn't necessarily have an own incentive to do. the flash of compartmentalisation between his ordinary life and being a sidekick that jay has shown by questioning bruce's decision is lost. emotions are now a robin thing, and they have an (informal) protocol, a moral code. and when jay is confronted with an emotionally exhausting case next – the garzonas case, i believe that the focus on "tempering revenge into justice" is exactly the problem– we don't see jay crying, we see him frantic about finding the solution. this, right there, is bruce's obsessiveness, that in my opinion, was developed in jay specifically as a result of how his engagement with vigilantism combines with his deep sensitivity.
and, needless to say, his sensitivity is all the same as that of bruce – they both can't stand looking at other people hurting, they both wear their hearts on their sleeve, caring way too much – the thing is, bruce never quite acknowledges how they are similar in this matter. instead, he focuses on his sparse bursts of anger, wanting to bring jason closure in his grief the only way he knows it – in a fight for a better world. so, as you said, he focuses on jason's ability as robin.
which just doesn't work for jason. at all. we know it from how his robin run comes to an end: in the first issue of a death in the family (batman #426) alfred informs: “i’ve come upon him, several times, looking at that battered old photograph of his mother and father, crying.” to that, bruce contends: “in other words, i may have started jason as robin before he had a chance to come to grips with his parents deaths.” he also tells jay that the field is not a place for someone who is hurting; a message that is the opposite of what he's been saying for years now, and something that i imagine was difficult for bruce to conceptualise, because then he would have to question his own unhealthy tendencies. it's a bit late to come to this realisation; bruce's self-projection that caused him to worry so much about jay's anger has already turned into a self-fulfilling prophecy that will fully manifest itself in utrh, when jason does the only thing he was taught to do with grief: try to channel it into justice.
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