(angst alert !! death + slight blood tw !!)
Tim is stuck in a sticky situation and has to call a certain 'spooky' friend for help.
Jason would probably call him a dumbass for trying to do something so stupid. Well, atleast thats what Tim thinks Jason would do, he isn't for sure though, he isn't certain.
Because Jason's laying on the ground with a flat pulse and he wont be giving him any answers anytime soon.
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“Don' look so weird replacement, its just anoth’r day in gotham.” His brother slurs with the slight quirk of his lips
"Jason don't fucking do this to me!" Tim hisses tears cursing his eyes
And Jason, oh that bastard—bleeding out on the pavement and in Tim’s arms sends him his classic beaming Robin Smile.
"Love ya' little bro take care of yo'rself, kay?" he says eyes fluttering
"Jay," Tim cries, "You dick."
For all the joy and hope and belief his smile conveyed for the first time in a long time—his red blood muddled what should’ve been such a nice sight. Tim held him on the pavement with someone yelling on the comm mic on the floor that he just can’t bother trying to pay attention to.
The pavement is cold. The air is cold. His brother is cold. It’s all so cold tonight.
All the younger boy does close his eyes and slowly, In. Out. In. Out.
He lets himself breathe for a minute. Lets the horror wash over him. Lets himself absorb what just happened,
Then he gets back to work.
Like a switch his brain is back online running at a hundred miles an hour–what is the best scenario, what should I do when my brother's wrist is limp and his eyes are shut, what do I do if he’s dead again, what can i do, how can I Fix. This.
Thoughts cloud his mind, whirring around his head like layers and layers of messy documents has just been dumped on his desk and he’s shuffling through them panicked trying to find the right file because its somewhere here, there is something and he just needs to sort. it. out. And–
Then it all becomes clear.
His desk is back to clean and stationary. All of the papers are gone back into neat piles in neat manila folders, stored away in tidy filing shelves–
Everything is gone aside from one little yellow sticky note in the center of the desk.
“Well, Jay?” Tim chuckles with a cracked voice, “Second times the charm right?”
In his mind, at the center of it all, on a yellow sticky note lies the words in green ink: ‘Contact The Ghost King.’
Slowly he shifts and with a loud grunt he lifts up Jason, “Up we go!”
“--im? Why do you have Red Hood’s Comm–Tim what happened! Tim!” the comm speaker plays faintly in the background of his head, “Tim! Whatever you’re thinking off doing, don’t!” someone Tim can’t think about hisses
Tim hums absentmindedly towards the mic, almost automatically, “Don’t worry Babs, I’ve got it covered.”
Walking away from the roof he thinks to himself, I wonder where Jason would wanna wake up? Perhaps his apartment? Yea, i think that would go well by him–let’s head to the apartment.
And just like that Tim leaves a crime scene—shuffling away with a dead body over his shoulder and a plan.
“Jay,” Tim murmurs to the corpse on his shoulder, “You’re really gonna hate this, but i’m doing this for you anyways cause I love you. So dont be too hard on me when you wake up okay asshole?”
Tim stumbles off into the stairwell making his descent and sometime as he walks away Barbara faintly catches him on the comm saying
“-Your gonna love Danny and making your lame 'im a dead guy' jokes with him man .”
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The Story Behind The Song: Arctic Monkeys’ early ambitions on ‘A Certain Romance’
Lucy Harbron – Far Out Magazine | January 17, 2024
It was 2006. Mortgages were crashing, and businesses were going bust. Tony Blair was on his last legs in office as the longest-serving prime minister since Margaret Thatcher, and the hangover of ‘Cool Brittania’ was beginning to set in with an unexpected ferocity. Things were bleak when a young Alex Turner sang, “There ain’t no romance around there” through the public’s speakers. Arctic Monkeys were about to write themselves into musical history as the voice of a new generation.
The final song on their debut album, there has always been something special about ‘A Certain Romance’. In 2022, after the release of their seventh album, The Car, Turner seemed to find himself reflecting back on that 2006 track. To the musician, that early cut holds a clue to everything that was to come as he said the piece “showed that we did actually have these ambitions beyond what we once thought we were capable of”.
Coming in at over the five-minute mark, ‘A Certain Romance’ almost feels like the Arctic Monkeys’ version of a rock opera, summarising all the themes, feelings and energy that came before it on their seminal album Whatever People Say I Am, That’s What I’m Not. It has the cheekiness of ‘Fake Tales Of San Francisco’ and the catchy instrumentals of hits like ‘Dancing Shoes’ or ‘I Bet That You Look Good On The Dancefloor’. Utilising the northern charm of ‘Mardy Bum’, it stands as a final, neatly summarising point on the social commentary found in their early tracks like ‘From The Ritz To The Rubble’ or ‘Riot Van’. Really, it could be argued that ‘A Certain Romance’ is the ultimate example of Arctic Monkeys’ original sound, perfectly encapsulating all the things that made the world listen up and pay attention.
It’s like they seemed to know that, too, always allowing the song a special place. In fact, it was really the band’s opening remark. Years before the offer of a debut album came around, the group were a well-oiled machine with their own local hits. They had the northern live music scene in their hands as their homemade demo CD was passed around like everyone’s worst-kept secret. Beneath the Boardwalk features eight out of the 13 songs that would be on Whatever People Say I Am, That’s What I’m Not, albeit in a slightly different, lower-quality version. But the opening number, ‘A Certain Romance’, sounds just the same.
It’s all there, from the rolling opening drums to that final guitar solo. Recorded and produced in a rented studio at only age 17, the existence of ‘A Certain Romance’, one of the band’s most explorative and energetic numbers, in this form this early in their career feels like a diamond sitting in a mine. It proves that they were always onto something special.
They never needed any help. In fact, their producer, Jim Abbiss, noted that they even seemed nervous about the help. “I think they were probably a bit weary, like ‘who’s this guy? And is he gonna make our sound this or that.’”
They didn’t want anything to change too much, as the group already had the songs figured out. Turner certainly did, as the track’s meandering narrative about hometown lads, fights, and local boredom is already there. Talking on a podcast, original member Andy Nicholson revealed the story behind the song. “We had a practice room with a pool table in, and we had a party in there, and we invited another band who were friends of ours, and we all had some drinks,” he said. “Then something happened, someone throws a pool cue, someone throws a pool ball, and everyone ends up fighting,” he added, explaining the lyrics, “there’s boys in bands / And kids who like to scrap with pool cues in their hands.”
But the magic of Arctic Monkeys lies in their nuance. What begins as a snooty analysis of his local landscape is a genuinely affectionate take. “Well, over there, there’s friends of mine / What can I say? I’ve known ’em for a long long time / And, yeah, they might overstep the line / But you just cannot get angry in the same way,” Turner sings, looking around at his bandmates and lifelong friends. ‘A Certain Romance’ is not only a time capsule for the group’s beginnings but is an ode to all the people who were there with them. It’s an ode to the hometown that made them and all its various characters.
But as the last guitar solo roars to life, there is an unspoken statement that they’re going to be bigger than what they came from. “I remember when we were recording ‘A Certain Romance’ and having a conversation with the producer about the final guitar solo,” Turner told NME, recalling the moment these songs were reworked for their debut. But they wouldn’t let anyone mess with ‘A Certain Romance’, knowing exactly what they were doing and trying to say with that one. In the 2003 demo version, all the feeling is already there, and Turner wouldn’t risk it.
“There’s something that happens at the end of that track where we break some rules in a single moment,” he continued. What happens at the end of the piece feels even more special, considering how the album was recorded. “These are the songs we wanna do, and I think this is the order we wanna do them in,” Alex Turner told their producer, recounting the conversation in 2007 to RadioX, “And he goes, ‘alright, we’ll try to record them in that order as well.’” As the final song, that last guitar solo is the last thing recorded for the album, standing as a cathartic outlet and a chance for the band to prove themselves.
“We focused on the [emotional] effect of the instrumentals over the words,” Turner reflected on the track, concluding, “and I feel like we’ve been trying to do that again and again since then.”
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