gotham trauma with dc men
characters roy harper, wally west here, hal jordan here, kon-el kent here, john constantine here
content gn! reader, 'babe'/'baby' used, trauma recovery, childhood trauma, hurt/comfort, child exposure to violence/crime, scarecrow/fear gas mention, hostage situation mention, brief refs to roy's addiction/recovery
author's note just noting here that for some of these characters i am not the most well versed with their lore/stories/etc. so please forgive any creative liberties taken! (also note they may come across as ooc)
Roy thinks he has a pretty solid tolerance for âweird life stories.â Heâs been an addict. Heâs been a hero. Heâs been a sidekick. Heâs been abandoned, judged, used, underestimated, and dragged through the emotional wood chipper enough times that he generally assumes nothing can truly shock him anymore.
Then he dates someone from Gotham. And you humble him immediately.
The first time it happens, itâs so casual he genuinely thinks he misheard you.
Youâre both making dinner. Roy is barefoot in your kitchen, sleeves pushed up, complaining dramatically about how your knives are âcriminally dullâ and how this is âhow people lose fingers, babe.â Youâre stirring sauce at the stove, completely relaxed.
The news is playing quietly in the background. Some anchor says something about Arkham security upgrades.
Roy looks over. âWhat?â
âNothing. Just funny theyâre pretending Arkham security upgrades ever work.â
Roy laughs, because yeah, okay, fair.
Then you add, âMy school had to evacuate once because Scarecrow escaped and they thought he was hiding in the boiler room.â
Roy stops chopping onions. He turns his head very slowly. âYour school had to do what?â
You donât even look up. âEvacuate.â
âBecause Scarecrow was in the boiler room?â
âThey thought he was. It ended up being two henchmen and a janitor having a nervous breakdown.â
Roy sets the knife down. Very carefully. âBabe.â
âWhy did you say that like you were telling me your school ran out of printer paper?â
You blink at him. âIt wasnât that bad.â
Royâs expression does this complicated thingâhalf disbelief, half grief, half âI am going to fistfight an entire city.â
Yes, that is three halves. Roy is emotionally bad at math in the moment.
âNot that bad,â he repeats.
You shrug. âWe got out early.â
âOh, cool, yeah, silver lining. Early dismissal because of domestic terrorism.â
And you laugh, because to you it is kind of funny.
Thatâs when you realise heâs actually shaken.
Not angry at you. Never at you. But thereâs something raw in his face, something unsettled and protective and deeply sad.
Because Roy understands laughing at pain. Heâs practically fluent in it. He knows exactly what it looks like when someone wraps barbed wire in a joke and calls it a personality.
And, suddenly, he sees it in you.
After that, the floodgates open accidentally.
Not because you sit him down and decide to tell him everything.
You keep dropping the most horrifying Gotham anecdotes in the middle of completely normal conversations.
Roy will say, âI hated cafeteria food as a kid.â
And youâll go, âSame. Ours got shut down once because the lunch lady was using expired meat from a Falcone front.â
Roy stares. You continue eating cereal.
Or heâll complain about traffic.
Youâll say, âAt least your bus route wasnât rerouted because Killer Croc was in the sewers again.â
Roy slowly lowers his coffee cup. âAgain?â
You tilt your head. âYeah?â
âLike⊠more than once?â
Roy leans back in his chair, staring at the ceiling like heâs asking every god, ghost, and Green Lantern battery in the universe for patience.
âBaby, I need you to understand that sewers are not supposed to have recurring boss fights.â
The worst one, though, is when he realises you donât categorise these things as trauma.
To you, trauma is something dramatic. Something cinematic. Something with rain and screaming and blood on white tile.
Gotham taught you that anything you survived quietly didnât count.
So when you mention being held hostage during a bank robbery at twelve, you say it like this: âOh, yeah, that bank used to have really good lollipops. Shame about the hostage thing.â
You look up from your phone. âWhat?â
âIt was before high school.â
Roy rubs both hands over his face. âOkay. Okay, Iâm gonna need a second.â
You immediately get defensive, because thatâs another thing Gotham gave you: the instinct to make your pain smaller before anyone else can decide itâs inconvenient.
âItâs not a big deal. Nobody died.â
Roy looks at you then, really looks at you, and his voice gets quiet.
âThat doesnât make it okay.â
And that lands harder than you expect.
Because Roy isnât saying it like a slogan. He isnât trying to therapy-speak you into a breakthrough. He just sounds⊠certain.
Like this is a fact. Like gravity. Like sunrise. Like you were a kid, and it should not have happened.
Roy starts noticing things after that.
The way you always choose the seat facing the door. The way your whole body goes tense when someone laughs too loudly behind you. The way you know how to identify exits in every building before you even know where the bathrooms are.
The way you never fully relax during city-wide celebrations, parades, festivals, or anything involving balloons, confetti, clowns, riddles, masks, green smoke, purple suits, question marks, blackouts, or âsurprise entertainment.â
Roy notices how you freeze when someone says, âDonât worry, itâs safe.â
Because in Gotham, that sentence usually meant it was about to get very much not safe.
He doesnât call you out in front of people.
Roy has been pitied before. Handled. Judged. Watched like he was one bad day from shattering.
He refuses to do that to you.
You go to a restaurant, and he automatically gives you the chair with the better view. You enter a crowded room, and his hand brushes yours, just enough to remind you heâs there. Thereâs a sudden loud noise, and he doesnât say, âYou okay?â in that big, obvious way that makes everyone look.
He just bumps your shoulder and murmurs, âWith me?â
And you can nod or squeeze his hand or make a joke.
Roy is big on choice. He knows what it feels like when life takes too many of them away.
The first time you have a nightmare around him, you expect him to panic.
You jolt awake, breath caught in your throat, hand already reaching for something that isnât there. A weapon. A flashlight. A lock. Proof that you are not back in Gotham.
âHey,â he says softly. âHey, itâs me.â
Youâre embarrassed before youâre even fully conscious.
Royâs face crumples a little. âDonât apologise.â
âYouâre allowed to wake me up.â
He doesnât grab you right away. He doesnât cage you in affection, even though every protective instinct in him is screaming to hold you.
He asks, âCan I touch you?â
And when you nod, he pulls you in slowly, one arm around your back, one hand resting between your shoulder blades.
Grounding. Warm. Present.
You mutter into his shirt, âIt was stupid.â
Roy presses his cheek to your hair. âWas it Gotham stupid or regular stupid?â
Despite yourself, you laugh.
He smiles faintly. âThere you are.â
He never forces you to talk about it, but if you do, he listens.
Roy is a good listener when it matters. Heâll joke through his own pain until the room catches fire, sure, but with yours? He becomes steady in a way that surprises even him.
You tell him about your old apartment building. The one with three locks and bars on the windows.
You tell him about the sirens. About learning which streets not to walk down. About the way adults used to say, âThatâs Gotham,â as if that explained everything. About how moving away felt less like freedom and more like waiting for the city to realise youâd escaped.
He holds your hand and traces his thumb over your knuckles.
Finally, he says, âI hate that you had to become tough that young.â
You donât know what to do with that.
Roy catches it. He always catches it now.
âThat shrug,â he says gently, âis gonna kill me one day.â
âThe âIâm pretending this didnât hurt because I donât know what happens if I admit it didâ shrug.â
He gives you a crooked smile.
âYeah. Iâve got one too.â
Thatâs part of why it works with Roy.
He doesnât stand outside your pain looking in. He sits down beside it, battered and familiar, like, Yeah, this neighbourhood sucks. I know a shortcut out, though.
He tells you pieces of his own story, too.
Not all at once. Not like a trade. Not âyou showed me yours, so hereâs mine.â
But slowly. Honestly. He tells you about addiction. About loneliness. About making mistakes people never let him forget. About the kind of shame that follows you like a shadow with teeth.
And you realise Roy isnât shocked because he thinks youâre broken. Heâs shocked because he knows broken systems love to make survivors think theyâre the problem.
That makes you feel safer than you expected.
Roy becomes incredibly determined to give you normal experiences.
Not in a cheesy âletâs heal your inner child with Pinterest activitiesâ way.
He starts a mental list called Things Gotham Probably Ruined For My Partner But Iâm Built Different And Also Very Handsome.
You do not know the official title. You only know that Roy suddenly starts planning oddly specific dates.
A picnic in a park where nothing explodes. A carnival with no villain attacks, where he wins you a stuffed animal and then acts like he personally conquered Olympus. A museum date where the only crime is the gift shop pricing. A quiet movie night where the villain on-screen laughs maniacally and Roy immediately turns to you and says, âToo Gotham?â
Sometimes it is. Sometimes it isnât.
Sometimes you surprise yourself.
Sometimes you have to leave early.
Roy never makes you feel bad about it.
He just says, âCool, new plan,â and pivots like it costs him nothing.
You leave a crowded street fair once because a performerâs laugh hits too close to old memories. Youâre shaking, furious with yourself, already apologising.
Roy walks you three blocks away, buys you fries from a tiny corner place, and sits with you on a curb under a streetlamp.
You say, âI ruined the date.â
Roy looks genuinely offended. âExcuse me, these are elite fries.â
âYou think I share elite fries with just anyone?â
He nudges your knee with his. âYou didnât ruin anything. We changed locations. Very mysterious. Very sexy. Honestly, weâre thriving.â
Thatâs Royâs gift. He doesnât deny the hurt. He just refuses to let it be the only thing in the room.
He gives you laughter without using it to erase what happened.
Thereâs one night where it really hits him, though.
Youâre both half-asleep, tangled together, and you mumble something about how quiet his place is.
Roy smiles sleepily. âGood quiet or weird quiet?â
âGood,â you say. âI used to not like quiet. In Gotham, quiet usually meant something was wrong.â
Youâre too tired to notice.
You keep going, voice soft and distant. âSirens were better. At least then you knew where the danger was.â
Roy doesnât sleep for a while after that. He just holds you and stares into the dark, feeling something ache in his chest.
Because heâs loved you for your sharpness. Your humour. Your eerie calm under pressure. Your ability to pack for emergencies like a doomsday prepper with a cute jacket.
But now he understands those things differently.
And he loves you enough to be angry that you ever needed it.
âYouâre thinking too loud.â
He lets out a soft laugh. âSorry.â
âYouâre doing the thing.â
âWhere you get sad about me.â
Roy shifts so he can see your face.
âIâm not sad about you,â he says. âIâm sad for what happened to you. Thatâs different.â
Then, barely: âI donât want you to think Iâm messed up.â
Royâs expression softens so completely it almost undoes you.
âBaby,â he says, âIâm a recovering addict with abandonment issues and a bow. I would be the last person on earth with room to judge.â
âAnd for the record? I donât think youâre messed up. I think you survived a city that asks way too much of kids. I think youâre funny and stubborn and terrifyingly good in a crisis. I think you deserve mornings where nothing bad happens.â
That line stays with you.
Mornings where nothing bad happens.
Roy starts giving you those.
Soft ones. Coffee ones. Sunlight-on-the-floor ones.
Him burning toast and cursing like the toaster personally betrayed him. You wearing his shirt while he makes breakfast badly but confidently.
He dances around the kitchen with you just because thereâs music playing and because no one is chasing you and because the door is locked and because the world, for once, has the decency to stay gentle.
And yeah, sometimes the past still shows up.
Sometimes you flinch. Sometimes you joke too fast. Sometimes you say something horrifying and Roy has to take a lap around the room.
Like when you casually mention, âMy childhood dentist was arrested for working with Black Mask.â
Roy, from across the room: âYour dentist?â
âHe had good magazines.â
âWhy is that your takeaway?â
âHighlights were solid.â
âGotham owes you financial compensation.â
Roy doesnât try to rescue you from your past. He knows better. The past is not a burning building. You canât kick down the door and carry someone out bridal-style while orchestral music plays.
Healing is messier. Less cinematic. More like sitting on the kitchen floor at 2 a.m. eating cereal because sleep didnât work.
More like him saying, âTell me one thing you can see.â
More like you whispering, âYou.â
More like Roy smiling softly and saying, âGood. Iâm here.â
Heâs patient when you struggle with safety. Heâs patient when peace feels suspicious. Heâs patient when you donât know how to be loved without bracing for impact.
Roy Harper loves actively. Loudly when you need it. Quietly when you canât handle loud. He becomes the person who reminds you that survival was impressive, but it was never supposed to be your whole identity.
You are allowed to be more than what Gotham did to you. You are allowed to be silly. Soft. Needy. Annoying. Joyful. Bored. You are allowed to have problems like âRoy forgot to buy oat milkâ instead of âthe city may be under siege again.â
And Roy? Roy is honoured to witness every ordinary version of you.
The first time you say, âI feel safe here,â he nearly loses it.
He plays it cool, because he knows making a huge deal might scare the words back into your mouth.
So he just squeezes your hand and says, âGood.â
But later, when youâre asleep, he looks at you like you hung the moon with trembling hands.
Because to Roy, your trust is not small.
It is not something he takes lightly.
It is a miracle with teeth.
A brave little flame that survived Gothamâs rain.
And he will guard it with everything he has.