#the core elements will be there (hopefully) but some details will be left out while new ones get put in

[orcelito]

Playing thru my plans for itnl chapter 12 like "Man this is so good ! .... what do you Mean I have to write it?"

Sometimes (like all the time) I wish I could just lift the scenes straight from my head and plop them down on the page. Unfortunately it doesn't work like that.

[mrpenguinpants-alter-ego]

Kaeya: Frostbite

This was suppose to be an offering to Albedo but I don’t know anything about him so I ended up writing him as a more laidback Kaeya. Halfway through I realized so that’s why my tags are like that. Here’s your 2k words of cake. 

I’m back :DD My first fic is on Albedo Kaeya tho haha. I don’t really want Albedo since I’m saving for Xiao (but if he wants to come I ain’t complaining, he’s vv pretty) so here is my offering birthday gift before 1.2. I saw the cold weather effect for 1.2 and my breath of the wild ptsd kicked in. Is it gay to hold hands with your significant other as an excuse to not freeze to death? 

btw I have a taglist. If you want to be added see pinned post for details.

---

Kaeya: Frostbite 

Trying to find a way into Inazuma didn’t seem likely considering the Electro archon’s distaste to visions and causing a region-wide lockdown. So the next option was to travel through Dragonspine. There had been a few disturbances noted from the Adventurer’s guild but due to the harsh climate of the snow-touched region, not many adventurers were willing to set foot near the mountain. Albedo, the Captain of the Investigation Team and Chief Alchemist, however, knew no bounds for research and discovering the “truth” of the world. This is probably why by the time you found out that one of the Favonius Captains was in Dragonspine that could serve as an excellent travel companion/guide, he had already departed for the mountain weeks ago. 

“Why don’t you ask Kaeya to take you?” Jean recommended, smiling gently at your wilting state, “Mondstadt has been quiet lately so it shouldn’t hurt to have two missing Captains for a short while.” 

Kaeya? Well, it was true that he didn’t have cavalry to command considering Grand Master Varka had taken all of them for an expedition. Would it be alright to do that? Wouldn’t the Fatui try and start something with the infamous captain away?

“If you’re worried about the Fatui it’s alright. With the event in Liyue and the role of the Fatui Harbinger, they’ve been very skittish to start anything” Lisa laughed from her spot beside Jean. It always scared you how Lisa seemed to be a mind reader. Did alchemist secretly pick it up as a hobby or was Lisa just that scary? Both were equally correct possibilities. 

“He’s starting to miss you because you’ve been away from Mondstadt for so long. Jean and I can take care of things should something happen. Go meet up with him before his mood sulks even further. Even I’m starting to feel bad” Lisa smiled, waving you off to go find said Calvary Captain. 

---

While a pyro user would be better to travel within hindsight, Diluc was busy with the winery and Amber wasn’t used to the harsh climate of Dragonspine. That left Kaeya, who had been to Dragonspine before having met with an owl. You weren’t entirely sure what significance the owl of Dragonspine had but knowing Kaeya, it could either be a wise creature or an ordinary snow owl. He was a cyro user and while that didn’t necessarily mean he was immune to the frost, he was at least in his element. You couldn’t ask Diluc to set the ground on fire and burn to death and besides, the climate was too cold for grass to burn. Plus Jean did recommend him plus you were interested in this “sulky” version of Kaeya. 

“Dragonspine? That’s quite a jump from the noisy harbour of Liyue. May I ask why the sudden change?” Kaeya smiled easily when you approached him. You were surprised he already knew what you wanted to ask but maybe Mondstadt had the same idea as Liyue, that all the walls talked. 

“Ah, I heard that there have been some unknown issues there so I wanted to see if I could help. Albedo already left so Jean recommended that I travel with you to meet him since you’ve been there before” you explained trying to stifle the laugh bubbling up as he pouted a bit.  

“So I’ve become Plan B then? I thought we had quite a close relationship and yet you’re asking me to accompany you to see another man” 

“Kaeyaa...” you sighed at him, so this is what Lisa meant by a sulky Kaeya. 

“I’m just teasing,” Kaeya ruffled your hair as he stood up from his chair, “Mondstadt’s been quite boring lately. Shall we depart?” 

---

While you knew that Dragonspine wouldn’t be an easy adventure after spending so much time in the comforting warm weather of Liyue, it wasn’t an easy experience to suddenly switch temperatures so 180. The snow made it hard for your boots to trek through and while the snowflakes were pretty they made your body temperature plummet. Your hands were cold as you started to slowly lag behind Kaeya busy trying to keep your hands warm. It wouldn’t be awhile before the next torch so you just needed to toughen it out. How the hell was Kaeya fine in this kind of weather?

“What's wrong? Can't handle the cold?” Kaeya called over his shoulder before pausing in his step studying your shivering form, “Are you alright?” 

“J-Just fine” you breathed out trying to warm your hands a bit more, “Really, I’m alright. Just a bit cold-

As if the cyro goddess herself was mocking you a strong gust of cold wind flew past you two, ripping the buttons off your coat and freezing yourself to your core. You squeaked as whatever warmth you had was chased out and replaced with the harsh bite of frost as it slowly crept up your sides before two fingerless gloves quickly closed your coat and embraced you to a warm chest

“Be careful, frostbite is dangerous” Kaeya teased even though his eyes shone with concern as he nudged your head under his chin, trying to block the wind with his back, his hair wiping in the wind tickling your face “It’ll damage your skin and tissue. Do you feel any pain? Numbness?” 

He unwrapped his white fur cloak from his shoulder and wrapped it around your neck. You’ve never really seen Kaeya express this kind of concern before. Did his cyro vision accidentally hurt him before? You don’t recall Mondstadt ever facing harsh winters. He paused before taking one of his gloves off, breathing into his hands to warm them, despite your protest. 

“Haha, sorry. My gloves aren’t the best to keep warm but hopefully, it’ll be enough,” he chuckled lightly as he slide your hands into them. His fingerless gloves might keep his palms warm but his fingers were cold as he cupped yours in his bare hands. But as a cyro user, he was probably used to it since that was how he channeled his vision. His blue-lilac eye shined in amusement as he flicked a small snowflake landing on your cheek. 

“Feeling any better?” he asked as you quickly shook your head. For how lax Kaeya seemed it was always a bit of whiplash to see him so concerned. He nodded quickly as the wind began to settle down before he slowly let go to slightly peel open your coat to see the damage. 

“Aren’t you cold? I swear I’m alright” you quickly assured but Kaeya ignored you as he brushed the side of your shirt up to see small snowflakes melting away. 

“It’s just snow, nothing too different from what I’m used to,” he muttered to himself as he brushed away the snowflakes on your waist, before wrapping you in your coat and re-buttoning your coat, “Are you cold anywhere else?”

“N-No” you answered quickly, this was not good for your heart. Where had this version of Kaeya come from? Was he always like this? “Well, I guess my hands are a bi-” 

He brought your hands up to his face as his cheeks warmed your hands as he ran his fingers over yours. Trying to transfer his heat to you as your cheeks started to flush redder and redder. He huffed amused under his breath which only served to make the red flush further down your neck. 

“Sorry, not a pyro user so this is the best I can do” he laughed lightly at your embarrassed expression. You knew it, he was teasing you this entire time. In sub-zero temperature where you both could die at any time. 

“I’m fine. Really” you pouted, at this point, you were sure you might be overheating. He chuckled at your flushed expression as you tried to unlatch your hands to cover your face as he leans his forehead against yours. 

“If you ever need me, let me know. Let's not make this a transaction relationship” he smiled smugly as you glared at him. Not that it was intimidating at all.  

“Fine, understood” you huffed as he ruffles your hair again before diving his cold fingers to the sides of your neck making your shriek as he dodged your failing arms. 

“Come on, let's get moving. We're not frozen in place, after all. As much dying here with you seems romantic, dying from the cold with a cyro vision is just embarrassing” he called over his shoulder smirked as he began walking away to the next waypoint. 

“Kaeya...”

“Sorry sorry”

---

You sighed in relief as you held your hands to the small torch just inside a cave. Away from the wind, away from the snow, and away from the cold. You could slowly feel the your muscles warm up and finally move without feeling that your bones would snap in half. You looked up at your surroundings, you never expected the giant mountain of Dragonspine to be so hollow with walkways and arches. It was really quite beautiful with all the blue ice hovering over you. Hopefully the wouldn’t break should you need to walk over them or worse, make you slip and fall. 

“Are you feeling better?” Kaeya asked as he eyed your bundled up form. His fur cloak was still wrapped tightly around your form as you breathed into your hands. He suspects that you forgotten about the cloak but he liked seeing you wear it so he never asked for it back. 

“Oh yes, so much better” you sighed out happily from your little warm bubble. 

“Just let me know if you’re still cold alright?” 

“Understood” you grinned, giving a small salute to the Captain. There’s a small pause as he nods again at you. You blink a couple times at him before Lisa’s words ring in your mind. You flush as you quickly wave at your cheeks trying to fan away the red. You shuffle a tiny bit on your feet before taking a quick look at Kaeya. 

“Um, Kaeya.”

“Yes?”

“My hands are a bit cold. So...”

“Yes?”

You pout at him. 

“Could you...”

“Could I?”

You glared at him as his chuckles slowly turned to laughter 

“Alright alright, don’t need to be so mad. Come here” 

You grinned as he held his hand out for you to take.   

[thefallenbibliophilequote]

Style

Loki x Reader

1989, chapter 3

"Her heart belonged to someone who couldn't stay"

Summary: It's hard to find the one, but even if you do find him it's always going to be a daily struggle to make it work. Can you even make it work after he broke your heart? The answer to that is complicated, but it all started when you found each other again in the Stark tower- and that's where our story begins.

Word count: 5,300

Warnings: mild angst, violence, badly written missions(I'm sorry), fluff

A/N: this song is so fun, and as always with this series I suggest listening to the song of the chapter. Let me know if you want to be tagged!

A/N: a big thank you for @chrissquares for making these amazing dividers! And thank you @nacho-bucky for beta reading this!

No one is allowed to repost my writing or steal or copy my work! Reblog on tumblr is fine.

Series masterlist

Song on Spotify and on YouTube

"Hydra is moving fast and advancing, tomorrow they are going to make a move on a not so secret lab in Germany which works on energy cores, we do not know the exact thing that they are after but we are going to stop them from getting it. Reindeer games you are quite familiar with Germany so try not to take over it this time." Tony projected then the layout of the place. You didn't dare look at Loki, you already knew the scowl he had on his face, barely distinct but you knew it was there.

"Why can't we just warn them today and ambush Hydra?" Clint asked from the end of the table. But you didn't look at him.

You strategically chose your sit, no temptation to look at Loki, not returning the looks that you knew he would send you. No memory of just earlier today. Hell, you still felt the ghost of his lips on yours.

"We suspect that with the knowledge, they might try to strike a deal with Hydra and in exchange of money, they will give them the supply they want. It's safer for us if they start on bad terms and we step in to make sure it all ends."

"We only got a handful of the weapons they created, so be aware of that and stay safe. That lab is intricate and big. Bucky and Clint will be on guard outside, take out any Hydra agents that may lurk guarding outside. The rest of us will spread out to protect and evacuate the relatively innocent folks, and the others take out the Hydra super guilty folks. Point Break, Horny Head," you bit back a laugh. "Try to see if there is anything Asgardian in the Hydra weapons."

You were the first out of the door after it ended. You were not going to wait to see what will happen. You almost felt like a prey, his prey, and he was about to catch you any second now.

"Y/N, are you not going to stay?" Steve asked when you were about to head out making you turn to face him, your eyes couldn't help but momentarily wander who Loki who thankfully had his eyes lowered. "We were going to review the mission details."

"Oh no, I'm feeling a little tired today," you tried to hold Steve's eyes but you knew he knew you better than anyone here, well almost. "Just fill me in tomorrow."

You did not see the look Steve gave the raven haired god when he watched you leave.

How could Loki not stare?

Just a couple of days ago his life was empty of you, and then you entered it again knocking the breath out of him just like the first time he saw you.

And just a couple of hours ago you were in his arms and he was kissing you like he did that one time he came home to you after a hard day with his father, and hel, you kissed him like you did that time he came back from a long fight after a week of being absent from your touch. Your kisses always reminded him what he was fighting for, despite the treatment from his family, he fought through to get to his solace, to get to you.

And now he is back to nothing.

And you are back in an empty room where his presence still lingered. Just like the night he left.

•

Out on the hanger, you were on the open quinjet ready to go when you felt a presence behind you.

"What exactly can you do?" you turned to him after you tightened the dagger strap on your leg.

"Why does it matter?" you went further inside the quinjet, at the very least you didn't want wondering eyes on you.

"I want to know what happened to you." The question made you look back at him. You couldn't figure him out now, he was just as different as you were but that's not it- he left you, no explanation, and now he is here kissing you and wondering about you as if he actually cares. But then again, why would he leave if he cared?

"I don't know what happened, I started to feel bad and I thought it was just a virus or something, but then I started seeing things… and then I just had these powers." You sighed, there were too many incidents before you understood what was happening.

"Nothing prompted it?" he pressed. He was almost towering over you now as you stood against the wall.

"No, not that I know of at least."

"What are they?"

"I can manipulate people's vision and emotions. I alter their reality as I like and control what they'll feel." You looked down then. "That's what I did to you."

"You put me in the invasion in New York, making me scared." You only nodded to him, you didn't like using your powers but sometimes they are needed. As if he read your mind. "You know that it's-"

You saw Natasha and Tony walk into the quinjet then, followed by the two supersoldiers who found you in the corner. You saw the strange look on their faces.

"I know exactly what it is Loki, now we need to focus on the mission." You walked around him and went away, sitting in the co pilot seat next to Natasha.

"Anything interesting happened today?"

"No Nat, nothing. Let's just get to that lab." You helped her start everything, ignoring the look she gave you at the answer.

"Thor?" Steve called to the god as the two went aside to talk out of earshot.

•

It was colder than you thought. Now you could only pray to any god out there, maybe Greek just strictly out of spite, that the lab will be much warmer.

"At this point, I think we lost the element of surprise boys." Natasha said through the comms as you drove towards the lab, snow covering the ground mostly white but as you got closer and more agents appeared it started to look red.

Bucky and Clint were on top of the trucks, shooting the guys that were securing the lab building from a distance.

With Thor and Loki taking down the guards on the tower, blasts came from besides you.

"Bucky, on our right, take them out." You yelled to Bucky who turned and blasted the vehicle and the agents in it.

"They're out, now could you just try to keep us steady? I don't want to fall off of this thing." He complained as you made another twisted turn, avoiding getting wrecked into a tree or a guard tower.

"You're a goddamn supersoldier, I'm sure you'll manage. Plus, it seems like we will have to leave the vehicle behind soon." You looked at the blockade just before you and Natasha.

"In three?" she asked and you nodded to her, pulling out your guns and shooting the men in front of you.

Then the blockade hit the cars. Bucky, Clint, Natasha, and you jumped out of it and over the blockade, knocking some of the guards.

You looked up and saw Loki fight. You've never seen him fight before.

He brought down yet another tower, pulling out knives out of nowhere and then disappearing behind the guards and he knocked the tower to the ground, its wooden form breaking down in pieces.

"Y/N look out!" you heard Steve calling out to you, he came in with his motorcycle, knocking out a Hydra agent who was about to attack you.

"Thanks Steve!" you called him and went to move away and fight.

"No, hop on, I need coverage." You nodded to him despite his bowl of crap. Hopping on the motorcycle behind him, you shot whoever was in sight. You got closer to the lab and in front of you a new rush of agents lined up. "Thor, we need you here."

"Oh no," you groaned. "You're going to do something really stupid, aren't you?"

"No."

"He always does something stupid, Y/N you should know him better." Bucky retorted and you laughed.

Thor came up besides the two of you. Getting down behind some rocks you guarded them.

"It seems like they are lining up for us."

"How kind of them" Thor raised his hammer and Steve his shield and it pounded as they hit each other, the energy sending the guards and the tank flying, obstructing them and their weapons.

Almost at the lab, a tall man stood in front of you, he had a weird shaped weapon in his hand, before you could advance and use your powers on him, the sky suddenly turned dark, you saw lightning and then his pointed weapon shot lightning energy towards you. It was too fast but you were whisked away before it could hit you. One of Loki's hands covered your head while the other snaked around your middle.

He pulled a long spear and was about to shoot it forward when he saw the man had disappeared.

"Brother have you seen that?" Loki called to Thor who ran next to the two of you. Loki still held you, but you pushed him away with a small thank you, looking at Thor instead and taking a few steps backwards.

"What was that?" he looked at his brother.

"It can't be, I destroyed it long ago." Thor shook his head.

"You saw what happened, it had to be it. Nothing else could do it." The blue eyes turned to you. "Are you okay darling?"

"I'm just fine, I can take care of myself." Pulling out your own knives, you saw Natasha and Pietro up ahead. "And don't call me that."

After you left Thor came up to his brother.

"What are you doing? What is going on with her? Loki were you-"

"That is not your business, stay focused on the fight. We need to find that weapon they used."

•

The inside of the lab was quieter than outside. Tony and F.R.I.D.A.Y detected the German scientists and you split up to look for them, and hopefully take whatever energy core Hydra was here for.

Jumping a story down, it was weirdly quiet.

"Hey guys, I'm in the east wing, something feels wrong." You waited but nothing came back but static, "Guys? Fuck."

Turning around you saw Hydra agents coming out of a door you hadn't seen before, they started to shoot at you, coming from both of your side, you used one guy for coverage, making them shoot at each other. Locking eyes with one of them, he soon fell with a scream, eyes foggy. You slit the throat of the guy you used and focused on him instead. In a field of enemies, he got up and shot everyone he saw around him. Once satisfied you let him fall down alongside all the others he shot.

You saw other agents coming your way but there he was again, Loki pulled you behind him and shot daggers forward and duplicating himself. You saw a couple running away to what you only assumed was another secret door but you lost them as you turned a corner.

"Guys, there's nothing here." The captain voiced through the comms.

"The comms are working again, great." You sighed.

"What do you mean there's nothing here?"

"I'm saying that this was a trap, there wasn't anything special that these scientists were working on, this is not what we thought it was."

"How could we have been wrong here?"

"I don't know but we have to go now, I don't like this."

Soon enough on the quinjet you tended to Clint's wound, he took a nasty shot. And your wounds weren't near as bad.

"Could they have had something that seemed insignificant to them but Hydra needed it for something?" you heard Tony talk to Steve.

"No, they weren't working on anything right now. The lab was for research, not for weapons."

You picked up on another conversation then.

"We have to tell father what we saw, Loki."

"No, I searched the building, and I didn't see the guy nor his weapon. Father will just send an army here when we don't even know what it is we are searching for." Loki reasoned.

You just tried to clear your mind and focus on helping your friend.

•

The sunset painted the rooms a lovely shade of orange from the windows. It was quiet as people were either resting, or in the infirmary. You walked through the hallway leading to the Avengers elevator to take you to your room.

He came in front of you from the corner.

"Y/N,"

"Hi." You didn't know what to say now, he saved your life twice today.

"Are your wounds alright?" you let him inspect your hands and arms. This was new to him too, seeing you fighting like this.

"Don't worry, they'll heal." He still didn't take his eyes off of you, his delicate petal out here fighting and risking her life.

"Let me heal them." You leaned on one wall as he stood in front of you, covering your wounds with his hand. You heard him mumble a chant and your skin tingled. You told yourself it was from the spell.

Then he looked up at you, and the look in his eyes was one straight out of your daydreams.

"I should just tell you to leave but-" your breath shuddered, your mind trying to make peace with your heart's will.

"I never stopped thinking about you and I." He admitted, you put your hands on his chest and slowly they slipped up to his shoulders.

"I heard that you have some other girl now, I heard they'll be a wedding soon." The pain in your voice did not go unnoticed.

"It's true, but I never thought I'd find you again. That was arranged, nothing happened yet and nothing will happen."

"I never stopped thinking about you too." You bit your lip and pulled him closer to you. "We know exactly where this leads, why go in circles?"

"My love, we can just call it even. We can't ignore this forever." His hand caressed your cheek now, you leaned into him.

"We're always going to come back, aren't we?"

"I'm afraid so, my dear." Your lips finally met, and you let every worry and fear go away, kissing him back with just as much passion and love.

And there it was again.

The first kiss.

"Will you stop messing it up?" you laughed at Loki as he tried to get the music player to work until he finally gave up and let you do it.

"That thing is just stupid midgardian technology, there is no use to it!" he complained as you magically managed to get it to work, a soft melody fell upon the room.

"I finally got you to agree to teach me, this is far from useless!" you laughed as you came up to him, playing with your dress as you twirled in it. You moved the furniture so you could dance in your living room.

"I don't understand why you even want to learn it, no one on Midgard knows it and it is not like you have balls around here anymore." It was quite barbaric to his taste.

"Yes but I want to learn this dance, I bet it is super pretty and elegant," just like you, you thought but didn't speak up. "I bet the balls there are amazing."

Loki showed you the right position and took your hand. He brought you close and prayed that you won't be able to hear his heartbeat.

"They are. Maybe one day I'll take you to see it," you had a bright smile on your face then. "You know, just so that these lessons won't be for nothing."

"Of course, whatever you say." You held onto him tighter as you almost fell. "I expect a nice dress too, I can't come to Asgard with a human earth dress."

He laughed at you, but it turned into a groan when you stepped on his feet, supposedly it was accidental.

"While you look beautiful in this dress, I bet you'll look just as beautiful in an Asgardian dress," you looked up at him surprised, you forgot how close you were, hel you forgot completely about the dance as you just stood there and swayed back and forth. "Like a true Asgardian goddess."

Loki didn't mean to say that but once it left his lips he couldn't even feel embarrassed about it, no he didn't even feel vulnerable when he saw the way you looked back at him. You moved your stare between his lips and his eyes.

"Do you really think that?" you whispered, scared to break whatever it is you have built in this room, in this moment.

"Absolutely." He closed the small distance and he already knew that he was a goner, you took his heart and mended it with your own. He could feel your passion in it, in your first kiss. He'll be damned if it will be your last. You wrapped your arms around him, pulling him ever so closer, deepening the kiss. He smiled then before you pulled away just a bit, a huge smile graced your face and you lit up the room. Your red lipstick was smeared a bit, your bottom lip was swollen, and he wondered if he ever told you how much he liked it when you put this lipstick on.

"This was inevitable, wasn't it?" the smile never left your face and he didn't know what he did to deserve you.

"I'm afraid so." You couldn't keep in the giggle that escaped you, this man will be the death of you, you were sure of it.

He had never felt as loved as he did in that moment.

The kiss after a bad meeting.

Loki got to your home as soon as he could, he couldn't wait to be in your arms. His father was- well, his father as usual. He just needed some peace right now, and that was you.

He walked into your apartment, he saw your computer open on your desk with various papers all around it but he didn't see you.

"Darling?" Loki called you and you pocked your head out of the kitchen. You immediately took off the apron and went to him, he smiled at you even though he knew you'd see right through it- you always did.

When you reached him, you gave him a tight hug, playing with his hair until you felt him relax under you.

Then you pulled back and kissed him so delicately but it was all he needed. Your kisses surely had some magic laced in them, because you somehow made him feel completely content.

"I love you." He whispered to you.

"You what?" you must've heard wrong. You told him you loved him months ago, but you understood that he needed more time, it was harder for him to open up like that. But while he didn't say it, he surely made sure you felt it that night. Sleeping was not included in that.

"I love you." He repeated and you smiled, going to say it back, "Do I smell smoke?"

The kiss after he came back from war after a week of not seeing you.

The moment you saw the green shimmer from the living room, you got out of your bed and all but jumped on your boyfriend as he took off his armor. He managed to balance himself and you, but then you pulled away from the hug and attacked him with a bruising kiss, you gave him easy access to your tongue and tried to pull him closer by his hair.

"I missed you so much." You leaned your head against his forehead, you both panted heavily. "Are you okay? Did you get hurt?"

He could see the moment the light bulb in your head lit up and he chuckled, he shook his head but he let you see for yourself, he knew it would calm you down.

You lifted his shirt up and saw the small cuts on his stomach.

"You're not okay! Loki come on, I need to clean these cuts." You dragged him to the bathroom and pulled out your first aid kit.

"Darling, I'm a god, these small cuts don't affect me." He rubbed your back but you didn't listen to him.

"And I'm your girlfriend so shut up and sit down. Maybe you got hit by a poisoned spear or something that is like- I don't know what's up there but I don’t care!" he saw how worried you were, eyes bloodshot, he hated to leave you. So he nodded and let you take care of him, his hand raked through your hair calming you down. He had never felt more cared for, or loved.

You swore at him all kinds of curses, telling him to stay safe and be more cautious.

He swore he was going to marry you someday.

•

Asgard felt different now. After you went back to your room, with a smile that you tried to hide but he caught, he and Thor went back to Asgard- they needed to check some stuff to make sense of what they saw. It was night now so luckily most of the people were sleeping. Most but not all.

As the princes walked through the corridors, lady Iyllir was there with her maids, which she quickly pushed away when she saw them.

"My princes, I am so glad to see you back in Asgard, it's almost midnight now how come you are still with your armor?" she frowned at the cuts and light bruises she saw in the dim light.

"We just got back, and we are both very tired so we are going-" Thor put a hand, keeping Loki in place.

"It is really late, I'm sure my brother will be happy to escort you back to your chambers?"

"Oh that would be great, thank you my prince, have a good night!" she bowed to Thor and took Loki's outstretched arm. He sent a nasty glare at his brother but walked with Iyllir towards her chambers.

"I hope you are okay, your cuts still haven't healed." She took his hand, gently examining the cuts.

"I assure you I am fine, these cuts will be healed soon. Midgardian weapons cannot wound me badly." He gave her a smile and she only nodded.

"I miss our time together, you are great company. I hope you are staying longer this time."

"We will be staying for a couple of days I assume."

"Oh, great, so tomorrow we can go to that nice garden that you said you will take me to!" she gave him a kiss on the cheek quickly before turning around and walking into her room. "Goodnight, my prince."

He groaned to himself, he did promise to take her there. He pondered about it as he went back to his room. The lady and he had quite a good time- that was before you came back into his life. He walked the long way around to his room.

•

"This place really is beautiful like you said." The redhead looked around at the flowers that were around them and the tall bushes that created a barrier from the outside of the garden.

"They have been using magic to grow the bushes around the entire ground, making them into walls of this place." He remembered what his mother told him about this place.

"Thank you for bringing me here, I never knew this place existed." She smiled at him and sat on the ground next to him.

"It's my pleasure," and for a moment those barriers made him go back to a couple of months ago, when he would wander around in thought about the lovely lady his father brought for him to meet, soon to arrange a marriage. "Did you manage to finish the book I gave you?"

"I did, it was really interesting. I find history fascinating so the book was splendid to read."

They talked like this for a few more hours, talking about books and exchanging stories.

Before he knew it, Iyllir got closer and closer to him, sitting right beside him. The silver tongued prince went silent when he saw her lean in, all the while smirking at the look on his face before returning her gaze to his lips.

He considered his options. You were his only love, perhaps you always will be, but will you stay after all that is over? Can he still come back to you? He remembered the reason he left, the moment was scorched in his mind but now things were different. Maybe this time he will be able to stay, would you let him? After all, all you agreed about was temporary, just for old times' sake.

Their lips touched now.

"I can't." Loki said, before leaning back from the offended girl in front of him.

"Why not? Our parents brought us together to marry."

"Perhaps yes, but while you are great company I am not ready for this yet. We should go back, I have a meeting to attend to soon."

When they got up, she refused to take his hand. It was a silent walk back.

•

"Thor, are you sure you checked it all?"

"I did Loki, the vaults were lacking multiple weapons. They were old ones. Do you think you could tell exactly what is missing?"

"I'll do my best." The vaults closed behind them and Loki started to scour the items present, while trying to find the missing.

"I saw you were taking a walk with lady Iyllir today."

"What about it?" Loki went deeper into the place, looking at the empty stands and mentally taking note of all the items that should be there.

"I also saw you were around Lady Y/N a lot. You still haven't told me how you know her." Thor studied his brother, following him to the big closet.

"I was on earth and I happened to meet her, I did tell you."

"I'm not as big of a fool as you think I am, I can see the way you look at her. And the way she looks at you."

Loki didn't know if he was relieved or frightened as he found a way out of this conversation when he opened the doors.

"My wand, Thor my wand is gone!" Loki's eyes went wide alongside Thor when they saw the other weapon that was missing.

•

"This is ridiculous, why is he throwing a party in the middle of this mess? We can't waste time Thor, we need to tell them what those Hydra mortals have." Loki scowled as he got through the people dancing in the crowded room.

"Will you keep it down Loki? These mortals don't know a thing. I'm sure Tony will listen to us when we find him.

Looking around the room, he saw several other faces he recognized, and then he saw you- grinning and laughing with a guy he did not recognize. One of the mutants- was her name Wanda? She came up to you with a hug, and joined in on the conversation. Maybe it wasn't like what he thought. He hoped so, when you looked straight at him. In the daze, he looked at the tight little skirt you wore, his mind was lost and didn't notice when you reached him. The crowd seemingly closing around you, a barrier that let you be alone without watching eyes.

"See something you like?" you smiled at him, he couldn't help but return it, not ashamed of looking at every inch of your body before answering you.

"Yes, very much" he put his hands on your waist, bringing you closer. You put your arms on his shoulders, keeping him close.

"We said we will start anew, right?"

"Yes." You leaned your head on his chest, and the two of you started swaying not along to the music but to your own heartbeats.

"I missed this, Loki. I missed us." You confessed to him, he didn't have to answer, you knew.

"Did I ever tell you how much I love that red lipstick of yours?" you chuckled and lightly kissed the side of his. He sighed at the contact and your heart fluttered at the red mark your lipstick left on him.

He brought your chin up with his hands and didn't spare a second before attaching his lips to yours. He didn't know how he survived without your kisses, without your touch. He actually did know, it was hel. He would go sleepless at night, conjuring up figures of you beside him but that could only help so much. When he missed you most, he would go to Heimdall and ask about you. He was the only one that knew after all, he was the only one who knew about his only weakness. But then so many things have happened, some distracted him from the loss of you until he got used to it, and some… some he had to keep you in his mind just to survive through the very worst things that were inflicted upon him.

But now that you were in his arms again, he knew it will be even harder to let go of you if you asked him to leave afterwards. And he made sure to show you how much he still loved you in the kiss until you parted and looked at him, your eyes begging.

"Take me home, Loki. Take me away."

With the temptation, it was something he couldn't deny the both of you.

The minute he teleported the two of you to your room, your lips were back on his, pulling him with you until you hit the bed.

You made quick work on taking off the white shirt he wore, as he unzipped your skirt, letting it fall to the ground before he picked you up and laid you beneath him on the bed.

You looked up at him, feeling whole again remembering all those other times you were just like this, he always had the same James Dean type daydream look in his eyes, right before he made sure you remembered who your heart belonged to.

He promised himself to show you how much he missed you, and make up for all those years apart.

You spent the next few hours devoting yourself to each other, you were sure everyone could hear you scream his name in pleasure. But you didn't find it in yourself to care when he made you feel this good.

•

"What do you mean you didn't get the weapon?" the agent backed away, scared.

"We didn't expect it, and besides- he was there!" begging for his life, he hoped he will get out of these woods alive, the weapon in front of him was powerful enough.

"Who was?"

"There were more of them than usual, we didn't expect him to be there- we couldn't get the weapon!"

"You will be given one last chance to do this right, if you fail I will make sure you pay the price for it."

He was then handed the weapon, wrapped in a cloth.

"Do you remember how to use it?" the agent considered it, before he grabbed it in its hilt.

"And this stone heals it, right?"

"Exactly, use it when I'm gone."

He did just that, pulling out the sword, examining the weight of its powers, looking at the gem stone, then turning back and stabbing the other agent behind him. He let him bleed, before finally taking out the stone, and he watched in wonder and the wound healed. This will be fun.

Tags: @ayybtch @buckys-other-punk @chaoticpete @madcrazy50 @mishkatelwarriorgoddess @the-departed-potato @rogerrhqpsody @onceupona-happilyeverafter-love

[djarinsbeskar]

Rachelllll - something I've always wondered...

In your mind, what is Medics dress sense. What does she wear on the daily? What would she wear if she went out somewhere fancy? What's her work outfit?

I merely need to paint a more vivid picture of her in my mind, as I am too in love with her.

Lils, my love---💛

What you are unleashing with this question oh my god...

Fashion is of secondary importance to Medic in most aspects of her life, whether that's working in a clinic, during the Rebellion or indeed while she's living on the Razor Crest. Because of that, she does actually enjoy making an effort when she can.

**Just a quick disclaimer that these are all just inspiration images that fit into the GFFA universe and are not the definitive indication of Medics appearance/hair/body shape/taste. That is all up to the reader to interpret, but given her profession and the culture I've created around her, I thought it might be fun to share some of the thought process around it.

On the Razor Crest: when she's not in Din's shirts - which is at least 70% of the time - she prefers practical, comfortable clothing. Loose fitting jumpers and soft, durable leggings for warmth when she's not tangled with her Mandalorian lover.

Day to day outside the Razor Crest: This is not too different to what she would have worn during the Rebellion, an example of which can be seen below (credit to the artist!). Durable, comfortable clothing that offer her plenty of cover and protection. During the Rebellion she would have had her own version of a bandolier for quick access to bacta shots, tourniquets and sedatives for immediate care before she could work on a casualty properly. She had a diagnostics scanner holstered at her hip for ease of access. She dresses much the same now day to day minus the gear she needed strapped to her to treat wounded rebels on the battlefront but durable leggings and lots of layers for the many different climates she and Din come into contact with is a must. Instead, Din has adjusted an old blaster holster of his to fit her, and very much enjoys the way it looks strapped to her hip.

Formal Wear: oh our girl likes a dress it has to be said. Soft, flowing material that feels like water, feels like air-- feels as though when she or Din runs their fingers over it, it hardly exists. Chiffon layers that drape over her shoulders and cascade down over her front in a dangerous V to her midsection, held closed only by a belt woven delicately to loop around her waist (a beskar belt eventually given as a gift by an enamoured Din), the most beautiful contrast of the strongest steel and softest fabric, "just like you, kitten..." Din would whisper while his fingers trace down over arms she likes to leave bare, devouring her reflection in the mirror he would have her stand before. Colour wise, she favours pale blues, silvers and whites, hints of green to enrich the coolness of the tones. She's a vision beside him, the wispiness of her gown paired beautifully with the immovable strength of his armour. This is obviously what she would wear in a highly fancy situation, which doesn't come around often! She likes to feel free and unrestrained in clothing that she can choose for something that's not merely for functionality.

(yes Danaerys dresses do come to mind they're simply stunning ok)

Pamarthan Formal Wear: Medics own personal style reflects Pamarthes traditional wear but hers is quite a bit more... sensual shall we say? Given the windy, temperate climate of Pamarthe, you'll find heavier fabrics with long loose sleeves that fan open wide. This sort of gown is only worn for holidays of special significance or annual meetings of the clans before the heads go to sit on the council and discuss the planets management as a whole.

Her day to day wear on Pamarthe isn't too far off what she currently wears now as discussed above, the only difference - an element she definitely misses - is a cloak, a large hooded cape that nearly everyone wears on Pamarthe to combat the elements should it rain or storm at a moments notice. Many people use ponchos instead these days, but the women on Pamarthe still have a fondness for the way the cloak looks on them and you can find many pilots, completely decked in uniform wandering the cities and towns of Pamarthe with beautiful, detailed cloaks-- some of which carry traditional clan insignias and others boasting the latest fashion trends in the Core. She left all of her beautiful burgundy, white and green cloaks at home when she joined the Rebellion - such colours would be a target to imperial sharpshooters so she really enjoys it when Din gives her his own to cover her is he thinks she's feeling cold, it's a reminder of home.

I'm quite inspired by a combination of Celtic, Norse and Saxon attire so while we have the wonderful advancements of the GFFA, I enjoy thinking of Pamarthe as an unusual symbiosis of modern and traditional wear.

Like I stated before, this is simply my own inspiration from a cultural and artistic point of view since I simply can't do anything by halves and Medic is (hopefully) portrayed in whatever style the reader wishes!

[mkstrigidae]

Okay so I'm making my way through your masterlist and I'm in love?? Like let's start off with Winter's Child- a masterpiece. You make Sansa a loving and relatable character and interweave the powers into cannon in a way that actually makes cannon make more sense (preconceived biases and such). Jon and Sansa's relationship is SO SWEET and they way they bonded was absolutely adorable (and the backstory with the houses and the powers they have make so much sense) 1/3

(2/3) Neon Rain literally the best Cyberpunk AU! I've ever read. Like what you did with the world building?? The stark class differences (haha see what I did there?), the choices in SOUND, and I could FEEL myself there! I love the family dynamics between the Starks and I'm loving the little details you're dropping with the Greyjoy's , Jon's parentage, and all of the medical procedures. Jon is dramatic af and I love it and Sansa is a bamf AS SHE SHOULD. Nothing but love for this

(3/3) A Past Worth Having has a special place in my heart. You build up this setting like a tapestry, just seeing more richness and depth the longer you look. I'm proud of Sansa for holding her composure, just FEELING in the angst that the older Starks feel at her return, and loving the relationships with Robin and the rest of the Starks + Jon Arryn. The detail that you're putting into the investigation/Oberyn is awe inspiring and I can't wait to see what you do next with the trial + Jonsa

Haha thank you so much!!! This is such a sweet ask to get! My response is under a cut, because this might get kind of long! (lots of my own meta below, bc i accidentally had a lot to say, haha)

With ‘Winter’s Child’ I’ve really enjoyed weaving in fantasy elements to the world because I like to look at stories and pick at loose threads until they unravel and asking ‘what if?’. I thought it would be a super interesting concept to take a character like Sansa, who in ASOIAF is exactly what she is supposed to be as a noblewoman of her class and conforms very well in that role, and put her in a position where she was essentially a societal outcast in a lot of ways! In WC, Sansa has a lot of similar coping mechanisms to ASOIAF Sansa, in that she sort of romanticizes society to avoid thinking about how absolutely awful it is. In ASOIAF, Sansa holds tight to the notion of knights and chivalry and courtly love to cope with the fact that she essentially has no control over her future and, as a woman, is basically property. In WC, I have her really struggling to make herself into that perfect lady and using that as a sort of shield to the fact that, without a gift, there isn’t anything she can do to improve her lot in life. Sansa has these ideas about becoming a perfect lady and hoping that being perfect in other areas will ‘make up’ for what society perceives as deficient about her, but is more jaded than ASOIAF Sansa due to her age and her earlier exposure to the ills of society. So you get a Sansa who gets along better with Arya and Jon as a result, in part because she’s had that exposure to what it’s like to be an outcast in society. I think that the best fantasy has a really strong emotional backdrop (a really great example is ‘Fruits Basket’ which starts by hooking you with this wacky, fun premise about people in a family turning into animals when hugged by a member of the opposite sex, and slowly builds into a point where you can see that the family ‘curse’ is a representation of generational and familial abuse- of bonds that should be broken, and of bonds that may kill us even as we cling to them- it’s extremely complex and rich and if you haven’t read or watched it, I can’t recommend it highly enough), and so while I really love writing about the fantasy aspects, and writing scenes where Sansa does really cool things with her ice powers, the core of the story is really about Sansa coming into her own, and learning that she was a person who was worth something even without any sort of gift. Sort of overcoming societal stigma and realizing your worth and forcing others to see it. It’s so much fun to write, but i’m stuck at the moment, because i need to reread the books, and my roommate is borrowing them right now haha!

God, APWH is like, indulging my inner world-building suspense-narrative loving writer persona. It’s literally my all time favorite trope- which is of someone growing up to find out that they’re a long-lost somebody or have family they never knew about- combined with a lot of research on trauma (which i’ve been doing for academic and other reasons for a while) and a lot of slowly growing psychological horror courtesy of Petyr Baelish (trust me, it’s going to get WAY more intense). There are so many pieces of media that I love, but I think that GRRM has so many characters and such a well fleshed out world that it’s very fun to dive into his worlds and create something there. Inherently, I love a slowly unraveling mystery and morally gray characters, and this is allowing me to indulge in both!!! World-building is my favorite, because i tend to be fairly detail oriented, and i’ve been laying bread crumbs in so many places throughout the story to hopefully build up to a decent conclusion! I know sort of how it ends, and I think people are going to absolutely lose their minds if I execute it correctly. We have a few chapters to go until we get to anything in the semblance of a trial- there’s some more emotional aspects that I think need to get addressed first, and so I’m so grateful that people are so supportive of being willing to wait for the Jonsa, because they really start spending a lot of time with each other during the trial and prior to the trial (i’m a big believer in bonding via long car rides and so there’s a lot of that!). I’m just so humbled and awed by the response to it- I never dreamed that people would enjoy the story this much- when I started it, I was writing a light-hearted family piece that wouldn’t be too long, and, uh, it kind of evolved from there. Clearly, I am not good at keeping things concise haha.

I left Neon Rain for last, because your comments on this one really made me smile! Of all of my stories, oddly enough, Neon Rain is actually the most deeply personal for me, and I’m just so flattered at your kind words! I spend a lot of my time thinking about the flaws inherent in our society, and without getting too detailed, Sansa’s experience with a family member struggling in the medical system is not unfamiliar to me. There’s a weight that comes with the realization that a system that is supposed to care for people is based on capitalistic ideals of profit maximization, and as someone who has experience working in the healthcare system- no matter how bad you think it is in the US, I can promise you it’s actually worse.

Neon Rain actually just started out as a series of mental images from listening to music that I had to get down on paper, and evolved from there. I actually really love the ‘soulmates’ and ‘class differences’ and ‘mastermind art thief’ tropes, but am incapable of writing fun stories without thinking about the reality of those tropes (see APWH for another extreme example of this haha), and so as I was writing and trying to capture this mental image, the rest of the world began unfolding around me. Jon is different because of a different upbringing here, and so is Sansa, and to see the formerly idealistic Sansa become so jaded by the time she meets her soulmate is just catnip for me. You have this interesting dynamic between them, because Jon wants nothing more than to have Sansa in his life, and give her everything she wants and needs, but where the old Sansa (who was arguably middle-class and somewhat naive, as financially secure teenagers understandably tend to be) would have swooned over that, the Sansa who meets Jon when the story begins is seeing the world and all the unfair and unequal systems in it. She can’t just live happily ever after with him right away- there’s a sense of guilt there, of sansa not feeling like she deserves nice things, and there’s also Sansa’s deep sense of compassion and kindness that won’t allow her to just live life as the well taken-care-of girlfriend of a wealthy man, because she isn’t able to just put on blinders and pretend that all the injustice in the world around her doesn’t exist, simply because it wouldn’t affect her that way anymore.

I think that the core to writing Sansa, for me, in any universe, is that she is a kind and compassionate person who is capable of feeling sympathy towards even the people who have done horrific things to her and her family- that emotional awareness and empathy is a harsh thing to have in a world like Neon Rain, and in our own world, honestly. I’m so glad that you appreciate Sansa’s BAMF-ness in the story- I think that her chapters demonstrate that she is capable of doing extraordinary things when she’s doing them for people she cares for, to be kind (The scene where Alayne helps Robin down from the eyrie is most indicative of this I think), and so in this world, I just love having Sansa be a complete badass out of necessity. Also, it’s fanfiction, and I really wanted to give Sansa a cool motorcyle, because no one else was gonna do it!!!

Also, my characters like to run away with me, and before I knew it, Rodrik Greyjoy had a huge adorable crush on Sansa in the story that I immensely enjoy writing. The Greyjoys are fun because they’re all absolutely insane, and i’m a total sucker for ‘gruff dangerous character is completely a sucker for the kind sunshine-y character’ trope.

God, this accidentally got really long??? I’m sorry- thank you so much for such a kind ask!!! I love hearing what people think of my stories, and this was so sweet :)

[katachell]

portal 2 project???

portal 2 has an AMAZING narrative. AMAZING. but if you want to rewatch the story... you cant. your two options are to watch let’s plays and randomly skip around to hopefully hear all the dialogue, or to read the quotes on the wiki... which are seperated by character, not scene, and dont give environmental details. this makes it impossible for people who dont want to put in a massive amount of time in to experience the story of the game in one definitive place. so, i propose:

THE PORTAL 2 PROJECT

the end product of this project would be a video, posted to YouTube, that has all of the relevant scenes and dialogue in order. it would play out like a movie, so people who haven't or don't want to play the game can still enjoy and understand the story in its entirety. it would use screen recordings of the game, so you can see whats happening and hear it.

what would be included in the video:

-any moment where there is dialogue (exceptions listed below)

-plot relevant details: for some examples, getting the portal gun, finding a rattman den, introducing a new puzzle element, when cave says that portals can be placed on the moon. (this is to better help people who aren't familiar with the franchise understand what the things they're seeing on the screen are.) (most of these would be short clips: for example, when hard light bridges are introduced, the clip would show chell walking up to it and standing on it, and then the video would move on.)

-major scenes, obviously. an example is when chell falls into the pit or unlocks old aperture.

-small, funny details. (without lingering for too long.) it wouldn’t be portal 2 if you dont show the little details! examples include the borealis dock, the elevator room screens, or when wheatly is monologuing and you can go back and he’ll keep monologuing (”you’re at my mercy! wait- come back! (chell goes back) FOOL! you’re at my mercy, and i dont have any!”

-exploring the enviroment: for example, the screen recorder would stop to look at the awards in old aperture, zoom in on chell’s name for the potato experiment, listen to the optional/hidden cave experiment dialogue, as well as look at old posters and signs that tell you about the dangers of old ap. just so the audience is grounded.

-ive touched on this in other bullet points, but not everyone has the time or willpower to look for the little hidden things in the game. this would make sure that you get a very full, portal 2 experience.

what would NOT be included:

-puzzle solving. some chambers take a few minutes to solve, and there is no dialogue. this interrupts the story. unless the puzzle solving is relevant to the plot, like quickly introducing new mechanics to the audience, it wont be included.

-unimportant dialogue. for example, in the neurotoxin generator area, whealtly will ramble for - i think i lasted 4 or 5 minutes before i left - a while, just trying to convince the neurotoxin generator to shut itself off or something. while entertaining, it takes away from the focus of the project.

an example of the formatting:

i imagine the format to look something like this: (im using chapter 1 as an example)

-full, uncut opening with the wheately escape. the cameraman waits at the door before opening it so you get his full dialogue. ~5 minutes

-chell goes into her old relaxation vault, listens to the announcer, puts a button on the pressure pad, then enters the elevator. this introduces the button/cube mechanic. (this scene comes directly after the last, with no cuts). since there is announcer dialogue and new mechanics, this stays relatively uncut. ~1 minute

-chell exits elevator, hears funny announcer dialogue. the camera looks at the room for 5 seconds so the audience understands the setting for the scene, as well as the act. ~15-20 seconds

-chell presses a button to open a portal. this is the first time a portal is seen. she walks through the portal. this introduces the core mechanic of the game. (~30 seconds) (once the mechanic has been used once or twice, the rest of the puzzle is cut)

that would be the basic format. for things like multiple uneventful test chambers in a row, it would show slow fading shots of the test chamber number so you understand that time is passing. this would be intercut with shots of the setting.

HOW CAN I GET HELP / THIS PROJECT STARTED??

getting all of this footage is too much for one person. editing it... is too much for one person. ALL OF THE FOOTAGE HAS TO COME FROM PEOPLE WORKING ON THIS PROJECT. IT CANT COME FROM OTHER PEOPLES YOUTUBE VIDEOS. For this project, I’ll need people to record the footage, people to help edit the footage, and 1-3 people who know the story well and are willing to go over the game’s plot and determine what scenes and details we need, so the records know what to record and what to focus on. 

Do you want to help capture footage? if so, youll need:

-access to the PC version of the game with LOW LAG gameplay

-a screen recorder program. it CANNOT have a watermark on the finished product. needs to be high resolution footage.

-(the recordings will NOT feature your voice or a face cam.)

-(you do not need mods and please leave the portal gun with its base texture)

-(id be comfortable with each screen recorder person to cover around 1-2 chapters... so maybe 4-5 people, unless i can find more. youd be following some directions on what to record. you do not need to edit, just get the footage.)

Can’t do that? Can you EDIT video footage? you’ll need:

-a video editor. high quality. i dont know the editing industry, i dont know what software exists.

-MUST be able to export it without a watermark and in high quality.

-(each editor will be responsible for a chapter or chapters. then render your final product. one editor will put all of the finished chapters together. this means you can use different software from the other editors, and will have a good amount of control over your assigned part. i dont have a number for how many editors there will be. id like more than one.)

Can’t do that? What about choosing the important scenes and details and acting as a sort of ‘writer’ for the plot? You’ll need:

-a good knowlege of the game and its history and fun facts. if youre obsessed with this game and franchise... yeah same. but as long as youre interested and know it well, thats fine

-be able to browse the wiki

-time to review the game by watching lets plays or playing it yourself

-be able to choose the right details and communicate that to the screen recorders and editors. remember my example about chapter one earlier? youd have to lay it out in a similarly comprehensive way.

-take constructive criticism

-must be older than 14 for this. youve gotta make a lot of decisions in this role. ive seen some really creative and talented high schoolers, so thats where im drawing the age line.

-(im hoping for 1-4 of these people, including myself.)

IF YOU’RE INTERESTED IN HELPING, SEND ME A DM. IF YOU’RE CHOSEN TO WORK ON THE PROJECT, I’LL SET UP A DISCORD FOR THOSE INVOLVED. IF THIS GETS SOME SORT OF MASS SUPPORT, I’LL SET UP A DISCORD FOR ANYONE INTERESTED IN UPDATES.

The purpose of this project is to make it so you can relive the portal 2 plot without having to replay the full game. Other methods do not exist. No one video shows the plot in order with ‘filler’ removed. Voice lines exist in text form, but do not capture the visual aspect of the game, or give context, and are not a full experience. This story is a masterpiece and deserves to be edited so it is comprehensive and all in one place. No one will claim credit for owning portal 2 or writing the story - the video is showing gameplay, and just so happens to be the relevant gameplay. However, screen capture, editing, and direction credits will be given to everyone who participates. This project will allow you to introduce friends and family to the game without sending them a video where only 5 minutes out of the 1 hour video is relevant. I have wanted this project for a while, but I’ve realized that I can’t do it alone. Even if you can’t help directly, please spread the word and reblog.

[captainjimothycarter]

I heard you were looking for prompts, what do you think it would look like if Steve were around during Agent Carter (s1), like maybe by the Iron Ceiling episode

So, it’s been a loooong while since I’ve seen the Iron Ceiling or any Agent Carter and I don’t have the spoons to watch the show, so we’re gonna improv. So not historically accurate because I am not researching stuff.

This is a full-fledged fic And probably not what you wanted either because this is so rushed out. Rip me

--

“You sound exhausted.”

Despite that Steve was over the phone and given the sound of it, somewhere where there wasn’t much insulation due to the wind in the background, she could tell he was giving that sappy smile. It was combined with a small laugh and the shift of the phone line as it crackled when he held it closer.

“What’s new?” He sighed instead of commenting on Peggy’s statement. It only made her worry more. When she remained silent, he sighed louder. “Pegs, I’m fine. Okay, yes I’m a little exhausted, but so are you on your end given everything. We’re both strained and I...miss you.” 

His voice dropped down to the last two words, how desperate it sounded, made her heart drop. She wanted to crawl from this warm bed and wrap her arms around Steve and tuck his cold face into her neck to let him warm up. She wanted to protect him from not just the elements but the aftermath of a war that the public had no idea was about. 

He whispered the last two words because he was forced to - not because he had anything to hide, so Peggy told herself this despite it tugged on her in almost a jealous means. They were both professionals, they could remain professional over the phone and in the rare times they got in person. It was the only few times they got to be in private did those veils drops.

Steve being rescued had been nothing short of a miracle, an act of God or whatever deity was out there that was looking out for them. She had been the one to pull him from the ice, one of the first faces he’d seen when he woke up in one of Howard’s private hospitals. She’d been by his side his entire recovery, from learning to walk again and to have some cognitive function. The fact she refused to leave his side [see here: Philips had ordered her under the SSR’s watchful eye to keep an eye on their prized specimen] had resulted in them getting much closer in their relationship. 

Not only that, but it had caused her to start the American Branch of the SSR later than she had intended. While the boys in the office had no idea Captain America was alive [as they would all see to it], they knew of her history with Steve and used it against her as much as they could.

Steve’s existence, his being founded was kept under wrap and key. The only few people who had known about it were her, Phillips, and Howard. And of course, by now a recently rescued James Barnes and the Howling Commandos. As soon as Steve was stable enough, they sent him straight back to work, and given his contract with the SSR, they figured him pretty much property of the government.

It sickened Peggy to her core.

She was used to hiding her relationship and being professional in other’s eyes, but keeping Steve at arm’s length so he could be the government puppet in a whole new meaning was not what she wanted for her beloved.

“Peggy?”

“Hm?” The woman blinked, aware Steve had been on the other end, breathing noisily against the cold climate he was in to stay warm. “I apologize, darling, I was lost in my mind. As I was saying, I think our earlier appointment of meeting up to compare notes will be scheduled earlier.”

Underneath it, she was by all legal terms, still his liaison. Not only that, but she had been tasked with collecting information from both the Commandos, and that included at least monthly meetings with Steve. They might’ve been professional where they could share longing looks behind professional’s backs, but at least it was something to look forward to.

Steve knew everything going on with Howard and the SSR and her recent suspicions that there was a mole within their sights. Not just that, but Peggy was suspecting her phone lines had been bugged due to her involvement and friendship with Howard.

“Is it now?” Steve asked, turning his head to give a strained cough. It tugged on her heart. That didn’t sound too good. “Should I tell the boys?”

“Please do. I’ll wire in the details you’ll need. Anything you boys need on your end?”

“Dugan would kiss you if you brought him his usual stash. Pinky needs more fuses if you could snag a few. Oh, Bucky needs another set of binoculars and some more gloves.”

Despite he wasn’t here, she was nodding. Her hand worked without watching what she wrote on the paper. Steve knew of her suspicion of being bugged and had agreed code talking would keep the guys on edge and keep their conversations safe. 

“I’ll see what I can do, no promises, darling. Please get some rest. I’ll see you tomorrow.”

Peggy sighed as she got off of the phone, looking down at the pad of paper on her bedside table. Someone has been trailing us, be on the lookout and keep your weapon on hand. 

And Dugan? Dugan just wanted his alcohol.

--

“Peggy, Dugan forgot the password again.”

Knowing that voice anywhere, she smiled despite her reserve as the familiar faces of the boys she had called family appeared out of the bushes. If she was concerned about a missing familiar face, then it didn’t show. Instead, Peggy found herself suddenly staring at the gray sky above them. The ground was cold and hard beneath her, but the body colliding with hers to knock her off of her feet was not.

There was a split second of silence before the Howling Commandos erupted into a field of laughter much to the rest of the stoic men’s confusion. Well, not so stoic now that the shock had runoff. Including the face tinted pink above her.

“Hello to you too, James,” Peggy laughed, Bucky slowly getting off of her chest and smiling in that boyish way that made her both jealous and loving.

“I didn’t believe ‘im when he said it, but I’m glad to be wrong.” Bucky was still as Brooklyn Boy as ever despite not having been home in months. He climbed to his feet and pulled her to hers, brushing the snow off of them. He pulled her into a proper hug, finding the Howling Commandos hugging her.

“You served with Captain America.”

Her heart clenched at the awe in their tone, looking at Jack who looked at her still with disbelief, as if she had lied this entire time about her connection to the Howlies. She shared a look with Bucky who looked as if he’d swallowed a lemon, standing near her left side. Dugan looked down at her too and he nodded in her direction.

“Not as long as she has. You good, Carter? Ready?”

Jack’s mouth opened, perhaps to dismiss Dugan treating her of all people like she’s the leader of this mismatched band of guys, but it was well ignored when they started to march through the snow. She watched as Jack hesitated as if debating on not following them before he scrambled not to be left behind.

“Pegs, you’re with me. Barnes, you too because I won’t have you pouting again.”

Peggy laughed, despite herself as she pulled herself up into the jeeps with Bucky’s arm thrown around her waist to help assist her. Bucky, for all his childish needs, stuck his tongue out at Dugan before the vehicle rumbled to life and they started to roll out. The quiet didn’t stretch on long, just enough for the loud engine to cover up any whisper talking.

“How is everything?” Bucky asked, his silver eyes wide with worry. “Steve has told us...everything that he could.”

“Same as ever,” Peggy sighed, shaking her head slightly. She glanced back to watch Pinky distract the SSR boys with a quick history chat. Good. “Howard’s still in deep shit and every step forward feels like one back. How’s Steve?”

Bucky frowned because they both knew that’s not what he was asking. “Exhausted. He never knows when to admit defeat. He was denied again to be stateside. He was told again his presence is needed out here.” The man rolled his eyes with a huff. “He’s one more bad night away from going AWOL, not that any of us blame him, poor guy is doing the job for all of us, plus whatever shit ya’ll send him to do.”

His tone told Peggy that he didn’t blame her, he was as frustrated as she was. “Hopefully it doesn’t come to that. I’m sure some sense will be knocked into him sooner or later.” Her mouth opened to ask a question but a look from the jeep across from them caused her to close it.

Jack was watching her and closely.

--

“Carter!” 

Peggy heaved a heavy sigh as she repositioned her grip on the logs for their fire tonight. They were well enough hidden in the trees to ensure that no one should see the smoke with the light dusting of snow and gray skies around them. Stopping their conversation, she gave Jones a friendly smile and passed the logs off to him. She didn’t miss the annoyed look Jones shot Jack as he marched their way.

She wanted to snicker at how he was forced to walk, almost waddling like a toddler in this new environment. A comment was on her tongue, but to play fair, she bit it back and raised her chin. “Yes, Jack?”

“I don’t remember Dooley giving you command of our mission. You may disrespect his orders in the office but you will not disrespect me here.” He towered over her, a twitch in his jaw telling her that he’s been thinking about this far too long. She wanted to laugh, honestly because it almost sounded like he was jealous of her and her involvement with the Howling Commandos.

“He didn’t,” she replied in an equally cool tongue, shrugging her shoulders. “If you’ve been paying attention, Agent Thompson, I’ve been pulling my equal weight around here just as everyone else has.”

“Your involvement is this is only because of your pestering Dooley and your connection with the Commandos. Remember your place, Carter. You spent far too much time under Cap-”

A gloved hand clasping Peggy’s shoulder and making her knees buckle caused Jack to turn almost white as the environment around him. Despite knowing the situation, she had almost hoped the gloved hand belonged to Steve, but given how tightly it gripped her shoulder and the freehand that pulling on the strap of the rifle, she knew it was Bucky.

His lips were pressed into a thin line, eyes boring into Jack’s. He stood a little taller due to the boots, but it was enough for him to use his height over the agent. 

“I’m sorry, what was that?” Bucky mused, raising an eyebrow. “Peggy spent too much time where? Pegs, you wanna head back to camp, Pinky and Morita have a trick they wanna show you.”

Jack huffed, giving a roll of his eyes as Bucky’s arm pulled her closer to his chest. “Nothing, Sergeant. Carter and I were having a private conversation that you butted in.”

“If it’s nothing, then you won’t mind if I pull her away to help start the fire. You know us Howlies, too busy spending time worshipping the ground Steve walks on to know any survival skills. Only way we survived was cause of her.” He dug into his pocket and tossed Jack a small flashlight, nodding his head. “Go find us some more firewood, will you? It’s gonna be a long one.”

The look in Jack’s eyes told her that this conversation wasn’t over yet and honestly Peggy was looking forward to that.

“You know he’s going to think that you’re only protecting me because of Steve,” she sighed, shrugging his arm off as they walked back towards the distant camp. “Thank you, Bucky, but I can handle myself against Agent Thompson. It’s not the first time he’s been a right ass to me.”

“I know,” he grumbled, satisfyingly stomping on a branch to break it in half. “Steve has told us some things. He almost seems jealous of your connection to us - like you spend a whole war keeping our asses alive and you wouldn’t want to befriend us. Jackass. I think he’s waiting for us or you to slip up. They still think Steve’s a frozen capcicle?”

Snorting, Peggy gently smacked the sniper’s chest. “Yes but don’t let him hear you say that. Where is he?” She was used to being professional, keeping Steve at arm’s length in company but the fact he wasn’t around for her to assess with her eyes made her wary. If something had happened, they would’ve said something by now, especially Big Brother Barnes.

Bucky’s tongue clicked on the roof of his mouth, shrugging his shoulders. “He’s close by. He wanted to keep an eye tag tailing us, be sure we’re not being followed.”

That did sound like Steve, alright. He wanted to defend all of them, keep an eye on the stragglers, and be sure no one was planning an attack. Peggy got the feeling he kept distance because neither of them was sure this charade of professionalism could be kept up if he was here. Then there were the SSR boys and their belief Steve was dead. 

--

“So how are you here?” Li asks, breaking the soft chatter that had been happening around the fire.

Peggy swallowed the rest of the bourbon down, passing the canister back to Dugan. She didn’t need to see who Li was directing the question to, she could feel Bucky tensing up beside her. He’d been a little tense since Jack stomped back into camp, dumping the mood uncermonsely and sitting far back away from them.

“Yeah, Buck, how are you here?” Juniper snickered, nudging his friend with his elbow. “You kinda just showed up one day.”

“And you adopted me like the straggly, little pup that I am,” Bucky huffed, rolling his eyes. “Thanks for the scrap, Carter.”

He nudged her slightly but behind the bright silver eyes and the need to make jokes and defuse the situation, he saw the curiosity in Li’s eyes.

“It’s just...we all read the reports. You died. You fell off the train,” Li pressed, not reading the situation. “So, how are you here?”

Sharing a look with Peggy, Bucky shrugged again. He opened his mouth but Dugan spoke up before any of them could. He knew of Bucky’s time in HYDRA, they all did, they had pulled him out of HYDRA, but he didn’t need to relive the past because of some curious agent who couldn’t tell his left from his right. Certainly not one who didn’t bother to spend two seconds respecting Peggy. 

“We found him,” Dugan grunted. “What those files didn’t tell you was Phillip’s, Captain Rogers’, and Agent Carter’s insistence on finding Barnes’ body. No one can survive a fall like that, but God above decided Barnes was too annoying to let die. And the fact he still owes me ten bucks.”

They all laughed because it wasn’t far from the truth. She watched Bucky sigh in relief and Dugan clasping his arm in solitude as he passed by them to dig through the bags.

“He only fell because Captain Rogers couldn’t hold on. Bet that guy rather polish his shield and shiny belt buckle -”

“You want to say something?!” Bucky snapped, the almost relaxed atmosphere had turned tense as he turned to glare at Thompson who had been sulking on the edge of the camp. “If you got something to say about Captain Rogers, then say it.”

“James,” Peggy breathed, squeezing his arm. “Let Jack be if he wishes to express his dislike of Captain Rogers, that is on him. Not for you to fight everyone who sees’s fit to voice their negative opinion.”

Not that she didn’t want to sock Jack in the jaw for that comment. Bucky’s death had torn through Steve, it ripped out any part of him that remained human, that clung to humanity. He was a changed man from that day on. He was reckless, rash, and only survived because she interveined and made him see that he was human, serum, or not. 

Bucky grunted as he sat back on the log and shoved his half-eaten bowl of stew at Peggy’s feet. “Eat. I ain’t hungry. I’m gonna go take a piss and set up for the first watch.”

There was no point in arguing. Jack had sullied what had almost promised to be a relaxing night [as relaxing as they could get in this environment]. She laid out her bedroll after being sure the surrounding area was clear. She almost hoped she could see Steve. Almost. 

“If Barnes is alive, any chance of Rogers being alive?” She heard Rameriz whisper to Li as her head laid on the pillow. 

“A crash like that? There’s no tellin’. Barnes was extremely lucky but I dunno...fall from that height? You’ve seen the tracks…”

Their voices faded as Peggy listened to the sound of footsteps near her. She opened her eyes to see Bucky above her, thanking him as he laid an extra blanket over her before silently nodding and dawning his rifle. She would argue with him over him getting rest later, right now, she was exhausted and selfishly wanted to sleep.

--

In the morning, a fresh wave of snow had covered any tracks that surrounded the camp. It blanketed around them and put out their fire in the middle of the night. Despite the fresh snow, Peggy could see faint outlines of thick boots that stood near her bedroll and as she sat up, waking up before anyone else in the dark forest, she felt something heavier fall off of her than just the extra blanket.

A thick jacket that was too big for Bucky and even Dugan.

Steve had been by.

Unfortunately, the new jacket didn’t bypass anyone, not even a blurry-eyed Thompson. 

“Whose coat is that?” He grumbled to her as they packed their bags for the mission ahead. “I didn’t see anyone wearin’ that last night.”

“It’s mine,” Jones grunted, passing Peggy to take the extra layer from her shoulders with a small nod from her. “Does it matter, Agent?”

“No,” the man grunted, a frown still on his lips. She knew what he was thinking - she was far too comfortable with the Commandos. When they got back to the office, this would bite her in the ass, she was sure of it, not that it stops her. “Just curious, is all. Not like Carter to wear a man’s coat. Thought it might’ve been her sweetheart.”

Peggy made a face, throwing her bag harder than necessary over Thompson’s shoulder and towards the pile they made for the jeeps. “The only sweetheart I have is my gun, Agent. Now if you’re done worrying about my lack of love life, we need to get moving if we want to use the snow to cover our tracks.”

“Don’t blame me, you’re the topic of gossip when it comes to office blabber,” he snickered, raising his hands in mock defeat even when Peggy rolled her eyes.

“If you must know,” Montgomery spoke up as Peggy stalked away to join Dugan and Bucky pouring over a map. “She’s all our sweethearts. Try having that for Valentine’s Day.” His wink didn’t go unnoticed nor did Peggy slapping his hand away and arguing with Bucky over an advantage point.

Jack huffed out in annoyance. This was his lead and Commandos or not, he was taking back control.

--

Peggy could feel the tension building up in her jaw, resisting the urge to rub at it. She could feel it twitching out of tension from clenching her jaw so tightly her teeth might snap in half. It was the only way she could distract herself from not wanting to yell at Jack who ‘stepped up to the captain’s plate’ and started to give orders.

Any argument had been instantly shut down with the argument that he was in charge, reminding Peggy of an older kid in charge of his little siblings. Any argument was useless when Jack was determined that he was right and they were wasting precious time.

“Barnes, keep a distance with that gun. Carter, you’re in the rear. Keep a lookout.”

The order made her roll her eyes at the back of Jack’s head. No matter how much he tried to take control of the situation, to put on his best I’m in charge voice, he was no Steve and had very little regard for people’s safety. Just the end task ahead of getting them in and out with the Doctor in tow. 

It was a bad idea, but fine, if he wanted to stick her in the back to keep out of his hair, then she’d easily take this opportunity to keep away from him. Dugan and Jack lead them and despite Bucky was somewhere in the trees pretending to be a spider monkey, Jones fell into step beside her. Despite his larger size than her, he was quiet. He was the more reserved out of all of them.

“You could stay,” he mused softly, nodding his head to Dugan’s bowler cap. “We could always do with you back in our lead. Especially that one. God knows Steve misses you, Pegs. You’re much better off here than with these jackasses.”

A small smile twitched on Peggy’s pale lips, adjusting her hold on the gun. “I know, Gabe, thank you. I do miss you guys. It’s not against you or even Steve, I am needed back on stateside. Maybe I’ll consider the offer another time.”

He laughed, the laugh rumbling in his chest like promised thunder. “Perhaps that is best, hm? Steve needs to rest anyhow and if you were with us, he’d be far too worried about you, no matter how much he denies it.”

Peggy’s reply was lost to the sound of something falling in the forest. Something heavy. James. “Bucky!”

There’s no way Bucky could miss these branches, they practically made a sturdy bridge. He had sure enough footing but the sound of a bullet whizzing past her was enough to tell her he’d been shot at. “Gabe, disperse the others. Spread out. They’re-” She looked up when another flew past her, seeing movement in the trees. “They’re spread out. Treetops. Below. Take cover. I’m going after James.”

There was no point in arguing with her, the Commandos knew that well. She slid in the snow to avoid the flying bullets, using the shelter of the thick trunks to get to where the figure laid. He was breathing, grunting in that manner that told her he was in pain but he was alive. 

“James,” she breathed, dropping to her knees. “Hey, hey, look at me. Can you walk? We need to get out of here.”

The man’s eyes were glazed over, most likely a concussion but he was no stranger to those. He nodded his head and moved to sit up, moving his left arm to grab at the gun. They both watched as it just twitched, the arm not responding to his movements. In the limited light of the rising sun, she saw the nasty break in his arm and his green complexion.

“If you vomit on me, James, I will be very cross with you. I’m going to splint this best I can with what we have, then we need to move. You can curse me out on the way, deal?”

She’d take that grunting as a yes.

Using the strap from both her gun and Bucky’s, cut with a knife, she placed his broken arm between two sturdy pieces of branches. It wouldn’t do for a permanent fix but it was better than nothing. Bucky did his best not to curse or shout in pain, hearing him whimper and gag. By the time she was done, he looked like he was about to vomit up their cold breakfast. Throwing his good arm over her shoulder, she steadied his weight to lead them into the denser forest.

“Carter! Where the hell have you been?!”

Jack almost seemed worried, but Peggy didn’t have time to consider it, dropping Bucky down on an overturned log. She was sweaty and pissed, worried. The bullets had stopped coming. That never stopped unless ordered to. They’d been found. This was going to make it all the more difficult.

“Getting Barnes before we let him die from your carelessness. His arm is broken. Dugan, any casualties?” She breathed a sigh of relief when the man shook his head. “Good. They’re still out there. How long have they been quiet?”

Jack’s jaw gritted as he looked down at his watch. “Three, four minutes now. Why?”

“I’m going to handle them before they expose us any more. We’ll be lucky if we’re not met with retaliation at the door.” Snatching her gun back, Peggy stood up, taking Bucky’s and laying it in his lap. “You’re still a decent shot even without your arm.”

She got maybe two yards away, returning to the trail before Jack ran up to her.

Jack’s hand snatched her rifle from her, his temple throbbing now. “You will not! That’s exposing yourself and us to danger, letting them know we’re holed up here. We don’t even know where we are, we ran off the trail because of them. We need to spread back out, find the trail. We’re sitting ducks.”

“All the more reason for me to go into the trees, Agent.” 

Peggy tried to snatch her gun back, a bullet striking the trunk next to her head. Her breath lingered in the air for a split second, jerking her head back out of shock. She pushed Jack out of the way when she heard the next one, preparing to feel another bullet tear through her body. Her eyes closed, body tensed, but no pain came.

Her eyes opened when she heard the gasps, seeing a familiar figure dressed in a dark blue suit and holding up the end of a shield. He towered over her, using his larger body to shield her from the spray of bullets.

“Everyone out!” Steve snapped, waving his hand. “Agent Thompson, get your ass off of the ground and help Pinky with those explosives. One stray bullet and we don’t have to worry about who’s in charge. Dugan, Jones, get Bucky and get him on his feet. Dugan, give him a splash of your liquid courage. Buck, three, six, and nine o’clock, are the worst of our fire. I’ve taken most of what I could out. Morita, Montgomery, and Juniper, you get these SSR boys further in the woods. Thanks to your little leadership, Agent Thompson we will now have to wait for nightfall and pray we’re not found.”

If anyone had any questions about his skills, to what Steve wanted, no one questioned it. Everyone instantly charged into action.

Steve’s arm wrapped around Peggy’s waist, holding her close for a fraction of a second too long as he set her back on her feet. “You were hit,” he murmured, baby blue eyes that she’s forgotten how soft they were looking down at her shoulder. “Grazed.” He touched the wound and she flinched, having been unaware a bullet had been that close to her torso. “I’m fine, Steve. I can handle it once we can breathe.” She paused, watching Dugan pick Bucky up and raise the rifle in his direction before firing. They made a good team, odd, but good.

“We need to get going too, can’t be on Thompson’s bad side, now can I?” Steve mused, raising his brow in a way that told Peggy he didn’t care regardless. “I got my bike. We can lead them on a wild goose chase while they escape. You ready?”

“I thought you’d never ask.”

--

“He’s alive?” 

The words were spat at her when she’d later arrived at their makeshift camp miles and miles into the dense forest. Peggy calmly dismounted from the bike with Steve’s help even if she didn’t need it. She wanted the excuse to feel his hand in hers while she ignored Jack’s bulging look.

“Thank you, Captain Rogers, for the assistance and ride,” Peggy hummed giving Steve a polite nod and a firm smile. She turned back to Jack while he started to unpack the bike, rolling her eyes. “Unless we are suffering from the same hallucination, then I will dare say that yes, he is alive. Now, if you’ll excuse me, I’d like to get this wound looked at.”

At least the man had enough sense to let her brush by him, still standing and looking after her and Steve in shock.

Steve was ever the gentleman as he rolled Peggy’s sleeve down, enough for her to pull her arm out of the sleeve. It was cold in their little spot in the dense woods, not wanting to risk lighting a fire. Bucky was already asleep despite the rough ground beneath them, his head in Pinky’s lap. His arm was set in a better-made splint, but still rough for their situation. 

“This is going to burn,” Steve murmured, pouring a little alcohol on her wound. She hissed in pain and ignored the looks she and Steven were getting. This was strictly professional despite how she was straining to not jump his bones right then and there. “I warned you.”

“Seconds before pouring,” she huffed. “Though, I suppose a little pain is needed to be kept in my senses.” 

If Steve had anything to say, it was lost to Jack coming back into camp and sitting beside Li. He rubbed his hands together, blowing hot air between them. “It’s going to be a cold one,” he grunted. “We’ll need to watch in shifts, two per shift, we-”

“We’ve already planned that,” Dugan grunted, his mustache ruffled as he tossed his bowler hat on their bags. Or what was left of them. “Pinky and Li are taking the first shift while we all rest. Yes, that includes you, Steve.” He pointed his thick finger threateningly at Steve’s chest who just pouted at him. “You need to sleep. Pegs, tell him.”

“Yeah, Carter,” Ramirez snickered, “tell him.”

Rolling her sleeve back up and adjusting the gauze, she thanked Steve in a small voice. “Captain Rogers isn’t a child. He doesn’t need to be told what to do but if you’d like my advice, Captain, sleep while you can.” Her eyes told him the rest before I make you. 

She wanted to comment on his appearance, the rugged stubble from his lack of shaving, the longer hair that was starting to sweep off of his forehead. His eyes looked almost hallow, black bags underneath causing the blue to stand out. He looked like complete shit, a hallow version of himself and it ached at Peggy’s heart. 

“This stays between us,” Steve grunted to the SSR boys while their bedrolls were rolled out. “No one else needs to know I’m alive.”

“Did you rescue him?” Li asked, in awe, if not astonished whisper as he turned to look at Peggy. “Why didn’t you say anything?!”

“That’s above your pay grade,” she snapped back, watching Steve kneel by Bucky’s passed out form and tenderly hold his face in hands that seemed almost far too big. She wanted to say more, the more pity part of her that wanted to dig her elbow into the man’s chest and tell him she shouldn’t have to be involved with his hero to have some decent respect. 

“Hm,” Jack grunted from where he slouched against an overturned log, “I can see who was on top in this relationship.”

--

It was clear Jack wore a chip on his shoulder. He had some resentment out for Steve and maybe that’s because he favored her, despite how he tried not to show it. He turned to look at Peggy for advice, not Jack who was once again trying to say he was in charge. He asked Peggy about the situation or would ask Dugan or Li, literally anyone but Jack unless he had to.

This little petty game kept up for two days where they traveled under the cover of night. 

Steve had kept his distance as they planned, but they couldn’t help it when the Howlies left just enough room in their camps to sit side by side or when it was Peggy’s turn to take a watch, Steve would find himself awake even if it wasn’t his turn to watch with her. Or his bedroll would be close to hers. They’d find small ways to touch one another and even that got under Jack’s skin.

Due to Bucky being out of commission thanks to the broken arm, it was left up to Peggy. No one objected but Jack’s temple throbbed as Peggy easily took the rifle and lined herself up with a perfect shot of their guard. She silently laid on a few sharp and frozen rocks that were set above them, stomach pressed to the ground and breathing slowly.

One snide comment from Li or Jack had gotten to her, but not her aim. The bullet flew from the rifle and the man guarding the roof fell into a heap. Steve’s hand closed around hers as she was guided off of the icy rocks, the snow crunching underneath her feet. 

“Nice!” Bucky breathed, shrugging the left shoulder. “Though, you still twitch your foot when you’re about to pull the trigger.”

“I’ll show you where I twitch my foot if you start that,” Peggy snapped, much to Bucky’s grinning face. “Satisfied?”

The last words were said to Jack, his nose wrinkled just ever so slightly as if to say let’s see. 

“Everyone has their plan then?” Steve grunted, looking down at the map. “Three teams. Li, Jones, Montgomery, and Bucky to the west end. Double-check the boiler rooms, any nooks, and cranny. Juniper, Peggy, Pinky, Morita, and Ramirez to the east. Spread out. The rooms look to be larger and some have hidden doorways. Jack, Dugan, and I will take the top floors. We’ll meet in the middle in an hour. Jones, Peggy, and I have our radios, use it only if in trouble.”

“Yeah, Dugan, only if in trouble,” Morita laughed, elbowing the broad man. “Not when we think we’re hearing screaming.”

At Li’s confusing look, Dugan rolled his eyes. His cheeks flushed a soft pink. “It was a frog that I heard. Cap, can we go?”

Peggy caught Steve’s eyes as he rolled up the map. There was no bother hiding the fact that he did this on purpose, separating them to just get alone time with Jack. She raised an eyebrow at him and he sheepishly shrugged his shoulders.

“Steve, let’s go,” Bucky grunted, smacking Steve on the side with the splint and regretting it with a whimper. 

Pinky’s arm threw around Peggy’s shoulder as their groups dispersed, leaning far too much into her frame. Not that she minded. Pinky always had a lingering smell of gunpowder on his fingers. “How much you wanna bet he’s gonna make Jack’s death look like an accident?”

“If Steve isn’t rash? He won’t. But then again...I’m afraid he’s never made a not-so-rashed decision in his life.”

--

Watching the love of your life fall to the floor in front of you seconds after he’s sacrificed himself yet another time to save you changes a person. There’s no radio this time. No radio, no signal blocking them, no interference, no cut-off, and left wondering. She’s staring down at Steve, her heart in her throat. It all happened in a split second, but the second he hits the floor, she’s in action. 

A hand is tearing off the bottom of her uniform, pressing it over the bleeding wound where the bullet has embedded itself into Steve’s thigh

He groans at the contact and grits his teeth. “Is this revenge from the alcohol?”

“You wish,” Peggy grunts, keeping her eyes focused on the bleeding wound. She steadied her breathing despite the anxiety welling up inside of her. She wanted a second chance at keeping Steve safe and god damnit, she was going to take it. 

The forces of God would not take Steve from her. She’d be damned if they did.

“Dugan,” she snapped into the radio. “We need to extract. Now.”

Her head snapped up at the sound of thundering steps, snatching Steve’s discarded shield to block his body, still pressing on the wound with all her might. She’d never thought she’d be so relieved to see Jack’s pale face. The man looked sick.

“You-you-shit.” His eyes nearly bulged out of his head at the sight of the bloodied rags in Peggy’s hand. “Carter, you’re hurt.”

“No,” she huffed. “But Steve is.”

“Fuck.” As if that was somehow worst and yeah, she had to agree it was, even if Steve wasn’t agreeing with it. He was still gritting his teeth and trying to sit up, trying to catch his breath.

“Come here, alright? I need you to put pressure on his wounds.” The guy was in shock and any amount of distraction to keep his hands busy was better than him standing in shock.

With Jack putting pressure on Steve’s wound and the Captain finally stopping his fight, Peggy got back on the radio. She was starting to become frantic, watching Steve’s face pale and Jack was starting to fluster. “Dum-Dum if you don’t answer me right this instant - Steve is hurt. We need extra-”

Her answer came in typical Howling Commando fashion - an explosion on the far wall. The ground shook beneath her, the ceiling threatened to cave in right in that instance. Everyone was piled into the back of the jeep, a crowd of people rushing forward to help her get Steve up to his good foot and rush him back towards the jeep.

“Get Jack,” she snapped at Pinky. “Make sure he doesn’t hurt himself. He’s in shock - have Montgomery give him those tabs.” 

Getting a groaning Steve laid out on the floor of the jeep, Peggy laid Steve’s head in her lap. She didn’t give a damn who saw. She was tired, grungey, sick to her stomach with worry for the shivering Captain.

The fact he wasn’t speaking, arguing with her told her the amount of pain he was in. 

Bucky and Jones were already on the wound, Steve’s face pinching as his pants were ripped open.

“Steve,” Peggy whispered, stroking her hand through her hair with a soft smile. “Look at me.” Her hand cupped his jawline, the pad of her thumb stroking a scar he’d earned from a shaving incident a few years ago. His blue eyes fell on hers, gritting his teeth and holding her hand when Jones started to dig the bullet out.

“This is r-revenge for...for something,” he grunted, gripping the floor of the jeep tightly. “Fuck, you coulda just talked to me, Pegs.”

Peggy chuckled, only to keep herself from crying. Stress. The strain on them. She was thankful when the jeep emptied once they’d reached their pickup point. An abandoned airport where a plane waited for them. 

“Sometimes it’s easier to let others talk for me.” She bent her head down, pressing a soft kiss to Steve’s lips. His felt so cold against hers. 

Hearing a clearing of a throat, she looked beyond the pair at Steve’s feet, to Jack. He was still pale and shaken, but there was life back to his eyes that hadn’t been there before. “I didn’t see anything,” he mumbled. “I was just warning you that wheels up in ten.” He hesitated around the jeep, frowning before he was gone.

“Want me to go hunt him down?” Bucky grunted, pulling back from Steve’s bloodied thigh with alcohol in hand. “For sport?”

A fond smile tugged on Peggy’s lips. There was that Big Brother Barnes quality. “As much as that would solve many of my problems, darling, I can handle myself. Jones, you heard the man, what’s the verdict on Steve’s leg?”

Gabe’s small smile tugged on his lips as he pulled back, wrapping the gauze tighter around the wound. “You’re...rather lucky, Steve. There’s no permanent damage, but given your exhaustion and our lack of supplies, you will be slow to heal. You should head back stateside to get some proper R&R, have the wound properly treated. We did what we could, but no promises.” He clicked his tongue, his fingers pointing to Bucky’s chest. “And you are going with him. You got a broken arm.”

Bucky’s full lips pulled into a pout but underneath it, Peggy could see him vibrating. “What a shame that I broke my arm from a jackass’s decision.”

“Are you sure you guys can afford to lose them?” Peggy asked, gently laying Steve back down as she climbed out of the back. “We can send extra men to make up for them.”

“If you staid we wouldn’t need to worry about it,” Dugan mused, tapping on the side of the jeep. “But you’re needed elsewhere to keep those jerks in line. And make sure this one doesn’t try to run a marathon through Brooklyn on that leg.”

“Not much of a runner,” Steve grunted, letting himself be pulled up. He set his weight on his good leg, letting Jones and Dugan pull him to his feet. 

As Steve was being put onto the plane, Peggy heaved a soft sigh as she turned back to Dugan. The hug from him was everything she missed - the bear hug that reminded her some things were worth savoring. Pulling away, he patted her cheek and grinned under that thick mustache.

“You keep our boys in line, won’t you? We can’t lose ‘em again,” he grumbled, shrugging his shoulders slightly. “And keep yourself safe. We’ll get to the bottom of this. We’re just one call away, Pegs.”

“Of course I will,” she mused. “Someone needs to. And thank you, Dugan. You’re a life savior. Literally. I’ll miss you.”

Sitting back between Steve and Bucky, Peggy could feel like she could breathe for the first time in a while. Steve was going to be okay. He might need longer rest than others, but he’d be okay. Dugan was wiring the information to Phillips as they spoke. Her head rested against the wall, feeling Steve’s hand tighten in hers in his light slumber. Against her shoulder, Bucky was snoring. 

“Marge.” Her name made her eyes open to see Jack in front of her. Her body tensed, coiled, and posed, ready to fight because her boys were in her lap and exhausted, hurt. What more could he want? 

“Yes, Agent Thompson? I was hoping we could get some shut-eye before we touched land.”

“I won’t keep you long. You’re...busy.” His eyes fell to Steve, watching the man’s face twitch in her lap. “I wanted to thank you for...assisting me back there. Any other person would’ve left me to my own devices, especially after the decisions I’ve made. You didn’t, you were the bigger person and I’m...thankful.”

Well, that’s the last thing Peggy expected to hear from Jack’s lips. An apology and him expressing how thankful he was for her? Well, that was rare. “It wouldn’t be fair for you to die because you were in shock. I’m glad you’re okay.”

His head bobbed, Steve grunting making him flinch slightly. He still wasn’t 100% okay. “I’ll leave you to it. What I saw...I won’t tell anyone.”

“Good,” Peggy huffed, letting her head rest on the wall and close her eyes. “Because I’d hate to have to kill you because you decided to be stupid.”

[aion-rsa]

Demon Slayer: Mugen Train’s Success And Why Anime Will Never Be the Same

https://ift.tt/3vfTW9R

When Mugen Train rolled into U.S. theatres on April 23, a world of new and exciting possibilities opened up for the anime industry. Kimetsu no Yaiba (Demon Slayer): Mugen Train broke box office records after dethroning long-standing record holder, Spirited Away, to become the highest-grossing anime film worldwide with $440.15 million. 

Needless to say, the anime world has been shaken to its very core. With a surge of people picking up Demon Slayer: Kimetsu no Yaiba as their first-ever anime after hearing of its global success, anime veterans may be wondering just how the industry will continue to grow from here on out. Let’s take a look at how a touching story about a boy and his sister rose to such critical acclaim and managed to break every record imaginable. 

What is Demon Slayer: Kimetsu no Yaiba?

Demon Slayer (sometimes referred to by its Japanese title Kimetsu no Yaiba) follows the life of a young teenager—Tanjiro—as he tries to free his sister—Nezuko—from a demon’s curse. Wanting to return her to a human, as well as seek revenge against the mystery assailant who murdered his family, Tanjiro sets out on an adventure across the globe in search of answers. The series ran for 26 episodes in the Spring of 2019 on several Japanese networks (including; Tokyo MX, GTV, GYT, BS11) and later aired on US networks (including Adult Swim and Toonami) and also streaming sites such as Funimation. The show was well-received and quickly amassed a following of loyal fans. 

However, after Mugen Train was released in cinemas, it gained traction from several atypical news outlets (the LA Times for example) due to the sheer amount of money it was generating. It seemed like people who weren’t fans of the original series, nor fans of anime in general were lining up for the chance to watch Mugen Train. It begs the question; just why is Mugen Train so popular?

The Simple But Effective Plot

One of the leading reasons linked to the success of Mugen Train is the franchise’s accessibility. The premise is fairly easy to understand (a tale of unconditional sibling love) and while the fantasy elements of demons and magic remain prevalent, they are not bogged down in reams of exposition. 

This allows anyone to pick up the show with relative ease. 

However, for those that stick around, the deceptively simple premise explodes into a wonderfully rich and layered world with thoroughly interesting characters each fleshed out with their own backstories and surprising plot developments that keep the simple premise engaging for so many episodes. All in all, Kimetsu no Yaiba’s plot is simple at first glance but those who look a little closer will see a gripping narrative that has clearly been meticulously cared for. 

Awesome Animation

The animation quality is of the highest standard in both Demon Slayer and Mugen Train. Even those who are not particularly interested in the plot will find themselves captivated by the stunning visuals. Even smaller details like the artistically styled water that flows from Tanjiro’s sword whenever he completes an attack, are just breathtaking to see play out. 

Demon Slayer does not blow its entire budget on animating great fight scenes, however. The slower-paced moments are animated beautifully and the varied facial expressions lent to each character make for some hilarious interactions. Zenitsu (one of Tanjiro’s friends) in particular has an expressive face (not to mention the stellar voice acting quality of both him and his ensemble cast) which makes each episode’s action lulls a delight. 

The Excellent Source Material

A lot of anime are not created from the ground up. While several original shows are produced and sent straight to TV screens, a lot of anime emerge from their respective manga sources. Demon Slayer is no exception here, as the manga continues to release issues periodically, with a story that has long since moved past the events in Mugen Train.

Koyoharu Gotouge—the mangaka mastermind behind the Kimetsu no Yaiba series—has created a stunning piece of art in the form of his manga. Due to this, the animation will always have the inspiration to draw from (granted that it leaves enough space between its most recent episode and the most recently released chapter of the manga). Of course, several scenes will need to be created to fill in the gaps between manga panels, but the base storyline is there for the taking and will continue to be so as long as Koyoharu doesn’t get bored!

Charting the Show’s Success

Demon Slayer’s rise in popularity was remarkable. The show was fairly unknown in its manga form (at least compared to the audience it reaches today). However, this is par for the course for most manga. Without the aid of television advertisements, promotions, and other ways for the story to be advertised, manga sales will rarely result in such a worldwide phenomenon. All of this changes, however, when a manga receives its anime adaptation.

Read more

TV

Demon Slayer: Kimetsu no Yaiba – Breaking Down Every Sword Color

By Daniel Kurland

TV

Demon Slayer: Kimetsu no Yaiba Season 2 – What to Expect from Entertainment District Arc

By Daniel Kurland

The manga was first published in Japan in 2016 but when the anime released in 2019, it steadily grew in popularity and, as such, entered into sponsored collaborations with various companies throughout Japan. Being a Shounen manga (an easy-to-digest, light-hearted, usually battle-oriented, anime aimed towards young boys) only added to its accessibility, and with Tanjiro’s face being plastered wherever you go in Japan, there was more incentive than ever to join the bandwagon! All of this then culminated in the release of Mugen Train. Having been bombarded with Demon Slayer since its anime release of course the many fans that had been created through its wide coverage would check out the movie. 

Make the World Take Notice

All of these positive qualities helped Mugen Train stand out from the crowd of its animated competitors, making it a great watch for the whole family. It goes without saying that parents will be much more inclined to take their children to see a movie that they themselves can find some form of enjoyment out of. Mugen Train, with its perfectly blended cocktail of an animated movie, capitalized on this perfectly. It provided not only stylistic and bombastic action to keep the kids entertained, but also a beautifully crafted and surprisingly deep story that teenagers and even adults can enjoy.

The impact Mugen Train has left on the anime industry is gigantic and, hopefully, we see more care and consideration being given to animated works. Long has a stigma engulfed the world of cartoons. “Cartoons are for children”, “Anime is childish” or “They’re not real movies”, have always been popular arguments of the naysayers. Mugen Train crushes this ideology and proves that anyone, of any age, can find enjoyment in watching anime. Similar to how the Korean Oscar winner Parasite opened the door for foreign films to make their stand at international film festivals, Mugen Train has made it clear that anime is a commercial force to be reckoned with. 

The Future of Anime

The popularity of anime is ever-rising and Mugen Train has played a huge role in this. Lesser discussed shows may be picked up by Western television or streaming platforms due to their niche demand. There already exist several ways to stream anime in the Western world. Sites like Crunchyroll and Netflix offer a wide variety to choose from. Hopefully they will be expanding their libraries even further in the near future

In the future, we may find ourselves witnessing more and more anime theatrical releases from studios wanting to capitalize on Mugen Train’s success (post-pandemic, of course). It is evident that animated works can create just as much money as big blockbuster action flicks. Perhaps, we may also see an animated feature film win not only the best-animated picture award but the best picture award in general at the Oscars. 

We may also see a rise in the popularity of manga. For one month, in fact, Kimetsu no Yaiba’s manga managed to surpass One Piece in overall sales (something absolutely unheard of since the advent of the unstoppable freight train that is the One Piece manga). Many people became so enthralled by the adventures of Tanjiro and his peers, that they could not help but pick up the manga to check out what happens next. Perhaps, thanks to Mugen Train and Kimetsu no Yaiba’s influence, we will see the birth of a new generation of manga fanatics who will, without a shadow of a doubt, preach to anime viewers that the manga version is “InFiNiTeLy SuPeRioR”. 

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Eager fans can watch Mugen Train at select theaters across North America, with the rest of the world hopefully being able to watch sometime this year. Let us know what you think of Mugen Train! What anime are you watching to fill the long and grueling wait for Kimetsu no Yaiba season two? Comment down below!

Demon Slayer: Mugen Train is available on VOD in North America now.

The post Demon Slayer: Mugen Train’s Success And Why Anime Will Never Be the Same appeared first on Den of Geek.

from Den of Geek https://ift.tt/3wHVOcp

[spmcomic]

Theia and Gaia

Cover

Chapter 1: (part 1 | part 2)   Chapter 2: (part 1 | part 2)

Chapter 3: (part 1 | part 2)   Chapter 4: (part 1 | part 2)

The next days dragged on longer than any of the thirty voices could remember. Every conversation with Lazarus’ fellow porcelain monsters was held in clipped, halting small-talk. The assertive voice in Lazarus’ little crowd approved; this ragtag band of Leporids knew better than to betray their anticipation. The voices treasured those short moments of storytelling more than ever. The routine masked Lazarus’ nerves, and the stories gave them something to ruminate on, to distract themselves.

But at last they had to convene on the plan, as Lazarus hauled its packages down the ravine wall and through one of the Dimensional Doors.

Will Head Merlock make its move in the morning or evening? Does it matter? The more battle-hardened voices growled in response. The sun barely spends two hours shining directly into the ravine each cycle. If Head Merlock expected to navigate without power, wouldn’t it need to be during that window of natural light? Or, does it have some kind of lantern- would it prefer to work in as dark conditions as possible, to slow down everyone else? Where will the students be? What of their controllers, should they prefer to give orders first and ask questions later?

Where will Head Merletaph be?

The voices cut off as Lazarus stumbled, one of its legs snagging in the tough material of Optym’s pathways. The more cautious voices swam and spun across the space. The robots wouldn’t stand a chance against the Artificers.

Head Merlock is not concerned with saving the current robots. It only wants to prevent future robots-

Something was speaking to Lazarus. It received a firm pat on the side, on the casing over its hind legs. With a startle, it peered down at the Artificer. This one was tall, and Lazarus could just resolve wrinkles under its shallow hood, but it had drab robes. Low rank. What did it want?

“Did you hear me? I said the Scrying department is waiting for its lenses to get to the R.P.C. in Underside. Hurry up!”

Lazarus picked its way across the walkway toward the Dimensional Doors, too occupied to catch everything the creature muttered behind it. Distraction was the enemy. Better to focus on the present. Here, the sun’s light was just poking into the ravine. It would be past noontime in Underside already. The voices mulled over how quickly they could scramble to the R.P.C. to perhaps free up a moment for a story.

The Dimensional Doors stood on their own platform, the open metal panels glittering in the early light. Lazarus could see Underside through the center door, and as it passed through it felt only a slight resistance, like pressing into the surface of the water- walking into a headwind- pushing aside a skin hung as a curtain-

As it was crossing the bridge across Underside’s wide ravine, the lights across the city flickered and died. The thin light from the geothermal backup lit up across the buildings behind it, casting weak spotlights onto the carved buildings at its destination. No shattering glass heralded this outage, and the lights did not return, so the voices came to a quick agreement. They clawed along the path to the Soul Intake building, looming over the city like a great needle, all the way up the ravine wall and stretching down nearly to the world’s mantle. The bridge was not crowded, and the Artificers flowed around it in a bubble of space as usual. It was eerily… normal. As if Lazarus simply hurried to a late task, and nothing more.

Eurydice stood on its bulky arms at the front door of the facility, along the widest layer of the walkway. “Do you know what the plan is?”

Sentry’s voice crackled distantly from a speaker inside the front room. “Head Merlock was vague on the details. I think she didn’t want any of us to give away the plan if Merletaph demanded information.”

Lazarus watched down one side of the walkway, then the other, observing the shorter Artificers continue their business in the ravine’s deep shade. Some grew uneasy and stopped to look about as the darkness stretched on. Taller ones with the more adorned robes began moving against the flow of the crowd. Perhaps the other robots had caused enough trouble with the generator for a whole team of them to repair.

“It appears we are expected to wait here until the deed is done. Someone has to watch the door,” Lazarus finally said.

The two robots lingered for a moment, before Sentry’s voice returned. “She’s having trouble getting to the controls. The elevators are still down. I’ll tell you if you need to move.”

Lazarus hopped between its spindly legs to stay alert and moving, clacking their metal against the ground and sending hard shudders up into the joints. “What kind of opposition did Head Merlock expect, Sentry?”

“I know you want logistics, Lazarus. I don’t have anything for you besides what I can see, but it’s very dark. The upper-classmen just found the circuit breaker, they don’t yet know what… Oh.”

Lazarus shuddered to a stop. “Sentry? Where is the problem?”

But the speaker had gone silent. Eurydice turned to Lazarus on its great pillar-arms. It flexed its fingers against the ground and looked out at the crowd of Artificers. “That doesn’t bode well.”

The voices itched to step inside the door and check the speaker, even though they knew it would do no good. The head turned one way and another. “It’s suspicious to stand outside. They still don’t know anything is out of the ordinary.”

“That won’t last much longer. We don’t have much room, inside…” Eurydice clicked its toes as it considered.

“We need to have the element of surprise. If they can see us as they come, they will have their controllers ready.”

Lazarus clambered through the doorway. It shrugged off its bag of lenses, letting it drop to the ground with a flat clatter. Some of the voices took note of ambush spaces- of the positioning of the door compared to the bench, and the lamps, and the carpeting. The room was quite cramped; hopefully small enough to get at any Artificer before they could point their controllers.

The two waited in a heavy silence, watching the thinning stream of Artificers move to and fro out the window. Dim light from the other side of the ravine filtered through the glass.

“Did Head Merlock speak of any kind of… signal? When the task is completed?” Eurydice didn’t turn away from the window.

Lazarus shook its head, the joints and motors faintly whirring in its neck. “Will it sound like… like the Power Cores when they shatter?”

Eurydice only shifted its weight.

All at once, a cluster of Artificers charged for the doorway. Eurydice stepped to the side and watched Lazarus as it readied its wrist blades, tucking them close to its body.

The first one stepped through the door, already pulling out a controller. Lazarus snapped out a blade to swat it out of the scientist’s hand. Eurydice swung one of its mighty arms against the Artificer and shoved it back through the door to bowl over the students behind it.

Forward, press forward! Lazarus clawed out of the doorway to chase down the last creature left standing as it fled, paying no heed to whatever Eurydice was doing back in the room.

The small Artificer whirled around, its robes dragging on the floor. It drew up a pale, slim hand, perhaps in a futile attempt to defend itself. Lazarus knocked it against the wall and pinned its robe to the ground under a blade. The Artificer thrashed against Lazarus’ weight and its hood fell back.

A small, wide-eyed creature stared up at the space, panting, hand clutched to its chest. It had a blunt, pinched nose with a round face. Stringy hair fell in white locks around its tiny head, like a Leporid’s mane. This was…

This beast was hardly an adolescent.

Kill it, don’t let it escape! Bryagh’s voice roared above the others. They were swept up in his momentum and Lazarus raised its free blade.

Wait! Another voice called, even louder, surging above the wave. I will not kill this creature. I refuse. The voices buzzed and the blade trembled.

Time seemed to halt, as the voices screamed at each other. It’s just going to go on to keep committing these atrocities, Bryagh’s voice snarled. We have to take out as many as we can, while we can.

They will not be able to hurt us after this. There is no reason to execute a child, Ishani’s cried in return, clamoring for those words, for the clarity that Bryagh wielded. Merlock will destroy the Reel. There is no future in which they continue this project.

The voices floundered, split between their two choices. The creature in front of them shook, curled up with its eyes squinted shut.

Hesitantly, Fu’s voice joined Ishani’s. Then Divya’s, and Satriya’s, and Masala’s. Their chorus grew stronger, drowning out the old warrior’s, as more voices came to their decision.

Lazarus put its blade to the ground, to support its weight. Then, it lifted its other blade off the creature’s clothing. The Artificer stared at Lazarus before scrambling to its feet and fleeing into the shade.

The city lights flickered back on. Lazarus turned to look for Eurydice when a rough, giant hand closed around its neck and thrust its bulk to the floor.

The dazed voices had only a second to glimpse the pillar arm in front of them, from their angle against the ground.

“Eurydice?” Lazarus’ voice flickered weakly. Something in its neck must have gotten disrupted. Two boots stepped into view behind the other robot.

Lazarus’ body went rigid, and Eurydice released its neck. Without the voices’ permission, the body stood and faced its assailant. Eurydice stepped aside, revealing the gold-adorned poncho of the other leader, holding up a single finger, golden eyes narrowed to slits.

“Merlock really is an idiot. The Dimensional Doors are powered from Karchner’s side.” Its gaze focused on Lazarus. “Guard the door, won’t you? I’m afraid our friend has outlived her usefulness.”

Lazarus had no voice to cry out its wrath and hatred as its body joined Eurydice’s at the door and bowed while Head Merletaph strode into the facility. Its limbs stood frozen in place as the voices railed against their prison, as they imagined Eurydice’s did the same, as silence fell over the ravine.

The smaller- younger- Artificers had vacated the walkways in front of them. Only one scientist stood guard over the two frozen robots, wringing its hands and looking up at the great needle behind them. The voices screamed out at it, but Lazarus’ voice remained unresponsive.

Its eyes could only stare out past the walkway, across the ravine. And, after a short while, a distant figure in glittering silver fell past and down out of view, toward the planet’s mantle.

Sentry’s voice broke the quiet stillness. “Get back to work,” it said, hollow and toneless.

And their bodies had to obey.

-

Previous | Next

[virtual-lara]

Collection of Information from the official Tomb Raider 1 Website

If you've ever gone back in Web Archive history for the official Tomb Raider website, you may have come across the front page for Tomb Raider 1, but due to the age, any links have been lost and many pages are now inaccessable. After searching for very, very old fansites, we've come across 3 that have filled in these blanks. The following post will go through these lost pages. Hopefully you will find this as interesting as we did.

The left above image is dated Dec '96, the right above image is dated Jan '97. Note how 'Lara's Page & Calendar', 'Features' and 'Contests' is added in just over a month. The websites that I will be referring to are: the official Tomb Raider website and the following fansites: Saint Francis Folly C. 1996-1997 | Robert Wheeler's Tomb Raider Archives C. 30/11/1996-2001? (later hosted by Croft Times) | Tomb Raider Unleashed 1997-1997

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Lara's Page

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- OFFICIAL LINK - Dated as early as Jan 1997 | SFF | TR Unleashed | TR Archives

We believe that this included the very first draft of a biography for Lara. Sadly it does not appear, so we can only ever be 99% certain but the information was saved due to the very early fansites - TR Archives especially as he created pages using exact/very similar titles to the official website. All three listed fansites give the same details:

========================

NAME: Lara Croft

DATE OF BIRTH: 14th February 1967

PLACE OF BIRTH: England

HEIGHT: 5'7''

WEIGHT: 8 Stone, 11 lbs (about 55Kgs)

FIGURE: 38" Bust, 22" Waist, 34" Hips

HAIR: Brown

EYES: Brown

BACKGROUND: Lara the daughter of Lord Henshingly Croft, was raised to be an aristocrat from birth. After attending finishing school at the age of 21, Lara's marriage into wealth had seemed assured, but on her way home from a skiing trip her chartered plane had crashed deep in the heart of the Himalayas. The only survivor, Lara learned how to depend on her wits to stay alive in hostile conditions a world away from her sheltered upbringing. Two weeks later when she walked into the village of Tokakeriby her experiences had had a profound effect on her. Unable to stand the claustrophobic suffocating atmosphere of upper-class British society, she realised that she was only truly alive when she was travelling alone. Over the eight following years she acquired an intimate knowledge of ancient civilisations across the globe. Her family soon disowned their prodigal daughter, and she turned to writing to fund her trips. Famed for discovering several ancient sites of profound archaeological interest she made a name for herself by publishing travel books and detailed journals of her exploits.

DISCOVERIES: 1993 - The Lost Ark of the Covenant. 1996 - The Alantian Scion.

========================

VL Thoughts: The inclusion of a discovery date for the Ark is very interesting. Perhaps the developers felt that they needed to date the item in the mansion. Other than that, nothing's too surprising.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Calendar

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- OFFICIAL LINK - Earliest capture: Jun 1997 | TR Archives

You could visit the Calendar page each month (starting from Jan 97) to see that month's page, featuring clickable links to wallpapers, new sounds and details of any upcoming releases, including other Core/Eidos games. Check out the TR Archives link just above to see 6 months of the calendar. A later capture of the TR Archives fills in the remaining 6 months, but only December works now and the design starts to change, ready for TR2!

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Storyline

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- OFFICIAL LINK - Earliest capture: Jun 1997

No need for any fansite on this one as this page is available!

========================

Lara Croft has just returned from a hunting trip in the Himalayas where, having bagged a 12-foot tall yeti, she's itching for a new challenge. While enjoying a little R & R, she's contacted Jacqueline Natla, a conniving business woman who convinces Lara to recover a mysterious artifact from the tomb of Qualopec in Peru.

Wasting no time, Lara sets out on her quest to find one of the three pieces of the ancient Atlantean Scion, a talisman of incredible power. After disovering the fragment things get ugly, Lara finds herself face to face with one of Natla's hired goons. Using her cunning wits and athletic strenghth, Lara escapes!

As she delves into the reasons why Natla would double cross her, she uncovers a mystery that reaches back before the dawn of recorded time to the treachery that destroyed the Atlantean civilization and the disasters that struck the world when it fell.

Enter the Tomb Raider world in 15 massive 3D environments within four lost civilizations:

- Vilcabamba... A civilization that flourished for hundreds of years in the Peruvian rainforests of South America. Guide Lara through the lost Incan city while battling wolves, bats, bears, raptors, and more.

- Labryinth...The Golden Age of Greece, and later Rome. Here Lara battles lions, alligators, crazed monkeys and more as she explores ruins of this ancient civilization.

- Egyptian...Where the vast power of Egypt rose with the pyramids. Explore buried pyramids and a hidden sphinx while fighting pumas, crocodiles, and some surprising mystical monsters.

- Atlantean...The pyramid of Atlantis where the mystery unfolds. Play and see!!!

========================

VL Thoughts: There are a couple of cool things. Firstly, here is an early source to date Lara's escapade for Bigfoot, but later in 2003 when the AOD Official Companion book is released, it is dated to 1995. But a location is mentioned - the Himilayas and Bigfoot is incorrectedly called a Yeti, the latter would be geographically more accurate. Secondly, the locations of the levels are broken up into zones, as mentioned in an early '96 draft recently released by Paul Douglas. Note the Labryinth levels. It was not an accident that St Francis Folly includes a mix up of Norse/Greek/Roman characters.

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Features

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- OFFICIAL LINK - Earliest capture: Jun 1997

No need for any fansite on this one as this page is available!

This page contains a listing of elements about the game, camera, enemies and levels etc. It also includes various 3D patches and demos, too much for us to list here.

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Extra pages

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- OFFICIAL LINK (Sounds) - Earliest capture: Jun 1997 | OFFICIAL LINK (Wallpapers) - Earliest capture: Jun 1997 | TR Archives

There were wallpapers, soundbites and even movies available on the official website but they're not listed on the front page. We believe that these pages would have been linked to via the calendar pages. Tomb Raider Archives lists out the sounds and even the movies. To avoid making this post any longer, check out the link above. We have a little bit of info on the wallpapers. In TR Archives' fansites list (dated 4th June 97), there is a fansite called Game Schtuff's Tomb Raider page. This particular website says that there are 8 wallpapers (backed up by TR Arc) but this site shows them. Sadly only two images load.

VL Final Thoughts: We couldn't find the 'Contests' or 'Screenshots' pages, and although most of this data is now known, it's nice to see it on the official website with an early date. If you've reached the end of this article, we hoped that you've enjoyed looking back in TR1 history as we have raiding the archives!

[micahcharlson]

More Briefly(?)

Is It Time to Rethink Swain's Sequels?

I’ve been wanting to follow up on my last post for some time, but every time start to dig in I get overwhelmed by the sheer size of it.

And if I, who wrote it, am having trouble, I have to believe most of you are also.

To that end I’m reposting it, in an attempt to summarize what I was really trying to say.

In particular, I’m going to be ripping apart the comments that were copied into that post and selecting only what’s necessary for understanding my point.

In this version of this post, I’ll still be keeping some good deal of the original post entirely though. And, to clarify things a bit more, I’ve added some section headers to set off different areas of the post, and added an area where I summarize what the key point of that section is. Occasionally I’ve tried to add paragraph breaks and other whitespace to give the post a less dense look for improved readability.

Somewhat briefer, then:

This article is in response to a guest post by Peter von Stackelberg on K.M. Weiland’s blog, and what he had to say about creating scene structure (An Intuitive 4-Step Process for Creating Vibrant Scene Structure), as well as the questions it raised for myself and others.

An understanding of Dwight V. Swain’s Scene and Sequel technique is necessary for every writer hoping for success, but if you’re unfamiliar with it then reading Weiland’s series on How to Structure Scenes in Your Story should get you up to speed.

This will be my attempt to synthesize Swain’s concepts with what von Stackelberg had to say about creating scene structure, specifically regarding how I feel von Stackelberg’s concepts fits into Swain’s. (It’s entirely possible I’ll find it makes more sense looking at it the other way around—how Swain’s concepts fit into von Stackelberg—though when all’s said and done, I’ve knows about Swain’s work longest.)

When relying on comments left on Weiland’s blog, I’ll give credit to the commenter and note the time/date of their comment.

To begin…

My Initial Thoughts

Here are my initial thoughts before reading any of the comments readers left. That is, my initial thoughts based solely on von Stackelberg’s post.

I believe before implementing von Stackelberg’s four questions under “Scene Structure as a Writing Template”, writers must understand the character’s scene goal.

Once the character’s scene goal has been determined, it’s possible to proceed to those four questions. After they’re used to flesh out the scene, they can be interwoven into Swain’s scene structure. Sequels are another matter entirely.

The resulting merging of the steps looks like this:

Step 1: Identify the POV character’s immediate goal for this new Scene.

Step 2: Determine what the Scene’s Peak action is.

Step 3: Identify what set into motion the Peak action? What is the Initiate element?

Step 4: What is the result of the Peak action? What is the Release?

Step 5: Where did this all happen? When? Who was involved? This is the Establish element.

Step 6: Fill in Orienting information about the setting, timing, or context of the scene which will help the reader understand the where, when, and who of the scene.

Step 7: Fill in additional Details about character’s, settings, or significant objects in the Initiate (or, sparingly, the Release) elements.

Step 8: Add Prolongs, additional actions that prolong the overall action, to create suspense—which heightens dramatic tension—typically in the Initiate sequence (or, rarely, in the Release sequence.)

Step 9: Write the Sequel (Reaction, Dilemma, Decision) as normal, creating the character’s goal for the next scene.

Key Point of My Initial Thoughts

I believed scenes and sequels were alike, yet different from each other.

My Subsequent Thoughts (During/After Reading Comments)

Reading through all the comments forced me to reconsider some of what I earlier determined to be true. In the comments below, I’ve italicized items of particular interest.

On the topic of cliffhangers:

Based on this snip from a comment from Peter Moore (JULY 13, 2020 AT 12:52 PM):

How do scenes that end with heightened tension fit into this scene structure?

And this snip from von Stackelberg’s response (JULY 13, 2020 AT 1:58 PM):

From the story flow perspective, this kind of cliffhanger is very disruptive for a couple of reasons:

It leaves readers hanging without any sort of resolution to what happened in the scene.

It disrupts the flow of the story because you then need to have the Release at the beginning of the next chapter/scene or, if there are intervening chapters/scenes, at the beginning of the scene where you return to the part of the storyline where you left off with the cliffhanger. The research (and I tend to be a believer in research) tells us that the sequence of Establish > Initiate > Peak > Release is important for readers/viewers understanding of what happens in a scene.

As a writer, I want my scenes to end in a way that prompts readers to move on to the next chapter.

You can certainly do it by going Release (for previous scene) > Establish > Initiate > Peak. However, as both a writer and a reader, that sequence of elements leaves me feeling unsatisfied. I want some sort of conclusion to the scene.

I think the answer to “Where do you end a chapter?” is not in moving the Release to some other chapter, but to focus on using the Release as a place where you basically let your audience know whether the scene’s main character achieved his/her scene goal. The suspense comes not from withholding information (i.e. the Release), but by adding a tidbit of new information.

For example, your protagonist has achieved (or not achieved) his/her scene goals but…is now in deeper doo-doo because…

This raising and releasing of dramatic tension is a real challenge to pull off. Once you master it, however, you are well on your way to writing some real page-turners.

And this response (JULY 22, 2020 AT 11:07 PM):

Your comment about not liking cliffhangers resonated with me. Giving the reader more information to ratchet up the tension is so much more difficult but also more organic/less contrived.

But more relevant information, that builds on what the reader already knows, thrusts/carries the reader forward into the next scene with the confidence that their questions are going to be resolved. They are eager to read to the end of the next scene.

I must conclude that a scene isn’t finished until the Release has been incorporated. The resulting suspense isn’t built so much from “What happened next?” as it is from the reader asking “How did what happened just affect the character, thereby changing the character’s thinking, plans, and the character’s core being?”

Key Point on the Topic of Cliffhangers

Suspense at the end of a scene can be maintained by causing the reader to wonder how what happened to the character is affecting said character.

On the topic of mapping Swain’s concepts to von Stackelberg’s for vibrant scene structure:

Based on this comment from Jennifer Bobrowicz (JULY 14, 2020 AT 9:40 AM):

Your article helps me better understand how to keep my scenes focused while including important details. In a nutshell, the scene’s Peak drives the writing of that scene.

However, I’m confused on how I could use your framework along with the model of scene/sequel KM Weiland explains in her books. Katy’s method has helped immensely with structuring my WIP, but I’d like to know if I can meld the two. So, here are my specific questions.

The Peak Action seems like it could be the Disaster in the Scene (Weiland) and the Outcome [Micah Charlson’s note: I believe this is the Release?] seems like it could apply to the Reaction in the Sequel (Weiland). The Outcome would then go into the next scene or even the next chapter. Your framework has scenes divided into 4 parts, while Katy shows two types of scenes (Scene/Sequel) with each divided into 3 parts. Perhaps, I’m splitting hairs or not fully understanding something. The Scene/Sequel framework (Weiland) seems to work well in establishing goal, conflict, and a mini climax (Disaster in the Scene), and then it (hopefully) keeps the reader wondering how the character will respond in the next scene/chapter.

So, can the two methods be melded together? In your opinion, is ending with the Peak and picking up with the Outcome a mistake? Do I understand correctly that the scene should be wrapped up (no cliffhangers) with the Outcome, then a new question should be raised to keep the reader going?

And this partial response from Peter von Stackelberg (JULY 14, 2020 AT 1:51 PM):

…

These two scenes from “All the President’s Men” — https://www.youtube.com/watch?v=Gn3MSQogVeY — for a great example of how to use the Establish > Initiate > Peak > Release structure. As well, these two scenes are an excellent example of how to do the 1-2 punch of Scene & Sequel that Katie talks about.

The terminology of “Scene” and “Sequel” can, I think, be somewhat misleading because it makes it appear that there is one of each. In fact, I think as Katie has pointed out, both the “Scene” and “Sequel” are scenes as we would normally define them — they have their own set of characters interacting in a well defined time and space.

Both the initial scene and the one that follows should be developed using the E.I.P.R. structure. In the clip from All the President’s Men, these phases are pretty clear in the first scene but a little more subtle in the second scene but also follows the E.I.P.R. structure.

I’ll admit this twists my thinking a bit. To explain, I’ll use the following definitions of Scenes and Sequels as I’ve always understood them:

A Scene is a scene in which the character attempts to achieve an immediate goal—this attempt being one type of action in the cycle of “Goal, Conflict, Disaster”, though I prefer the terminology of “Goal, Conflict, Outcome”—in the service of achieving the overall story goal, whatever that may be. I think I’d say most of the time, if not always, Scenes provide the external action, or the plot. (But it is early as I write this, “early” herein defined as “I haven’t had nearly enough coffee yet.” Still, I’d bet I’m correct, keeping in mind I did say “most of the time.”)

A Sequel is a scene in which the character processes the Scene’s Outcome (good or bad)—this processing itself being simply another type of action, in the pattern of “Reaction, Dilemma, Decision” (leading to the next Scene’s Goal.) So a Sequel, it could be said, is just a scene with a different type of goal than the goal of a Scene:

The goal of a Sequel could be stated as “to process the previous Scene’s Outcome, weighing the pros and cons of each option going forward, and considering all the benefits and consequences inherent in each possible action, in order to determine the best course of action for continuing to pursue the overall story goal.” This processing of the Outcome is, in a Sequel, known as the Reaction. (This is a kind of cost-benefit analysis (CBA) of the contemplated actions for the next Scene.)

This pursuit of the Sequel’s goal—the actual performance of the CBA if you will—is the Sequel’s version of the Scene’s Conflict, which in a Sequel is called the Dilemma, an internal conflict.

This internal conflict, this CBA (even if a team effort, with much back and forth dialogue and apparent plot action) must lead the character—alone, in essence—to make a Decision (the Sequel’s version of the Scene’s Outcome) he or she will commit to—if only in the short term. This commitment to the Decision will always be initially an internal act, even if expressed explicitly after the Decision has been made. (You gotta decide before you can tell anyone what you’ve decided, right?)

Key Point on the topic of mapping Swain’s concepts to von Stackelberg’s for vibrant scene structure:

Sequels are Scenes where the Goal, Conflict, and Outcome are internal versus external, and thus have the same structure.

Are sequels even needed?

Now, before I make my controversial suggestion here, let it be known that I still believe Dwight Swain was a genius and I’ll highly revere all that he’s taught all of us.

That said, if a Sequel is simply another type of Scene, and should be developed no differently than a Scene employing the overlying mesh of E.I.P.R., then perhaps it’s time to scrap the idea of a Sequel completely. Because, in reality, a Sequel could also be viewed as having these parts:

Goal (react to the Scene’s Disaster and determine the next course of action—i.e., the next Scene’s Goal)

Conflict (struggle within—i.e., an internal conflict—with the pros and cons alternative courses of action and the consequences of each; literally, a Dilemma)

Outcome (whereby a decision is reached and the next Scene’s Goal is established)

So, it might be helpful (to some of us) to forgo any thought of writing Sequels altogether, and instead think of writing internal Scenes in their place.

That’s probably the same end result, but changing our own internal thought processes might point our minds in different directions, and unlock other possibilities for our stories.

Another possibility is when, while reviewing previous work writing in the Scene/Sequel format, making the attempt at looking at these Sequels through this different lens.

In Conclusion

So, finally, bringing all this back to von Stackelberg and his excellent post, each scene—Scene or Sequel—will end with an Outcome, which will require the Release element be incorporated into the Scene (external/“Scene”, or internal/“Sequel”.) Deleting Step 9 from the merging that resulted, the steps look like this:

Step 1: Identify the character’s immediate goal for this new Scene

External: What action has the character decided upon after the last internal scene.

Internal: How did the previous scenes Outcome affect the character as he or she begins to come to a decision what to do next?

Step 2: Determine what the Scene’s Peak action is.

Step 3: Identify what set into motion the Peak action? What is the Initiate element?

Step 4: What is the result of the Peak action? What is the Release?

Step 5: Where did this all happen? When? Who was involved? This is the Establish element.

Step 6: Fill in Orienting information about the setting, timing, or context of the scene which will help the reader understand the where, when, and who of the scene.

Step 7: Fill in additional Details about character’s, settings, or significant objects in the Initiate (or, sparingly, the Release) elements.

Step 8: Add Prolongs, additional actions that prolong the overall action, to create suspense—which heightens dramatic tension—typically in the Initiate sequence (or, rarely, in the Release Peak sequence.)

I promise you, I still have some unsettled feelings on some level that I’m having trouble coming to grips with, let alone being able to articulate. But when that day comes that I can put what I’m feeling into words, I’ll have more to say on the topic.

And, hopefully, with more brevity. Looking back at what I've been able to trim from the previous post, it is still a behemoth. In the meantime, all I can say is: stay tuned.

[maxrev]

For ME relationship week by @cactuarkitty

Day 1 - first impressions

Less Than Stellar

Studying the dossiers of each crew member, Knox paused on one of them - Staff Lieutenant Kaidan Alenko, marine detail. What specifically caught his eye was where the LT was born. Vancouver, British Columbia, Canada. 

So, he was a fellow Canadian.

He better not expect to share stories of 'you don't sound very Canadian' with him. Fellow soldiers expected them to talk a certain way, to be polite and considerate, which most thought Canadians were down to their core. 

Those things didn't exist in Knox's vocabulary...or lifestyle. He preferred to be left alone unless it was regarding missions or standard day-to-day affairs like rotations and personnel changes. 

Stashing his rucksack away and leaving the crew quarters, Knox began a self-tour of the ship. Anderson had planned on accompanying him, pointing out key elements of the ship's design, but had been called away at the last minute before they took flight. Something to do with the Council. 

He could certainly find his way around the ship on his own without his CO's guidance. Would have been nice, though, to find out if Anderson could impart exactly what this deployment was going to entail. In the end, he was very good at being patient. 

As he walked the ship, deck by deck, he heard talk stop abruptly when he passed other crew members having conversations. Knox knew well what others thought of him. He was the Butcher of Torfan after all, even earning a medal, the Star of Terra, for his heroism during the mission. 

A medal for getting nearly his whole squad killed while trying to save a colony - is what most thought. No one knew what it had been like. The only thing anyone remembered was he'd killed his fellow soldiers. 

He's a cold, ruthless, calculating son of a bitch. If he had a chit for every time he’d heard it said to his face or whispered as he walked by, he could rival Cerberus in funds. Long ago, before he’d even joined the Alliance, he’d learned not to let the opinion of others bother him or sway him from completing a mission. He knew he was the Alliance’s rabid dog; he’d heard those words more than once as well. 

They big brass came to him when they wanted something done without bloodying their own hands or sending in their precious golden boys. And golden boy made him think of Alenko. The perfect definition if Knox had ever seen one with exemplary commendations from past COs, the consideration of fellow soldiers and adherence to Alliance standards. All of this despite being a biotic. 

Something Knox knew all too well about. He’d experienced it himself but unlike the LT, who always seemed to play it safe, Knox used what he'd learned in the Reds to get the job done. Just barely crossing the line so as to not get kicked out of the military. Though, if he did, it didn't truly matter. He'd survive no matter what; he had before. Being in three Alliance just meant a higher, and steadier, paycheck. 

What intrigued him about the biotic was the mention of BaAT in the dossier. Alenko hadn’t graduated, which wasn’t a surprise, considering his age. He would have been there when the school was shut down. But...what more did the biotic know? 

The news reports had been vague. And since joining the Alliance, not a biotic among them hadn’t heard or speculated as to what happened and knew it was all hush-hush, as there was nothing to be found anywhere - other than the school had existed and had eventually shut down. Rather abruptly. 

He pushed his thoughts away for now. 

Besides the initial meet and greet of the immediate crew when he'd come on board, he’d not had a chance to talk to any of them at length. It was a part of the job he distinctly didn’t care for. Yet, he knew it was to his advantage to know the strengths and weaknesses they had. So, to that end, he’d seek them out, one by one, to learn any details he could beyond what he found in their dossiers. After that, he’d leave them the hell alone unless they sought him out specifically for anything required of him to take care of. Socialization was not something he sought out or cared for.

Avoiding the crew quarters unless it was down time was going to be an issue on this small of a ship. Had to be somewhere dark and quiet he could find time to himself. He'd find out soon enough. 

After a couple of hours touring every level, his stomach growled, a reminder he hadn’t eaten in awhile. While his biotics were useful in battle, he found it annoying having to recharge his energy so regularly. Constantly consuming calories when he could be doing something so much more productive. 

With a newly stocked ship, he hoped it meant the provisions would be decent, at least until they’d been underway awhile. Bracing himself to encounter a full mess, he headed there.

Taking the elevator up from his last stop in the docking bay, Knox stepped off to hear several voices coming from behind the wall where the mess was located. Nearing dinner time for the morning shift, those soldiers would all be ready for chow and then downtime before sleeping. Not usually following the hours he was assigned, he required less sleep than most. After eating, he planned on grabbing a book and making his way to the starboard lounge. Provided Anderson didn’t need him. 

Not having heard from him the whole time he was walking the ship, Knox surmised he was still speaking with the Council. 

He walked around the wall to find Alenko and Jenkins in a spirited conversation. The LT’s words were a bit short towards the young Marine who was a bit overzealous in Knox’s opinion.

Apparently, Alenko shared his views. 

“Don’t be wishing for action so soon, Jenkins. It’ll come in time and won't be what you expected. The battlefield isn't glamorous. Learn to relax and enjoy your downtime.” 

Jenkins deflated like a kicked puppy, taking his tray and going to sit next to some fellow soldiers who laughed at the exchange lightheartedly.

Approaching the line for food,  Knox grabbed a tray and followed behind the LT. Might as well start his getting-to-know-them routine now. 

“La recrue apprendra assez tôt, n'est-ce pas?” Knox inquired quietly as he grabbed some chow. 

The dark-haired man started, glancing over at him with a surprised look. After several awkward seconds, he responded with a hesitant “Oui.” 

He then turned and found a table to sit and eat. Knox felt ill at ease after the encounter, not something he was familiar with at all. At least, not since a young kid in the Reds. Feeling as if he’d somehow been chastised without the biotic ever saying a word, Knox took his own tray and sat down in an unoccupied corner. 

Eating slowly, prolonging the time in the mess in order to hopefully find a few quiet minutes to himself, Knox heard the soft but unmistakable sound of boot steps coming his way. Despite not looking up, he could tell when they stopped next to his table. Frustrated at someone already  wanting to bother him, he looked up...into the dark brown eyes of the LT. 

Thick black brows furrowed in the beginnings of a frown, Knox waited for him to speak, not about to start a conversation himself after the earlier fiasco. He waited. 

Clearly nervous, the LT rubbed the back of his neck awkwardly, looked away, looked back again. Knox's impatience level was rising rapidly.  If Alenko didn’t spit out what was bothering him soon, he was getting up and leaving. Good relations be damned. 

Apparently, his impatience level was already tapped out as he barked, “Spit it out, Lieutenant.” 

The biotic winced, “S-sorry....,” he took a breath, steadied himself, “Sorry about earlier, sir. I...um...I don’t speak French very well. Took me several seconds to realize you were speaking to me and then I had to try and sort it out. Figured all of it out while I was eating.” 

Knox had momentarily forgotten the province of Vancouver was more English speaking than Toronto, where he’d grown up.

Now he felt like a jackass. Something else he wasn't well acquainted with.

Standing up and grabbing his tray, he paused to look at the LT. A blush had bloomed across his cheeks in embarrassment. Disgusted, Knox hoped he was better on the battlefield than this. He might have to leave him behind, seasoned soldier or not. Maybe Jenkins would be a better fit, even with too much enthusiasm and no experience. 

“My mistake. Won’t happen again.” Nodding to the biotic, Knox took care of his tray and left the mess. 

He didn’t see Alenko standing there awkwardly, thinking he’d already pissed off his new XO before they'd even left dry dock. 

“La recrue apprendra assez tôt, n'est-ce pas?” = The recruit will learn soon enough, won’t he?

[loquaciousquark]

Talks Machina Highlights - Critical Role C2E45 (Dec. 18, 2018)

Evening, all! @eponymous-rose​ is off tonight with such silly things like family and events and real life obligations, so I’m here to make bad jokes and have opinions instead.

For those who hadn’t heard, Brian & Ashley are engaged as of this week! Brian is taking both her last and first name to be ultra-progressive. Tonight’s guests: Sam Riegel & Matt Mercer. Matt is here willingly. Sam is not. We’re discussing Episode 45: The Stowaway, sponsored by LootCrate. Brian asks Sam for an impromptu song ad; he rhymes moot and loot and jigs and everyone is a little closer to death than they were a few moments prior.

Tonight’s announcements: Pub Draw & Name Drop are two new shows on the Critical Role channel--check out critrole.com for more details.

This Thursday’s episode is the last of 2018; Critical Role then returns on January 10.

Liam’s oneshot, The Night Before Critmas, airs at 7pm Pacific this Friday night. He’s been planning it for two years, and the VOD will be available December 23.

Talks Machina is also breaking for the holidays and will return on January 8, where they’ll have a cast-wide discussion on the state of the campaign so far. The questions open on Reddit, Twitter, and email on January 4th.

CR Stats: Nott has the most kills of the group with 37. The 45th HDYWTDT occurred in episode 45 as well. Twiggy’s dragon kill was the fifth guest kill of the campaign, and the 2nd guest HDYWTDT. In campaign one, guests got 22 kills and four HDYWTDTs. This was the longest episode of campaign two and the fourth longest of the series.

Matt and Deborah had met extensively to discuss backstory and mechanics, but hadn’t discussed much personality. The only person who wanted to check voice/accent was Khary (with Shakaste).

Deborah was one of the first guests they reached out to when they started streaming all that time ago, but she initially said no because D&D was such a personal thing for her and she didn’t want to share it with the internet. Everyone agrees she was worth the wait.

Everyone’s furious about Daredevil’s cancellation. :(

Sam thought it was fun to play alongside another Arcane Trickster because... “she was very good at it, all that great stuff that I forget to do.” Nott was jealous that many of the things that made her unique were present in Twiggy. However, the jealousy was later reversed because of how excellent Twiggy was in the fight.

The Happy Fun Ball was a narrative device Matt had been planning for a long time--he liked the idea of a pocket dungeon with lore attached. When they realized Deborah’s schedule would put her on a boat in the middle of nowhere, he found a perfect opportunity to bring it in.

Sam asks if Matt intended the device to be a one-use single episode thing, or something recurring, something for the party to further explore at their will. Matt explains very circuitously (and hilariously) that certain DMs may have in the planning of the introduction of the Happy Fun Ball originally intended for such Happy Fun Balls to leave with the guest, and were very surprised when said Happy Fun Ball (and all its hundreds of extraplanar rooms to explore) was left behind with the party instead. He then basically dares Sam to press a button and see what happens.

Nott doesn’t resent Fjord for touching the window or setting a time limit on the library exploration. While it was cool in the library, there were too many things attacking them.

Matt doesn’t necessarily intend his traps for Travis, but he likes having good buttons and bad buttons. “I just want shit to happen. Surprise me!” He admires the player that occasionally gets bold, rather than the one who always sends their minions out to touch all the tiles and trigger all the traps before they ever set foot in the dungeon. He also enjoys the meticulousness of Liam being at the same table as Travis’s impulsiveness.

Sam does not want the fans to send him larger flasks. His current flask holds 128 oz, which is exactly a gallon.

GIF of the Week: @criticalschluck with a hilarious movie-trailer-style GIF of Travis explaining he’s got an intelligence of 6 (Grog), then an intelligence of 14 (Fjord), then pushing buttons and experiencing... consequences.

Nott approves of Caleb’s choice to abandon the books to go back to the party. While she wants as much knowledge in his head as possible, it’s because “a smarter Caleb is a more powerful Caleb, and hopefully a Caleb that can stay alive a little longer.” Matt likes watching characters be put in situations where they have to choose between long-reaching character goals and the people they have chosen as their family. He was fascinated to see the struggle as he was ticking down the time on his sheet. He’s very excited to see what’s going to happen this Thursday.

Brian and Matt both fanboy over Sam’s 1hp decision.

Sam reflects on Jester’s being left behind--”not in a malicious way, you know, but sometimes in a big family someone gets left behind at a mall!”

Matt circuitously explains that the stained-glass window could be used to access other places. This man’s being slipperier than soap suds on wet tile tonight.

Nott was aware that the hit she took for Jester could have been a killing blow, but she was ready--”it was what goes through her head around Caleb a lot: ‘I’ve got to protect my friends.’” She’s very protective and very maternal, and Sam would have been okay if that had been the last of Nott.

Both Sam and Liam (and others) have begun to experience the in- and out-of-game changes that come with finally beginning to really know these characters. They certainly wouldn’t have died for each other at the beginning of the game, even knowing how hard their friends worked on these characters. It was originally a “system shock” (as Matt puts it) which required check-ins after certain blow-ups at the beginning of the campaign to make sure they (the players) were all okay. Now, though, they’re closer and closer to being willing to die for each other for both in-game and meta reasons.

Sam reflects on how both Caleb and Nott hate themselves, but manifest that very differently in how they treat other people. Caleb withdraws and puts up thick walls; Nott is quick to trust and care about everyone.

Nott is least close to Yasha at the moment. She’s still a li’l scared of her.

Matt had a few battle options planned out regarding which parts of which chamber were futzed with. The black tapestry was the one curtain they didn’t mess with that would have led to a “very rough encounter.” Matt had six maps built off-stage, just in case.

Sam’s backup character is a handsome actor named Sam Seagull.

Brian is annoyed that every encounter starts with the chat screaming “TPK.” Matt: “I hope not. That’d be my fault if that happened.”

While the dragon was very powerful, Matt had expectations that the party would understand very quickly that the fight didn’t necessarily have to end with the dragon’s death--he wanted them to understand the challenge was the exit, not the dragon. However, they came in in a different order than he’d anticipated, including party staggering, and that was when he started to get nervous.

Whatever magic had first triggered the first crystal would have been the same magic required to open the second door. It was proximity-based.

Fanart of the Week: @tehsasquatch, with this super-cool portrait of Nott.

On whether Nott feels as if she’s earned her comma: sometimes, especially in encounters like these, Nott feels just for a moment that she can be brave, she can be useful, she can be heroic--and then the moment it’s over the world comes crashing back down. When she’s out of those moments, she feels that she’s still just a goblin.

Is Sam ready for Nott to get the spotlight Fjord’s currently in?

Sam: No. Matt: [very intense face]. There’s a lot of backstory elements that he and Matt know that no one else is aware of, and he’s nervous about those coming to light.

The Traveler’s appearance was complete improv. Matt was reading the situation and the emotions and looking for ways to facilitate a heroic story, and when the dice worked in her favor, he felt it would be a wonderful, dramatic story beat to suddenly include--especially since the Traveler hadn’t responded much recently. Matt: “Yeah, that was really cool.”

The Traveler/Jester relationship has evolved in ways Matt both did and did not expect. He wasn’t sure how seriously Jester was going to take it. It’s the difference between believing in something and allowing that thing to define you as a person. He loves it. Sam: “The Traveler...is Taryon, right?”

Nott doesn’t see Caleb as abandoning her at all. “He’s a weak, puny man who needs to get himself out of danger.” It would have actually been harder if Caleb had been there, because if Nott had had to make a choice as to who to protect, Jester would be dead.

After Beau’s emergence from the orb, she probably for a few minutes would have thought that they were all dead behind her. It wasn’t that hours or days had passed--just a few minutes. Matt found Beau’s and Caduceus’s conversation at the end very fascinating and compelling, especially as a way to end the episode.

Nott agrees that Jester is not as happy and fine as she appears to be, especially after their talk about boys, but doesn’t feel it’s as severe as Caleb’s issues. “Jester’s a functional person.” However, Sam’s excited they’re getting past the “flitty person from the first half of the campaign” to the “core of sadness” as the story progresses.

Matt’s sure Yasha was not happy at all that her friends all disappeared without warning. “She spent six days thinking her friends were never going to come back. She doesn’t cry in a corner; she’s familiar with grief and loss. She hardens herself and moves on.” He’s hoping they’ll get to see some of that this week.

Critmas Spotlight: The Blind Weaver, a really, really cool 3D painting by a lady named Elaine Ryan, which has layers upon layers of polyurethane stained to make an amazing effect. See @elaineryanart on twitter and tumblr for more!

Talks Machina: After Dog

They decide where guests sit at the time of the episode. Matt likes to avoid the edges so they don’t feel like the outlier. Sam requests no attractive guests be placed immediately adjacent to him so that it does not detract from his glory. “That’s why I sit next to doggo Laura Bailey.” Brave man. Brave, foolish man.

Sam likes oatmeal raisin cookies. I am DELIGHTED, WHAT AN OLD MAN WHO SHARES MY TASTE. He also likes Werther’s, which is bringing back so many memories of my grandmother’s house. Matt likes ginger snaps, which are my favorite Christmas cookies also. I would kill for ginger snaps right now. Matt and Sam both are excited about pumpkin pie.

Essential D&D gifts, per Matt: dice, PHB, HeroForge custom minis if you really want to get them excited. He finds that getting in there and making a character can really help hook someone on the visual aspect & get invested in their character. Everything else is fluff. Sam suggests a music playlist for the first game; when he ran his first game with his kids, he liked having gridded paper to draw the maps on.

Matt does not feel that the crew of the ship has been mistreated, but they have been “neglected and dragged through places they didn’t expect.” He does think they’ll talk about everything they’ve done to all their friends and family when they get home in a very “you won’t believe this!” kind of way.

Sam always wears the same tie when he’s voice directing and on the first day of a new show. He’s wearing it tonight and can’t discuss the new show.

Favorite holiday movies! Brian: “Love, Actually” and “Die Hard,” as well as “Miracle on 34th Street.” Matt loves “A Christmas Story” (my favorite also, bless this man). Sam likes “Prancer” and “Scrooged,” but realizes mid-sentence that this is Brian’s first Talks as an engaged man.

Brian on proposing: ”It’s...the best.” They’d been together for over six years & met during the first Last of Us game. Brian describes himself as a former “piece of shit” and a very different person back then. Ashley had no expectations that he was going to propose & was totally surprised. Gah, this is too romantic.

Brian: “I always imagined for years what that moment would be like, and this topped all of my expectations... What more can you really hope for in this life than to feel that feeling with another person? It’s to me the pinnacle of our human experiences to be able to say ‘I’ve been through hell and yet found someone that I can definitely say I want to spend all the days of my life on this earth with,’ and the fact that it happened is fucking cool. It’s like heroin with none of the bad side effects.”

It was extremely stressful--but only the logistics. Apparently Matt’s proposal was extremely logistically intensive; Brian sympathizes.

And on that lovely, quiet note, we’re done for the night. Happy holidays, everyone. <3

[skonnaris]

50 books read in High School Worth Revisiting

The Great Gatsby by F. Scott Fitzgerald: High school students who go on to college can quite easily nurture a firsthand understanding of the self-serving hedonism found at the center of this beloved classic. And then they’ll either despise it even more or relate all too well.

Beowulf by unknown: Pick up the popular Old English epic after forgetting the seemingly endless lectures and settle in to a thoroughly enjoyable adventure tale.

The Catcher in the Rye by J.D. Salinger: Depending on one’s circumstances when first picking up The Catcher in the Rye, protagonist Holden Caulfield is either a counterculture revelation or a whiny, pretentious brat. Revisiting him later in life will inevitably shift perceptions to some degree, be it major or minor.

Their Eyes Were Watching God by Zora Neale Hurston: Some high school students may scoff at the soapier elements found on Zora Neale Hurston’s Harlem Renaissance essential, but older adults are more likely to see and admire the strength, courage and resolve of heroine Janie Crawford.

Romeo and Juliet by William Shakespeare: The real tragedy of Romeo and Juliet isn’t their mistaken, needless deaths. It’s their staggering myopia and selfishness.

One Flew Over the Cuckoo’s Nest by Ken Kesey: Anyone who has ever personally suffered from a psychiatric disorder — or loves someone who does — might find the marginalization of the mentally ill in this undeniable classic both disturbing and tragically accurate. It may take some time and experience between high school and the next read for such bitter facts to really seize hold.

Les Miserables by Victor Hugo: Les Miserables is huge. When reading it in English class, deadlines might preclude many students from really picking up on the book’s myriad juicy nuances. Revisiting it later offers far more time to sit and ponder everything Hugo wanted audiences to see.

War and Peace by Leo Tolstoy: As with Les Miserables, time constraints and other academic obligations make it difficult to really become absorbed in War and Peace. When picking it up and reading on a more personal schedule, visitors are more likely to forge a far more solid grasp of the material.

Ceremony by Leslie Marmon Silko: More sensitive high school students may find protagonist Tayo’s spiritual, emotional and physical healing process too intense for their tastes. But as they age and gain more life experience, Ceremony could very well prove exactly what they need one day.

Things Fall Apart by Chinua Achebe: As long as there are nations battling it out over land and squashing indigenous cultures beneath their boots, postcolonial literature will always be relevant. Chances are, anyone reading Things Fall Apartas a high school student will probably be able to apply many of its tenets to current events. When they re-read it as adults, they might find themselves sadly noting how little things have changed.

The Jungle by Upton Sinclair: Both at the turn of the 20th Century and on into today, most readers (even teachers) tend to emphasize Upton Sinclair’s visceral descriptions of unsanitary food production — especially since it directly spawned hefty legislation. In reality, though, he wanted it to shed light on the plight of exploited workers. Give his classic another visit later in life and see how the story changes when reading it with this in mind.

Beloved by Toni Morrison: Toni Morrison deliberately left many elements of her celebrated novel ambiguous, so any subsequent readings will inevitably churn up new perspectives, details and interpretations.

The Joy Luck Club by Amy Tan: Because family stands as this classic’s core theme, The Joy Luck Club never goes out of style. Whenever issues with parents arise, refer back to it for solace and insight.

The Color Purple by Alice Walker: When life grows too overwhelming, timeless heroine Celie provides inspiration to press on — no matter what sort of adversity and cruelty stonewalls happiness and stability.

The Adventures of Huckleberry Finn by Mark Twain: The sociopolitical elements driving this famous narrative are incredibly important to understanding it as a whole, but focusing too much on them — as one would in an English class — glosses over the comparatively more lighthearted adventure elements.

Frankenstein by Mary Shelley: Understandably, many first-time Frankensteinreaders dive into the novel expecting a green-skinned simpleton with bolts in his neck — and find themselves shocked when encountering something completely different. Give it a re-read and see what may have been missed when consciously or subconsciously making comparisons with the iconic movie.

The Old Man and the Sea by Ernest Hemingway: High school students sigh over this leisurely-paced classic, but older adults seeking something more philosophical than frenetic might find it exactly what they want.

Death of a Salesman by Arthur Miller: Hopefully, picking up the searing Death of a Salesman at just the right time will prevent many students and adults from falling into the same lifestyle traps as tragic Willy Loman.

The Stranger by Albert Camus: Existentialism probably seems intense and somewhat inaccessible to many high schoolers, but one of the philosophy’s cornerstones warrants further consideration once they pack on more life experiences.

Heart of Darkness by Joseph Conrad: Puncturing through allegory after allegory after allegory grows tiresome after a while, and a fair amount of individuals might enjoy Heart of Darkness far more if they didn’t have to so painstakingly dissect every word.

I Know Why the Caged Bird Sings by Maya Angelou: Maya Angelou’s poetic autobiography is at once heartbreaking and inspiring — an ultimately uplifting tale perfect for anyone needing a dash or two of courage.

Slaughterhouse-Five by Kurt Vonnegut: An American treasure, Kurt Vonnegut may not necessarily appeal to harried high schoolers lacking the time to really sit and think about his statements regarding society, religion and politics. Approaching him with the proper time frame and mindset will make Slaughterhouse-Five and his other works burst with life and lessons.

The Metamorphosis by Franz Kafka: "Monstrous vermin" Gregor Samsa serves as a viable literary outlet for anyone, anywhere feeling as if the world treads all over their stability and happiness. Reading about the horrific abuses his family heaps upon him provides a strange, comforting sense of solidarity.

Wuthering Heights by Emily Bronte-: Though fiction, Wuthering Heights makes for one of the most prominent lessons in how mentally and emotionally abusive relationships operate – something women and men alike absolutely need to know if they hope to keep themselves safe.

Of Mice and Men by John Steinbeck: Most of Steinbeck’s oeuvre deserves multiple reads, but his story of a developmentally disabled man and his devoted caretaker remains one of the most heart-wrenching American novels ever printed. And one whose tragic ending merits a wealth of conversations.

Don Quixote by Miguel de Cervantes Saavedra: Because Don Quixotepossesses such a rich history and left an indelible mark on popular culture, bibliophiles of all ages find themselves coming back again and again to enjoy the adventures of the eponymous dreamer.

The Bell Jar by Sylvia Plath: This semi-autobiographical novel sheds considerable light on a life wracked with mental illness — a somber, realistic lesson every adult must understand. The Bell Jar also serves as a reminder that anyone emotionally struggling doesn’t always do so alone.

A Clockwork Orange by Anthony Burgess: Readers who don’t understand Russian or cockney slang (aka most of them) need to read this warped dystopian novel multiple times to understand what in God’s name the characters are even saying.

A Doll’s House by Henrik Ibsen: Written before the feminist movement rose up and fought for women’s equality, one of Henrik Ibsen’s most popular plays toyed with the scandalous notion that some housewives may pine for a life outside their husbands, homes and kids.

The Awakening by Kate Chopin: Another recommended read for the liberated woman and the men who appreciate them, though many fans of this book find themselves divided over whether or not they fully agree with the central figure’s actions.

Gulliver’s Travels by Jonathan Swift: English classes spend so much time zeroing in on the wealth of social, political and religious commentary found in Gulliver’s Travels, they oftentimes forget to address just how much fun the book actually is.

Invisible Man by Ralph Ellison: Dense and intense, Ralph Ellison’s brutal analysis of pre-Civil Rights race relations is required reading for any students and adults hoping to end bigotry in all its twisted, ugly guises.

Maus by Art Spiegelman: Maus currently holds the honor of being the only Pulitzer-winning graphic novel, a status that rightfully earned it a place on many a syllabus. Despite its grim content — Art Spiegelman’s very real talks with his father about his Holocaust experiences — the valuable lessons about family and history remain timeless.

Inferno by Dante Alighieri: All three portions of Dante Alighieri’s epic poetry trilogy The Divine Comedy are required reading, but his bizarre, highly detailed depiction of hell holds the most influence over the literary world today — not to mention pop culture as a whole.

1984 by George Orwell: No literary history aficionados will argue that George Orwell’s terrifying totalitarian dystopia birthed the entire genre, but it certainly left the biggest impact. Political pundits enjoy trotting out parallels to 1984 when discussing administrations they hate. Citizens familiarizing themselves with the novel’s tenets and context can tell whether or not they have a real point or are just resorting to paranoid fearmongering.

Nectar in a Sieve by Kamala Markandaya: Despite the many hardships heaped upon protagonist Rukmani, hers is a story of strength and perseverance that many students and adults may want to consult when seeking comfort in times of trouble.

Cry, the Beloved Country by Alan Paton: Though apartheid may have ended, its legacy of intolerance and discord provides future generations with the tools to identify and stop such practices before they even have a chance to start.

Catch-22 by Joseph Heller: Readers of all ages with a particular affinity for absurdity and political commentary — especially as it relates to wartime — keep coming back to this novel again and again for laughs and truth bombs.

The House on Mango Street by Sandra Cisneros: Bibliophiles looking for a great bildungsroman to read over and over again have plenty to love about and explore with this compelling story about a young Chicana and her life in an impoverished Chicago neighborhood.

A Good Man is Hard to Find and Other Stories by Flannery O’Connor: Though an obviously subjective statement, many consider Flannery O’Connor one of the best American short story writers of all time. In such a confined space, she thrived with some incredibly provocative, influential narratives well worth reconsideration.

Night by Elie Wiesel: In his autobiography, Elie Wiesel recounts his gruesome experiences in Auschwitz and Buchenwald with the hopes of educating the world about the Holocaust’s horrors. Giving Night more than one look helps drive home its major historical themes, imbuing readers with the knowledge needed to better recognize hate and genocide.

Persepolis by Marjane Satrapi: This new classic is at once hilarious and heartbreaking. Through deceptively simple art, writer and cartoonist Marjane Satrapi recounts her childhood during the Islamic Revolution in Iran and the different set of prejudices faced as an expatriate in Europe.

Gravity’s Rainbow by Thomas Pynchon: Gravity’s Rainbow necessitates multiple reads because it involves over 400 characters embroiled in increasingly absurdist, surreal situations. Anyone who says they understand everything in one read is probably lying just to seem smart. Punch him or her in the face.

A Separate Peace by John Knowles: The comparatively cushy lives of private school students in New England are juxtaposed with young men forced to the front lines of World War II, with a strange and interesting friendship right in the center.

A Confederacy of Dunces by John Kennedy Toole: Not only is it a provocative read — especially when one factors in author John Kennedy Toole’s tragic life — this posthumous Pulitzer winner also happens to be one of the most hilarious novels ever published.

A Tale of Two Cities by Charles Dickens: Charles Dickens attracts such a massive audience, most of his oeuvre could’ve easily made this list. A Tale of Two Cities oftentimes bores high school students, but as they grow older they may come to love its history and memorable characters.

Flatland by Edwin A. Abbott: Aside from the fact that this novel exists as one of the greatest satires ever written in English, it also warrants multiple reads for the sheer originality and imagination.

A Room of One’s Own by Virginia Woolf: In her book-length essay A Room of One’s Own, Virginia Woolf opines on feminism, sexuality (most especially lesbianism) and the importance of financial autonomy and personal space for writers.

Interpreter of Maladies by Jhumpa Lahiri: Short stories of Indians and Indian-Americans intertwine thematically, raising some excellent questions about multiculturalism, family, relationships and plenty of other subjects bibliophiles delight in discussing.

Siddhartha by Hermann Hesse: Both the spiritually-minded and those adhering to no religious credos at all appreciate this reflective classic and turn to it for meditative advice.

[nathanneedsausername]

Most Overlooked Movies in Oscar History

Well guys, its official, Green Book was awarded the highest honour a single film can be given. Best Picture. If you spent any time on Twitter the day after the 91st Academy Awards you will have noticed that film nerds were not exactly thrilled by the decision, film Twitter immediately erupted into a discussion about all the films that didn’t receive the nomination that may have been more worthy winners than Green Book. Films like Eighth Grade, The Miseducation of Cameron Post and If Beale Street Could Talk appear to have benefited far more in regard to free publicity than any of the actual nominees. Of course, this isn’t the first time that the academy has failed to acknowledge the real best of the year and it certainly won’t be the last. So, in the spirit of being mad at the Academy let’s take a look at some of the worst historical snubs of all time.Well guys, its official, Green Book was awarded the highest honour a single film can be given. Best Picture. If you spent any time on Twitter the day after the 91st Academy Awards you will have noticed that film nerds were not exactly thrilled by the decision, film Twitter immediately erupted into a discussion about all the films that didn’t receive the nomination that may have been more worthy winners than Green Book. Films like Eighth Grade, The Miseducation of Cameron Post and If Beale Street Could Talk appear to have benefited far more in regard to free publicity than any of the actual nominees. Of course, this isn’t the first time that the academy has failed to acknowledge the real best of the year and it certainly won’t be the last. So, in the spirit of being mad at the Academy let’s take a look at some of the worst historical snubs of all time.

The Avengers (2012)

Actual nominations: Argo, Amour, Beasts of the Southern Wild, Django Unchained, Les Misérables, Life of Pi, Lincoln, Silver Linings Playbook, Zero Dark Thirty.

The Academy has historically looked down on superhero films with no comic book adaptation receiving a Best Picture nod before Black Panther earlier this year. While The Avengers may not have been the most artistic or dramatic film of 2012 it is hard to deny it’s impact. When future generations look back on the films of the 2010s The Avengers will likely stand out as one of the most important releases. With the Marvel Cinematic Universe feeling like a part of everyday life it can be hard to remember just how big a risk this movie was at the time. Think pieces were all over the internet about how the film would ultimately end up as an unwatchable, convoluted mess of ideas that would end Joss Wheadon’s career. How wrong they were.

If the Best Picture award is supposed to honour the greatest and most important achievements in modern cinema then The Avengers absolutely deserved to end up on the ballot, but we don’t live in the universe where The Academy does cool stuff like that.

Eternal Sunshine of the Spotless Mind (2004)

Actual nominations: Million Dollar Baby, The Aviator, Finding Neverland, Ray, Sideways.

How on earth did this happen? It truly amazes me that more members of the academy felt that Finding Neverland deserved more acclaim than Eternal Sunshine. Going of the assumption that the ‘best picture’ should be the film with all its filmmaking elements working perfectly together then Eternal Sunshine should win every year. Charlie Kaufman won the award for original screenplay and Kate Winslet received the only other nomination for lead actress, this film didn’t even receive a nomination in any of the technical categories. The treatment of Michel Gondry’s masterpiece by the Academy should be seen as a permanent black spot on the ceremony’s reputation.

Who Framed Roger Rabbit (1988)

Actual Nominations: Rain Man, The Accidental Tourist, Dangerous Liaisons, Mississippi Burning, Working Girl

Hear me out on this one. Roger Rabbit is one of my all-time favourite movies and for that, I’ll admit, I’m a little bias. That being said I truly believe that this is one of the finest achievements in cinema history from a purely technical level. The nominees for the 61st Acadamy Awards are solid (for the most part wtf is going with The Accidental Tourist?) but none of these films are as impressive as what Robert Zemeckis and his team were able to achieve by mixing live action film with 2D animation. Roger Rabbit is more than just a gimmick however, this a very entertaining and genuinely compelling detective story at its core. Once again, the term ‘Best Picture’ feels perfectly defined while discussing this film, a film that wasn’t even considered for the award.

Donnie Darko (2001)

Actual Nominees: A Beautiful Mind, Gosford Park, In the Bedroom, Lord of the Rings: The Fellowship of the Ring, Moulin Rouge

Excuse my language but Donnie Darko is a fucking great movie. Here is another year where the nominees were pretty solid but come on you can’t tell me that Donnie Darko was too weird and abstract when you nominated Moulin bloody Rouge! Donnie Darko is the sort of film that is still being discussed to this day with so many incredibly well thought out details both in the direction and the screenplay. When you ask a film lover what is so special about the medium it is films like this that they will point to, with an excellent score, great performances, hypnotically simple editing and masterful direction it doesn’t put a foot wrong. Do I really have to spell out what the words ‘Best Picture’ mean again?

WALL.E (2008)

Actual Nominees: Slumdog Millionaire, The Curious Case of Benjamin Button, Frost/Nixon, Milk, The Reader

Let’s talk about animation for a bit. Only three animated films have ever been nominated for top prize (Beauty and the Beast, Up and Toy Story 3) considering the amount for excellent animated film are not those three I had a lot to choose from. With the likes of My Neighbour Totoro, Toy Story, Aladdin, The Little Mermaid, The Lion King, Princess Mononoke and The Nightmare Before Christmas going completely unnoticed the academy has found a way to further segregate the medium of animation from live-action film by introducing the ‘best animated feature’ award at the 2002 ceremony. This addition has led to films like Spirited Away, Finding Nemo, The Incredibles, Ratatouille, Frozen, Inside Out and most recently Spider-Man: Into the Spider-Verse receiving an award without having to let them compete with live action films. There are no academy rules that state animation cannot be considered for Best Picture it just doesn’t happen. I have singled out WALL.E because I think it showcases exactly what modern animation has achieved. WALL.E is a largely silent film with gorgeous visuals and a strong environmental message that is still accessible to general audiences, including children. Surly one of Pixar’s finest achievements deserves to be held in just as high regard as David Fancher’s 8th best film.

 Ps. You will notice a distinct lack of The Dark Knight in the 2008 nominations as well.

Psycho (1960)

Actual Nominees: The Apartment, The Alamo, Elmer Gantry, Sons and Lovers, The Sundowners

Another genre historically left out of the running is horror. Only 6 horror films have ever been up for the award (The Exorcist, Jaws, The Silence of the lambs, The Sixth Sense, Black Swan and Get Out). Horror is a genre that is often looked down upon in the film community for being ‘low-brow’ and not as artistic, a similar struggled as the one faced by the superhero genre. With important releases such as: Texas Chainsaw Massacre, Suspiria, Halloween, Alien, The Shining, Let he Right One In, Night of the Living Dead and perhaps most surprising, Psycho going unnoticed by the academy it is clear to see that there is a bias against the genre somewhere in Hollywood. Psycho is also emblematic of another problem with historic best picture nominations. What on earth is the academy’s issue with Alfred Hitchcock? Psycho is not the only of Hitchcock’s classic films not to receive the nomination, in fact North by Northwest, Vertigo, Rear Window and Dial M for Murder were all snubbed.

On a related note despite being nominated 5 times Hitchcock never received the Oscar for best director putting him in the prestigious company of: David Lynch, Terry Gilliam, Ridley Scott, Wes Anderson Quentin Tarantino, David Fincher, Edgar Wright, Spike Lee, Charlie Chaplin, Orson Wells and Stanley Kubrick. So, I guess you could say that it isn’t just the Best Picture category that doesn’t make sense.

 These were 6 examples I felt I could make a point out of, it is important to remember that many more examples are out there of revolutionary masterworks that went unrecognised come awards season. People don’t take into consideration what happens behind the scenes at the Oscars. The ceremony needs good ratings, The Academy needs to honour films with progressive messages that are easily digestible, and everyone has an agenda and wants to see their friends win. The Oscars are a lot of fun, it gives people like as a chance to talk about the films we loved that year hopefully see our favourites given some well-deserved recognition but let’s not take it more seriously than we should. Next year when the Academy inevitably choses to honour mediocrity remind yourself that The Third Man wasn’t nominated in 1950 or you could remind yourself that Singin’ in the Rain wasn’t nominated in 1953, alternatively mention that 2001: A Space Odyssey was snubbed in 1969, The Matrix in 2000, Back to the Future in 1986, Pan’s Labyrinth in 2007, Cool Hand Luke in 1968. Or if you want your could run into the street and shout about how, Duck Soup, Modern Times, His Girl Friday, Night of the Living Dead, The Shining, The Good, The Bad and The Ugly, Oldboy, Reservoir Dogs and The Big Lebowski all weren’t nominated for god dammed thing.

Nathan Needs A Username’s Must See Movies: https://letterboxd.com/nathan_r_l/list/nathan-needs-a-usernames-must-see-movies/

Nathan Needs A Username’s Avoid At All Cost Movies: https://letterboxd.com/nathan_r_l/list/nathan-needs-a-usernames-avoid-at-all-cost/

[zdbztumble]

So About That Roxas…

Well, it’s that time - time to invite unholy disdain upon myself for my blasphemous views on fan favorite Roxas!

OK, that’s an exaggeration. I don’t know how unpopular what I’m about to say really is. And to make this perfectly clear up-front - I don’t dislike Roxas. I think he’s a fine character, and his (very) long prologue is one of the strongest parts of KH II. But I do find Roxas more valuable and compelling in how he relates to other characters, and in the fact that he is an aspect of Sora, than in his own right. All on his own, I don’t find Roxas to be particularly active or interesting.

And that isn’t a flaw. Given what Nobodies are (prior to DDD, at least), I would expect that from Roxas. Almost every member of Organization XIII isn’t terribly dynamic or dimensional on their own merits - their personalities are one-note (if that), which can be by turns tragic, obnoxious, or an effective foil for the protagonists. When Roxas draws jealousy from Hayner, general confusion from his friend group, some amount of pathos from Axel, mixed emotions from Riku and disdain from DiZ, and attraction from Namine, he’s a great example of the latter. I never find him obnoxious, and when he is on his own, there is a sense of tragedy with him. Because while Roxas may have agency, and does display a curiosity - almost an obsession, after a while - with gaining answers for the strange things happening to him, he’s ultimately empty. None of his joys, none of his curiosity - and not even his rages and despairs - last. He ends up defaulting, always, into a quiet, resigned, and hollow state, and he doesn’t seem happy about that. 

This is true of the Twilight Town prologue, at least. In the brief flashbacks we’re given in KH II, and at the beginning of the Sora/Roxas fight, a different Roxas appears. He’s still empty at the core, but his front to the world is crueler, dismissive even of the words of his supposed best friend Axel, and predatory. We learn later in the game that DiZ altered Roxas’s personality when he dropped him into the digital Twilight Town, and it’s not hard to see why. Even with the altered personality, the strongest display of feeling Roxas can manage is anger. It’s only when Roxas confronts Sora, accepts him as “a good other,” and fully rejoins with him, that Roxas appears genuinely happy and alive in KH II.

But I do have problems with how Roxas is used, in KH II and especially in 358/2 Days. To start with II - there are some pretty big missed opportunities. Roxas was a member of Organization XIII, presumably working toward their goals (to go just on what we see in KH II), and every member of the Organization who sees Sora recognizes Roxas within him. Wouldn’t it have been nice to have someone else do the same? If, when visiting one of the Disney worlds that Sora hasn’t been to before, there was a character who had a negative encounter with Roxas, and therefore fears Sora and the Keyblade?

The lack of any such scene speaks to a larger problem with Roxas in KH II: his limited relevance once the prologue ends. He does come up here and there throughout the play time, which I do appreciate, but he doesn’t really have an impact on Sora before their clash other than as a source of mild confusion. Sora’s reactions to being called by Roxas’s name never progress much past “huh? Cut that out!” and he has no real reaction to learning that his own Nobody was a member of Organization XIII. Had Roxas’s activities over the past year created a negative consequence that Sora had to deal with, that might have invited some internal conflict within Sora’s heart, culminating in a much more emotionally charged clash with Organizers like Xibar and Saix. Hell, even without such a scene, the knowledge that a part of him was a member of the bad guys could have, and should have, made Sora feel at least a little upset. That’s not to say that the absence of such a mini-arc is a dealbreaker for KH II; what we did get works well enough. But, much like Roxas himself, something seems to be missing.

A future game might have been able to address this issue...had it not been for 358/2 Days.

This isn’t a revisit of Days; I can’t very well revisit a game I only ever played the first few minutes of, years ago, before losing touch with the friend who had the DS card for it. You’ll get no views of the gameplay here. But I am familiar with Days; I’ve read the breakdowns, researched its writing, and watched the movie multiple times. And I gotta tell ya - I know the game has its fans, and it may have some strengths and concepts missing from other titles, but I really don’t care for its story. And that has a lot to do with how it mishandles Roxas.

I’ll start with a caveat - I am not the audience for Days. At no point while playing KH II did I ever want to know any more about Roxas or the Organization than that game saw fit to reveal. What we got was enough for them to work as the villains in that story, and that’s all I ever needed them to be. This was always going to be an easy title for me to skip, or at least not take any real interest in. But that’s a matter of taste. Plenty of people take more interest in the backstories of Roxas and the Organization than I do, and this was perfectly acceptable as a subject for a midquel game. But the execution, IMO, is a complete mess. It ignores or retcons several of the snippets we get about the Organization in KH II, to poor effect, and fails to expand on any of the villainous Organizers in a way that might turn them from one-note video game bosses and elements of a hive mind into fleshed-out characters. Axel is given several coats of whitewash, and his history with Saix lacks any resonance when Saix is left as such a hollow villain. There’s no playing alongside Disney characters in a game so given over to original KH lore, and that lore is rewritten in ways I don’t like. The trends of mystery for its own sake and teasing histories and future events at the expense of the story at hand continue, the same few points of lore and logistics are over-stressed, and the dialogue and voice acting just isn’t good (and can anyone tell me why they re-dubbed Christopher Lee in the HD movie version? I mean...it’s Christopher Lee!)

But as I said, the real problem is with Roxas. For a character meant to be the protagonist, Roxas cedes a lot of narrative real estate to new character Xion. Like Days itself, I know Xion has fans - ardent fans. I can’t argue with that, nor would I want to; you can like what you like, and I won’t assess and critique her as a character here. But all I can say about Xion is that, as a writer, she strikes me as redundant. A member of Organization XIII, unusually lacking in knowledge about their life beforehand, wielding the Keyblade, inducted into the Organization within this game, derived from Sora through unusual means, with a connection to Kairi and whose existence arrests Sora’s full restoration from the events of CoM; setting her character aside, Xion’s narrative function is exactly what Roxas’s was established to be by KH II.

One could say that the game makes a point of this, turning it into an orchestrated conflict between the two by Xemnas, but practically speaking, this means that Roxas spends a key chunk of the story displaced. He becomes a friend on the sidelines as the real meat of the story concerns a character who, from the very beginning, anyone who played KH II would know isn’t going to matter past this game. This ends up making Xion more important, and more interesting, than Roxas within Days itself. But almost everything that Xion goes through could have easily been given to him by dint of what we see in KH II. That Sora’s restoration is upset because his memories of Kairi are being absorbed into another being would have been especially appropriate for Roxas, since Kairi’s very name is always fractured in the restoration process during II’s prologue at first, and the process itself is at such a low number despite a year having passed until Roxas is in DiZ’s hands. Those character elements unique to Xion herself, and the conflict between her and Roxas engineered by Xemnas, aren’t enough to justify her presence in the larger KH story IMO, and end up confusing elements of the lore (replicas, memories, etc.) If she had been cut, and those aspects of her story relating to Sora’s restoration given to Roxas, the story and lore integrity would’ve been better for it.

But that wouldn’t have solved everything wrong with Roxas in Days. Let’s look back at what KH II shows us of a pre-DiZ Roxas again. A cold and predatory figure; the Dusks who first come for him in Twilight Town address him as their “liege,” implying that they served him the way other Nobodies serve the Organizers; the Organizers themselves seem to have been quite close to Roxas, taking his betrayal hard and referring to him as “brother.” And Organization XIII, as we see it in KH II vanilla, is a collective, with no real secret about its motives within the ranks - that motive being, in so many words, to let the remaining Heartless continue their genocide across the worlds just so that they can swoop in with the Keyblade, harvest the captive hearts, and offer them up to their Kingdom Hearts in a mad bid to gain hearts of their own.

So why is Roxas so innocent in Days?

That cold exterior, the flashes of temper - that’s not what we get from Roxas here. What we get is a blank slate who becomes a puppy as he strikes up a buddy-buddy relationship with Axel, and who later performs the same function for Xion. He talks about fighting the darkness and asks hopefully if he’s performing “good” deeds. His interactions with his friends show him to be cheerful and open. The Samurai are supposedly under his command, but that’s a detail relegated to the reports. His relationships with anyone in the Organization other than Axel and Xion don’t even warrant scenes in the movie, and nothing suggests that they would deem him “brother;” Saix and Xemnas regard him as no more than a tool . And even though he’s destroying Heartless with the Keyblade, and those hearts are becoming part of the Organization’s Kingdom Hearts...somehow this is a point he needs explained several times? And he and Xion openly doubt why they need hearts at all - a point presented as one to be sympathetic toward, despite everything from KH II and a good chunk of this very game stressing that it is in fact a problem that Nobodies lack hearts?

This is not what was indicated in KH II. What’s worse, it’s boring. A far more effective choice IMO would have been to let Roxas be villainous. Go the dark protagonist route; give us a cold hunter of a character, with the impulsive anger and fractured psyche Sora showed in CoM, fully aware of what the Organization is up to and the price that others will pay for it and still committed to the cause. Then, when the events of CoM play out in the background, and fragments of Sora’s memories find their way to Roxas (assuming we still cut Xion in this scenario), that’s the turning point. That’s when Roxas can doubt the Organization’s cause, when he can begin to question his lack of memories and his true identity, and betray the Organization by setting out to find Sora. Give him two separate fights with Riku, to justify the dialogue claiming such in KH II. Let him develop some awareness of Namine after he gets Sora’s memories; Namine’s dialogue in KH II indicates that they’ve never met before, but a connection at a distance could serve to give more substance to their relationship, and supply Namine with opportunities to develop as a character. Depict the scenes where she first comes into contact with DiZ and Riku, agrees to take on their help in restoring Sora’s memories, and feels conflicted about the moral gray area their harsh but necessary actions occupy. Let her be ultimately responsible for setting Riku on the right trail that ends up bringing Roxas into their hands.

Of course, one reason why they may have opted not to do this is because having a dark protagonist complicit in an evil scheme involving the deaths of countless people may have been difficult to pull off while still earning an E10 rating at most. And honestly, the story told by Days doesn’t strike me as  necessarily the best fit for a video game even as-is. They might have been better off with planning it as a proper movie from the get-go, instead of a string of cutscenes divorced from the gameplay as they ultimately presented it in the HD collections.

And another objection to this approach might have been that a villainous Roxas and morally ambiguous Namine might have been less “likable,” and therefore less usable in future titles. To that I say - so what? I didn’t want Roxas and Namine as characters in any titles past KH II anyway - not because they were bad characters, or because I didn’t like them, but because their stories concluded. Concluded on terms they chose, and were at peace with. It was tinged with a bittersweet quality, but they did get a “happy” ending. If a midquel story complicated their morality, that wouldn’t negate the events of KH II or the resolution they received; it would have created a journey to get them to that point, starting from a much darker place, and given more weight to the idea that it was necessary for them to rejoin with Sora and Kairi. I’d argue that would enrich what we see in KH II, whereas the actual route they took in titles like DDD and KH III disregards or undermines everything that made the ending of KH II work.