#GET YOURSELF A STORY DATABASE OR I WILL HAUNT YOUR DREAMS

[artemistheauthor]

Hello hello! First off; yes! Making characters can and will be hard, especially if you're worried about accidentally making them Just Be X With A New Name. You're completely valid, and good luck with your magic systems!

Now! OCs are actually rather easy for me, so I'm going to break them down for you!

Tldr; Use the traits of those around you; your likes and dislikes are great; character sheets are NOT one size fits all; drawing helps; don't worry too much about the quantity of characters; TALK TO PEOPLE; make a name bank; for heaven's sake please open a story bible with a character's chapter; running gags; what if questions are genuinely your best friend; make characters you'd read about.

Cool now bear with me this is a little disorganized but I think I hit all the important bits:

When I was a baby writer, just seven and incapable of shame, I had two character types: I like this name, and This Is A Person I Know. This week, I dove into my 12-14 yo writing and got to sit and stare at these characters I barely remember; this is important. Even though I barely remember the CHARACTERS, I remember the friends I based them off of, what those people mean to me, and I can and will mirror those impressions as I finally write that novel.

Thus, strategy 1; pick your favorite (or least favorite!) things about 1-3 people and apply them to a character!

I have another OC who's purpose is to be The Dad Character so he's based off of my two favorite uncles. (The traits in question are Stay at home dad, anxiety, good hugs, works in a corner of the government that only makes sense to him, and his haircut. If those seem contradictory, that's because there are 2 uncles and 2 dad characters. They mix and match).

FlipTip 1; Don't just make characters!

You're looking at me weird, I'm sure; "but wait, I want to make characters!' And you will. But there's a reason that the Dream Team Formula ranges from 2-5, sometimes 6, in writing. If you bog yourself down with too many characters, you'll be too busy with them to write.

When I say don't just make characters, I mean don't make them just to make them (unless you're into that, in which case do, I have some that don't have a novel they're just fun to draw); I have a cast of 15 in a novel and while most of them have reasons now, at the time I just wanted to give one to each of my friend group. The amount of characters who's plots were decided when I was drafting the end of the storyline was A Lot. Some of them won't get enough screen time.

When you imagine the story, and the scenes, how many people are talking? How many points of view do you need?

This approach... doesn't work for everyone, I'll be honest, it's very technical, but the tip still applies. Don't make more characters than you need.

Strategy 2; Just make characters!

...But didn't I just say not to do this? Yes, yes I did. So here's the thing; making characters is like making art. Sometimes it just has to happen. Specifically, this could be called the drawing and/or picrew approach.

You pick up a piece of paper. You open a picrew. You draw something interesting. You lay out a super aesthetic character. Now. You have a character. Throw yourself at a name generator (I'm particularly partial to This One), find something fun. Congratualtions! This is an OC!

Now you're looking at me and saying no, this is a picture. Well, a picture is worth a thousand words, isn't it? Look at the features on this character. What are they wearing? Are they bloody? Are they smiling? Hiding a laugh? Sneering? Are they upside down on a couch like a sneaky little gremlin? Pretend you're seeing them on the street. What would you assume about them? What were you thinking when you gave them that trait? Are they hugging someone? Petting a cat? Holding a fan?

Cool! Now let's see where we can go with that. Are they allergic to cats but have the lactose intolerant attitude, which is to say; yes they make me miserable but life without them isn't worth living? Are they a history geek who thinks fan language is cool af? Are they NOT a history geek but Fan Language is cool enough that they don't care it makes them learn about victorian culture? Do they get into fights a lot? Do they rarely get into fights but when they do they're feral? Are they humorously clumsy? Do they have a mental illness? Did someone in their family just die? Is that hair clip an heirloom from seven generations back and part of a set but there are six kids in this family after generations of only children so the jewelry set got split up?

Flip Tip 2: Don't give them too many traits.

But humans have loads of traits, don't they? Yes, yes they do. The point isn't to make your characters 1 or 2 dimensional, but to give them room to grow! If your character has too many traits hammered out before they touch the page, you'll likely run into one of these; it'll be just as OP I realized I've been using the general you wanted, and easy to drop a premade person into a new story, OR (and this is the dangerous part) they don't have time or room to grow and sometimes they don't fit nicely into the story.

Personally, I don't think OP will have too many issues with this bc starting from fanfic makes you pretty dang good at that, but it's worth mentioning. Approach your OCs like your blorbo side character; you have their 1-4 canon traits and the rest is Free Real Estate, baby.

I understand this approach isn't that much different anyway, but I also know full well that sometimes framing is all it takes to get past a mental block.

Strategy 3: Make them as you go.

You don't have to have everyone set up before you start writing the adventure! If someone new needs to come in, pick a name, maybe what they look like, and just let them walk in. Especially if the MC is meeting the character at the same time as the reader, it doesn't matter if you know everything from the get go. Sometimes, it's fun to learn about people as your reader does!

However, if you're using this approach, for the love of all things vanilla extract make yourself a Story Bible I am begging you. Every time you introduce someone, write down their name and a short sentence about them; especially side characters. I promise you, you're going to forget someone's name. Now, you could either make it a running gag in the storyline that no one can remember their name or they have a host of nicknames, or you could go back meticulously over the last scene they were in and get yanked out of your writing flow.

Actually, do this with ANY APPROACH. I don't care how you make your characters, make yourself a database too. If this is a list of names, good, if this is a slideshow, good, if it's a sketchbook page, good, if it's a document full of character aesthetics, good, if it's a pinned post on your blog, good, if it's a discord braindump, good, if it's a 500p document of full blown dnd or Brandon Sanderson (?) character sheets, good. There are so many ways to do it. Just have a database please.

Flip Tip 3: [ ]

No flip tip because I have YET to find a drawback to keeping a story bible/database. Ig you could use it to procrastinate actually writing but especially since this is fighting issues with OC development, that's not actually a bad thing.

Strategy 4: Use your own interests!

Writing, at it's heart, is a voyeuristic or escapist hobby. Yeah, yeah, come at me. Anyway; people have interests! People have hyperfixations! There are so many jokes about writers looking up the oddest things that never even end up in the book! Give that to your characters! I went ice skating and decided that it would awesome to have a figure skating character! You know what that decision gave me? An excuse to watch figure skaters, a love for costuming, a topic for filler conversations, and a bonding activity between her and other characters! It's lovely! Is there something you love to watch or hear about? Give that interest to one of your characters! It helps so much, and if it's something that brings you joy, it adds more joy to the act of working on that story or with that character; I promise you, we all have blorbos for a reason.

Flip Tip 4: Use things you don't like!

...look there's probably something fun or clever to say about this, but all I have is that not all people share the same opinions and sometimes giving a character opinions that directly oppose your and the rest of the casts' gives the cast as a whole a more genuine vibe.

Strategy 5: NAME BANK / JK ROWLING IT

There are two ways to spin this. One follows strategy 3; make a list of names you like, or, if worldbuilding applies, culture-specific names for you to draw from, especially if you need a random bartender or teacher or whatever. Sometimes it takes too long to come up with or hunt down a name. Personally, I use my character Databank more than a random list of names, bc I have name generators ready to go, and they're already there in the background (this also helps me flesh them out, as sometimes you have a vibe without anything to match it to!) but it really does/can depend on what the oc is needed for. Now, JKRing it means to take name meanings.

Again, two ways to do this. 1) you have the vibe for the character, so you look into the interwebs and ask for names to do with their vibe. 2) you have a name, so you look up what it means. Especially with flower names (aka one of my favorites), or gemstones, there's A WHOLE LOT of symbolism you can take and reuse for this. Or mythology names! There's a reason Janus is a common fanon middle name for Danny Fenton and I promise it has everything to do with his mythos as a doorway spirit.

Names are just SO COOL.

Strategy 2. 5 / 5.5: COLOR SCHEME THEM! We've all seen Scooby-Doo, or Powerpuff Girls, or Winx, or Power Rangers, or Danny Phantom, etc, etc, etc. Give your characters a motif color! Give them an outright motif!

Flip Tip: Don't take symbolism too seriously.

Look, when I say use symbolism, I mean as symbolism. If that's their only character trait or dimension, they're not gonna be very cool. Use it as a FACET, not their whole thing. If you use a bunch of them, they'll blend and you'll end up with something really cool!

Do this with archetypes too; there's nothing wrong with archetypes, but often if your only trait for the character is they fit X archetype, they're going to be one of those ones that people call shallow behind your back.

(Or maybe this only happens with MLB, idk; point is, you wanted tips on genuine characters, here are mine <3)

Strategy 6: Don't use a character sheet!

Yeah someone is going to hate me for this. The REASON, though, is that I often find myself going into character sheets and it's all this jargon about likes, and dislikes, and angel traits, and bad habits, and favorite color and backstory, and... I guess they bog me down? I did it, I really did and have tried, I've even gotten the super fancy 7 page ones! They just don't work for me. I keep lists of names, appearances, powers, and the character's elevator pitch/my favorite things about them/if I had to hand them off to another writer here are the Most Important Things. (Including That One Article Of Clothing They Definitely Have, You Know The One)

Flip tip 6: Obviously this is to use one.

I said it, character sheets and I Do Not Work, but I'm sure they do for some people, and sometimes those 7-page-behemoths-that-just-steal-my-time-on-earth have good questions! Try a simple one, try a complex one, and if they don't work then put them to the side. Maybe you'll find one that works super well! Maybe you'll try seventeen and have to make your own.

Strategy 7: Don't get attached to their appearance and motifs!

Idk if the motif part is important here, but humans are creatures of change, and your characters should reflect that! I really enjoy using physical/visible markers of character growth - ie, the 11yo who was attacked by a serial killer keeps her hair long but pinned up so no one else can yank her around by it; symbolizing trust issues outside of Her People. The 17yo who feels comfortable in her skin, scars and all, gets a bob cut and keeps it short. In between those two are ponytails and braids and letting new friends brush her hair because it's something that, to her, equals trust and intimacy. and her brother murdering the serial killer

Maybe you're drawing your character and this detail just works differently, keep the new one! Maybe your character dies their hair a host of colors throughout the book as they discover themselves! Maybe they change their style to reflect something from a loved one; maybe it's a loved one they hated once! Maybe it's a new scar, or no longer hiding an old one!

I remember someone else on character design once said to draw them a lot of times with only the vaguest links, because picking all the details on the first go can bog them down. (Think beta designs and concept art)

Change in character design can be symbolic, or it can just be because you decided this makes more sense FOR the character, or the story.

Don't make your characters so static it hurts them, you, or the story.

Flip Tip 7: ...? unless they're a shapeshifter don't spend so much time on design that you don't do anything else? Idk man leave room for your characters to grow.

Strategy 8: Talk to people! Journal about yourself!

Experience is the best teacher, and especially when hunting down quirks for your characters, real life is a great place to hunt them down! We were all weird kids once, and getting those stories are a great resource for character development. There's ALSO sleepover games and get to know you games, which can be used as things to ask your characters, or used on real people! Some cool things just click, and deserve to be made immortal in writing!

Flip tip 8: If you're heavily basing something off of someone's personal experience, especially if it's not a funny experience but an extremely personal one, please either change it enough to not ping on their radar or get permission. Maybe both. ESPECIALLY if it was said in confidence.

Strategy 9: FANFICS

"but we're making OCs!" Yes I know. Hear me out anyway.

Fanfics are easy because we already have half or most of the supplies. Once you have your characters started and going, put them in different situations, outside of the main storyline, to help you get a feel for them. I'm really not sure how to explain it better than that, but once you're able to get into a character's headspace you're in their headspace and it just works.

Flip tip 9: Watch your worldbuilding

blah blah, something something, plagiarism, phrasing, make sure any character decisions made in another universe can carry over to your main one, sometimes this takes changing things, I could probably make more sense but I'm slightly falling asleep atm; If you toss characters into BNHA or ATLA and have them play with and learn their powers, AWESOME! Now apply that information to your own world with your own worldbuilding terms. Sometimes the transition is funky. Sometimes it's not. Good luck, I believe in you.

People who do aus do this all the time, I'm sure it's possible, I'm only passably good at it.

Strategy 10: Running gags!

Or recurring items, etc. I have a character with an inexplicable love of potatoes; the figure skater; multiple restless dead; etc, etc. If you give a character a trait, bring it back, and sometimes those traits will be baffling! Maybe the running gag is that they have 7 of the same jacket in multiple colors, maybe they can't pronounce cinnamon, maybe they always carry sticky notes in their purse, maybe they're the conspiracy character who's always right but is either never believed or figures it out too late. Danger prone Daphne did it again, Potter luck, whatever it's called when people repeatedly reference an event or location but never actually SAY what happened there, maybe someone has a love for sock puppets that comes up now and again, maybe there's an item that always end in disaster.

Cartoons know what they're doing.

Strategy 11: Just think on them.

I do a lot of my OC building in my head when I'm out and about, or when I'm drawing them and my mind is quiet, or when I'm thinking about how to layer foreshadowing.

Don't be afraid to go back and change things; your OCs don't need to be one and done.

Flip Tip: Please please please WRITE IT DOWN

I once came up with the perfect nickname for a character, went to write it down, got distracted, 20m later I couldn't remember it and I've never come up with a replacement that vibed so wonderfully.

Strategy 12: PERSONAL SYMBOLISM

Nnngggg the top of my head rec for this is Heir To The House Of Prince on ao3 and it is, specifically, the thing where you bring back something that has happened or is said to your characters in a meaningful way between them. In HTTHOP it's something about keeping each other's secrets, and I know there are other examples I am just really tired and my brain is shutting down but it's things like two characters who willingly initiated a soulbond referring to each other as soulmates, it's the dorky little comments about roommates or best friends coparenting a pet, it's the personal shows of affection between people who've grown up together, it's the things that make no sense or mean nothing to those outside of Them; those are meaningful and add depth to any sort of relationship. Love you to the moon and back, except maybe it's one of Jupiter's moons because one of them is an astronomy nerd; "Don't get murdered!" "I haven't yet!" between the mc and the villian's kid; maybe it's the three squeezes for I love you, or chamomile tea with mint leaves, or sharing coffee, maybe it's "Always," or "I never stopped" or "I'd kill them for you".

Give your characters, give your relationships, something that is meaningful to them. Give them inside jokes, give them throwbacks, give them jewelry they wear when they need to feel like someone is supporting them, give them something to pretend is their support's hand, give them the blanket/jacket/shawl they can throw over their shoulders when they need a hug that's not available, then show me them taking that off or throwing it over BOTH of them when they finally see their loved one again.

I know this was a behemoth of a post, but I hope it helps! I've been doing this for years, and the most important thing I've found is to keep trying things! No two of my characters were developed in exactly the same way, and I'm constantly trying new things because there's SO MANY options and opportunities!

I think what helps me the most is finding as much joy in life as possible? That's so corny but the thing is; I build my best characters when they becomes beans and blorbos and children I love. Sometimes that means ripping them to pieces and making them put them back together. Sometimes it means a happy ending.

And this does apply for angst! Goodness gracious the amount of murder in my stories because I find it enjoyable to read and write about would NOT be acceptable in polite society but it is in my novels because I'm writing them and the character needs that and I need that.

Really hope this helps!

Hello, fellow fanfic writers (and everyone else who decides to take a look at this post) of Tumblr! I just have a random question to ask. Have any of you tried to write original fiction only to find yourself struggling with some aspect of it, be it creating your own characters, building your own world, designing your own magic system, etc? Cuz I have, and I've decided my personal biggest problem is probably creating an entire cast of brand new characters and making them feel like real people, not caricatures. I've figured out work arounds for building of my own worlds, and have actually started dabbling in magic system creation for fun as practice, but for some reason, I just can't make up my own cast of OCs without feeling like they're all fake, pale imitations of the real thing. I'm thinking of getting someone else to create my characters for me so it feels more like I'm taking characters from somewhere else and just plopping them into my own world, fanfiction style, cuz I KNOW how to do THAT. I dunno, guess I'm looking for validation or something? Maybe to give others in my situation a bit of camaraderie? Lol if anyone has any other ideas for how to get better at creating and fleshing out a full cast of OCs after having only created the occasional OC for background supporting character purposes for the past seven, eight years, feel free to share 😅

[shining-gem34]

13. what themes/motifs do you hope other people notice most about your character? / for DH or DF!

Late Munday Meme || Accepting @memovia

HMMMMMMM. I honestly never thought too hard for theme/motifs for DH and/or DF (or any of my muses/OC's in general), because I am very much let's roll with it kind of person. I'll try my best to answer it though so it might not necessarily be theme/motifs.

I haven't come up much for Dan Feng since I haven't roleplayed him as much. So have a Dan Heng! :DDD

Dan Heng

A journey of learning to accept yourself and learning to heal

Very straightforward, because if anyone has seen my Dan Heng so far, I tend to focus alot about his inner struggles. Outwardly, Dan Heng is composed and appears to have his life together for the most part. Which is true, because Dan Heng has found his home with the Astral Express crew! He is comfortable with his found family, feels safe with them!

But Dan Heng thinks alot. If he's not focused on the database or on missions, he'll think about his life from the Shackling Prison up to the present (Astral Express). He established his own identity as "Dan Heng" and not "Dan Feng" or any of his previous incarnations.

So consciously, Dan is confident in himself and who he is.

Subconsciously? That's a whole different story, because he's still being haunted by his past and a past that isn't his. He experiences memories that aren't his, has nightmares when Blade chased him throughout the night, and he is reluctant to step into the Xianzhou Luofu. He remembers how he spent most of life inside a prison, punished for a sin that isn't his, and the bitterness toward Dan Feng.

Everything he experienced in regards to pain and fear stems from Dan Feng actions. Dan Heng refuses to be that man, refuses to stay in his shadow, and if possible, refuses to have to do anything related to him. It's part of why he more or less rejected his own Vidyadhara heritage, seeing value in it for research purposes (aka updating databank recent info of the Vidyadhara Luofu) than something he can connect to.

Of course, Dan Heng starting to meet Dan Feng in his dreams is basically: Hey, you're not doing great, bestie. Here, meet your previous incarnation. He's going to help you get your shit together.

Because right now, in Dan Heng subconscious, he is still very afraid that he'll become "Dan Feng"/that people will only see him as "Dan Feng". He is learning to accept the past as the past, and walk toward the future as the person he is today.

[mischiefmanaged71]

Turning Tables (3/8) - Joaquin Torres x Reader

Summary: Y/N and Joaquin work together to track down the Flag Smashers, but yet again, she is the middle woman between Bucky and Sam as they butt heads. 

Author’s Note: Continuation of the story into Episode Two of TFATWS. Love the banter between Sam and Bucky, especially when Walker turns up and they team up to direct all of their anger at him. Joaquin is my man, my soft boi. I need more of him in the next two episodes, otherwise, I’m going to be a wreck for a while. Let me know in the comments if you’d like to be tagged! There will definitely be two more parts…who knows, maybe I’ll add more or individual one-shots!

Warnings: anxiety, the smallest drop of fluff

Pairing: Joaquin Torres x fem! Reader

You leaned back in your chair, feet crossed in front as Joaquin read through documents at his desk. Following up on leads was the top priority right now with the rise in communications of the revolutionaries’ known as the Flag Smashers. 

Word Count: 2.4K

Joaquin stood by his word and incorporated Sam and Y/N in the investigation. They had been at the Airbase for a total of 3 hours and 49 minutes, reading through documents and following up leads using the database resources. 

You rest your hands on your stomach as you shut your eyes for a moment. The bags under your eyes had become more noticeable in the past couple days, what with sleepless nights and long hours. All of which led you to grow closer to the coffee machine in your small apartment.

The nightmares had grown worse in the past week, haunting more than the occasional dream. Sometimes it was just the darkness that irked you, which you’d usually resolve with a bit of light. More recently, they formed into horrific events where you couldn’t save Sam or Bucky. The worst instance was last night’s terror.

This time, Joaquin showed up instead. 

Instead of the usual guilt that strung you up, an aching sorrow and horror overwhelmed you as you lost control. 

The fire was everywhere.

It burned until nothing was left.

Until the last edge of life was gone.

Even as you grasped for the tip of control to stop it, the flames extended further and further.

You couldn’t stop them,

And that terrified you.

It had its grip on your throat, ever-so-slowly compressing your windpipe as you clawed for the surface.

“Y/N?”

You inhaled sharply, opening your eyes to Joaquin’s concerned gaze as he leaned across the desk.

“You alright? You dozed off there.”

You nodded your head, slacking your jaw to recognise your feet touching the ground, the cabinets along the walls and lastly, the man sitting behind the desk.

His concerned gaze is glued to your widened eyes which scan the room, almost as if you weren’t completely aware.

“Yeah...I haven’t been getting much sleep is all.”

Joaquin nodded, returning to the words on the document,

“I’ve noticed. You’ve been a bit jittery the past couple days.”

“And...that’ll be the caffeine.”, you trailed, as you stood and stretched your limbs out.

“Don’t say what I think you’re going to say.”

Joaquin glanced up from the desk, shaking his head as a smirk grew on his face. The bruise under his left eye had slowly been healing from the past mission, along with a large cut along his forehead.

“I wasn’t gonna say anything.”

“Oh really? Then what’s the face for?”

“What face?”, he laughed and stared at you incredulously.

You leaned your hands against the back of the chair as pointed at him,

“That face that says I’m judging you.”

“This is not a judgemental face. This is the face of someone who is concerned about you.”

You’re quiet, allowing Joaquin to continue as you grip the back of the chair. Averting your eyes to the floor, your stomach plummets. Thumps palpate in your chest as your blood seems to pump harder.

“Are you okay?”, he asked.

You gulped down your anxiety, making eye contact with Joaquin so as to convince him and yourself as you spoke.

“...Yeah. I’m fine.”, you nodded your head and smile with the lack of enthusiasm that brings his attention to it. Joaquin cocks his head to the side, trying to see deeper into your mind.

“Y/N-”

The door bursts open as another uniformed soldier leans in the doorway.

“Lieutenant, I’ve got an update waiting for you, Sir.”

Joaquin stood from his seat, nodding his head at the officer.

“Alright, thanks, you can hand it over.”

The soldier nods his head, leaving the folder on the desk before shutting the door. You huff out a sigh at the tension and silence filling the office. Joaquin gathered up the remaining papers on the desk into neat piles, tidying the space.

“Look, it’s nothing I can’t handle. I’m electing not to sleep and I’m getting more work done.”

“You can’t live like this, Y/N, you’re gonna run yourself into the ground.”

“Yeah well right now, I’d rather not face those fears. Got bigger fish to fry right now.”, you purse your lips and nodded towards the folder.

You exit the office, wandering the first level of the base offices. Your arms press against the railing as you drop your head and listen to the bustling of people and machinery echo across the base. Slumped over the railing, you concentrate on counting your breaths as you hear Joaquin’s feet stomp closer to you.

Joaquin leans next to you on the border as you refuse to move, knowing that your façade of calm will chip as soon as you look at him.

“Y/N, if somethings bothering you, you should tell me. I know you feel that keeping it to yourself is better than admitting it but trust me, it’s a lot worse.”, he leaned down to meet your gaze as a stoic blank expression overcame you.

Your throat tightens and clench your jaw to suppress the sob building in your chest. 

You’ve always been alone with your thoughts, threatening to crack under the constant pressure behind your skull. The Avengers had been an unconventional setting but you created close relationships with a few of them. Some you lost along the way because of uncontrollable things but you wonder. 

You wonder if maybe something was wrong with you.

If it was your fault why they always left.

Why no one stuck around for long.

Tears glimmer, threatening to fall but you exhale a long breath out, turning to him. You twiddle your fingers, jaw clenched as you choke out the words in a whisper.

“...okay.”

Joaquin’s posture straightened as you stepped away from the railing and nodded your head in agreement.

“I’ll try. For you, Flyboy.”

He hummed and a small smile grew on his face at the nickname. 

“That’s all I ask.”

Looking over his shoulder, you recognise a familiar face. 

“Hey, Wilson.” you called over Joaquin’s shoulder, causing Sam’s eyes to flicker between the two of you.

“Hey, Y/L/N. I see you guys are spending extra time together…”, Sam implied with a smirk.

Y/N rolled her eyes at Sam’s implications, nudging his arm.

“It’s about time he kept me in the loop.”

He recognises the dark circles under your eyes and how tired you look but elects to ignore it. 

“You alright?”, Sam asks.

You look up at Joaquin as his lips twitch upwards in a small encouraging smile. His hand slides across the railing, hovering next to yours as you reply.

“I’m right where I need to be.”

You trail off as you notice Sam’s stiff posture and tension as he glides his hands into his pockets.

“How are you?”

After the huge declaration of America’s new ‘Captain America’, you were infuriated with the SHAM. Walker had done nothing to deserve that shield. 

It was Sam that Steve chose. 

It was Sam that deserved the shield.

You can only imagine how upset he is feeling. 

Sam almost shrugs, tilting his head as he doesn’t know how to express all of his feelings about the situation.

You all glance towards a screen as a poster of John Walker holding up Steve’s shield is shown.

“Seems like a good guy. You met him?”, Joaquin asks.

“No.”, Sam replied.

“Thanks for doing this on such short notice.”

“Yeah. No sweat. I’m just finishing up the checklist. You’ll be all good to go once you land in Munich.”

“I’ll be in the air with Joaquin so you can keep us updated…”

You trail off because your attention phases to Bucky Barnes’ entrance. With the fury in his step, you can practically visualise the daggers Bucky is sending towards Sam as you descend the stairs.

“Shouldn’t have given up the shield.”

“Good to see you too, Buck.”

“This is wrong.”, Bucky interjects.

Bucky follows Sam, cutting him off to interrogate. 

“Hey, hey, look, I’m working, all right? So all this outrage is gonna have to wait.”

Bucky narrows his eyes,

“You didn’t know that was gonna happen?”

Sam is aghast, “No, of course I didn’t know that was gonna happen. You think it didn’t break my heart to see them march him out there and call him the new Captain America?”

“Steve didn’t want this.”

“Oh, my God. What do you want me to do? Call America and tell ’em I changed my mind? Huh?”

Joaquin rests a hand on your shoulder, bringing your attention back to him,

“I’m gonna go ahead and set up before we leave.”

You nod, acknowledging him, gripping his hand,

“I’ll be right there.”, sending him a reassuring smile.

You watch as Sam and Bucky tussle in an argument over the shield and then the mission.

You find yourself striding up to them as Sam stomps off alone towards the plane.

“Hey stranger.”

Bucky turns around and his eyes light up in recognition. He flicks over your tired eyes and sombre expression.

“Sam didn’t know this would happen.”

“Well, he shouldn’t have given it up in the first place. It doesn’t belong there.”

“Bucky… I know how much that shield means to you... But you have to understand that Sam did what he thought was the right thing. We have to accept that. It’s what Steve wanted.”

“This is not what Steve would have wanted, Y/N.”

Bucky is fuming at the thought of the man parading as Captain America.

“I know, I know, Bucky. But we gotta work together to solve this one.”

“Just like always.”

He hummed, looking at the plane.

“Fine, but it doesn’t change the fact I’m mad at him.”

You sigh but agree because you know your boys are stubborn.

*****

You sit up on a crate as the plane flies below the drop-off zone for Sam and Bucky. You were sitting this one out to surveil with Joaquin from above.

“One minute to drop off, Sam.”

You watch Joaquin as he assesses the distance below and the time on his watch. The cuts and scrapes on his face have mostly healed but the blue and purple bruising under his eye remains. 

“So what’s our plan?”, Bucky asks Sam who ignores him as he positions his com in his ear.

“Great. So no plan.”

Bucky shakes his head in annoyance, sitting back down in his seat.

“Thirty seconds!”, Joaquin yells, looking out into the open air.

“I’m reconsidering sending those two out there alone.”

You glance anxiously between Sam and Bucky as the tension in the plane stirs.

“But they’re not alone, because they’re going together.”, Joaquin points out.

“That’s the part I’m worried about.”

You smile unconvincingly at Joaquin as you listen to the men bicker.

“Enjoy your ride, Buck.”

Bucky rejects Sam’s use of the nickname,

“No, you can’t call me that.”

“Why not? That’s what Steve called you.”

You roll your eyes at the childish banter between the two. You were considering the amount of logic and coordination between the two of them but then again, you were too tired to get on board for this mission.

“Steve knew me longer, and Steve had a plan.”

“Why couldn’t Steve be here?”, you whisper sarcastically.

“Fifteen seconds to drop.”

“I have a plan.”, Sam defends.

“Really? What is it?”

Sam ignores Bucky, jumping from the plane. Joaquin peeks his head out in amusement as Sam ignites his suit and flies off. He still wears that look of amaze on his face since the first time he saw the suit.

“Great. Where’s the chute?”, Bucky asked, looking around.

“We’re at 200 feet. It’s too low for a chute.”

“I don’t need it anyway.”

Joaquin perked an eyebrow, glancing at Bucky from the side, 

“You sure about that?”

“No! I know that look Bucky and I swear-”

“Yeah.”, Bucky sighs, yelling as he drops from the plane.

You and Joaquin both stare out into the open air as Bucky plummets into a tree, slowing his descent.

“What. An. Idiot.”, you exclaim from beside Joaquin.

“That looks like it hurts too.”

Pulling your sleeves down, you shiver and pull back from the open door to return to your seat. 

“He’ll be fine. I think.”

Joaquin slides the door shut as its seals with a hiss. 

You retract back into yourself as your thoughts return in the quiet.

Luckily, Joaquin is there to push them back.

“Hey, join me upstairs? I’ve gotta track activities for Sam from up here.”, he waits for your answer.

“Sure.”

He steps aside to let you walk up the steps first, sliding behind you as you reach the second floor. His hand ghosts over you back, guiding you across to the computers.

You flirt around the screens, leaning your hands against the metal frame. Joaquin’s hand roams around different radars and dials as he reads them. You watch from your spot as he concentrates, although, his eyes float up to check on you, every so often. You’ll pretend not to notice the suppressed smirk that threatens to rise on his face at your stare. 

You push that brewing anxiety aside but not without strain. Not without a little help from that pure and inviting calm that Joaquin brings.

***

TAGS:

@asoftie4bucky @remmysbounty @cjsinkythoughts @bubblegum28universe  @farfromjustordinary  @hocusbowie @alainabooks143 @marvelnerd18 @samscaptain @alexlynn16 @dontstahpmemeow @plllover86 @petewentzfrommcr80  @literallyjustfanfiction @captainbarness @parkjammys @the-and-sign-anon @nialeesato 

[clonerightsagenda]

hey do you have any life advice? I've always looked up to you and I respect your opinion and didn't know if you had any strategies living in the usa with limited money and healthcare or just with getting a decent job that you don't hate. or honestly any advice at all about anything. the world is really stressful. and reading your blog always gives me hope for the future because you're just doing your best and existing i guess? sorry if that's weird

Hm. Well, first of all, I'm flattered. As you say, I'm doing my best and existing. I don't know whether that makes me a great source of wisdom, but I'll do my best.

I have been privileged enough to always have access to health care, either from my parents or my own job, so I don't have a lot of practical tips on that front.  I hope our country gets it together soon and catches up with everyone who's already set up socialized medicine. The good news amidst all of our nightmare politics is that even though it feels like everyone's ignoring the obvious solutions, which they often are, there's stuff on the table being considered that would never have been mentioned not long ago (like free college, for example) so we have to stay hopeful. The one thing I'd say about this is if you're ever in a bad situation where you have to choose where to put your money, I would tend to make sure you get dental care, because teeth problems can haunt you for the rest of your life. My local dentist actually just set up a program that's kind of like dental insurance for people without it, so you can look for things like that from the health providers in your community.

As for limited money... again, I've been pretty lucky in this regard. I can support myself ok on my income, so I don’t have the same perspective as someone who’s really had to worry. Checking for stores that sell at a discount is always a good idea - places like Dollar General, Cash Saver, Aldis, etc. There are some things I prefer to buy name brand for, but a lot of the time store brand is fine. Cooking can save a lot of money, but it is a skill that has to be developed, and I acknowledge not everyone has the time or access to good equipment and ingredients. If your money is tight, developing a budget is probably a good idea to keep track of everything. And if you have a bulk store like Costco in your area - it might be worth finding a buddy to pool your money and split big purchases, because you will save by doing so. I also know more and more areas are developing mutual aid networks, and I know my city has a Food Not Bombs group and a free market. You may have to do some digging to see if any of those things are local to you, but they can help.

Jobs... check your local library if you have one; they often have databases for searching job openings and may have programs to review your resume and cover letter. If you're still in school, use your career center. In this country there's a lot of emphasis on your dream job, because capitalism wants us to identify with our roles as workers much. It's certainly nicer to go to jobs that you like, but it's also perfectly OK if you go to a job that's just something you do in the day, and then you go home and do things you want to do. This may vary from person to person, but I actually found that I have more free time working fulltime than I did when I was in college, which was a nice surprise. I felt more free to read and write and enjoy myself because my work time and me time were more compartmentalized. Our generation is also far less likely to stay in one job for our entire lives, so it's totally ok to take a job that you don't *love* for a while, just to get your bearings, and then move on. You don't need to feel trapped, or feel like because you "settled" once you'll never get where you want to go. So much is changing, I don't know that many of us know what our jobs might look like in a few decades. As much as I always hated people talking about networking, it is true that knowing people helps, even if it’s just hearing about a job opening you might have missed otherwise. Keep an ear to the ground, let people know you’re looking... I had a well-meaning grandparent send me a job opening in Hawaii once.

For some other advice about this stressful world... 

I think it helps to make things occasionally. Now, I know a lot of people on here are artists and writers, which is good, but that kind of creation can be really frustrating and exhausting sometimes. It's nice to be able to make something a little less stressful and more substantial. For example, I bake. Some people knit. Some people paint, but not to polish their craft, just for fun. In a world where so much feels out of our control, it's nice to have something tangible you brought into being.

It also helps to do at least one good thing. You can burn yourself out trying to change the world, and in America we're raised on a lot of individualist stories where a single person is a hero and brings down a terrible regime.  If you have the energy to throw yourself into being an organizer for a new group or running for local office, great! But if you don't, and you're feeling really helpless, even writing one e-mail to your senator or checking in on a neighbor or tossing $5 to someone’s gofundme can make you feel a little less trapped. I'm doing phone banking this weekend. I hate it, and I will be miserable the whole time, but I'll feel better afterward. Do what you can, and then give yourself permission to let go and not stress for a while. 

I say this as an introvert, but some kind of community is good too. I don't have that many people in person, although I was trying to work on that before the pandemic started by going to more events hosted by my local library. This is actually a pretty good time to explore - a lot of groups that would normally meet in person are meeting online, so it's much easier to drop in and see if it's right for you. I've attended some meetings I never would've gone to when they were in person all the way downtown in the evenings. And there's always having a few people online that you check in regularly with - it's good to have someone, whatever form that takes. Even if it’s a Discord chat where you make jokes about podcasts. 

I feel like that was all..... very vague, and I hope any of it was helpful? If you have any more questions I can try to be more specific, within the limits of my experience. I have been very fortunate in a lot of ways throughout my life, which may be preventing me from being super helpful, but I’ll try! 

[phoenixrisesoncemore]

🌺💘🌷 get to know your mutuals ! when you get this, it 🌺🌺💘🌷means someone wants to know more about you, so list 5 things about yourself you want your followers to know. they can be as simple as your age or as complex as your deepest fear, as long as it’s something you’re comfortable with sharing. when you’re done, send this to 10 people you want to get to know better ! 🌷💘🌺

Thank you for the ask @lurkingscientist 😊. Hmmm, let’s see. I have no idea if my followers want to know any of this, but these are the 5 most interesting things off the top of my head.

1. My favorite color is red—a very specific red. It’s the red that is the color of the amulet in Don Bluth’s Secret of NIMH. Prior to that (as in like, before I was 5 years old) my favorite color was sapphire blue or the blue color of deep cobolt glass when you hold it up to the light. I’m also quite the lover of true emerald green. If you’re noticing a gemstone theme here you’re not wrong.

2. The first thing I wanted to be when I grew up was a veterinarian, but at some point I realized that veterinarians have to endure repeated exposure to animals who were suffering, and that ended that dream very quickly. Then the dinosaur craze hit and I wanted to be a paleontologist. Then it was geneticist—I was fascinated by Gregor Mendel and his peas. Then I spent a summer reading a bunch of popular science texts about physics, astronomy, and cosmology and decided I was going to be a cosmologist. But no, I needed something creative, something where I could use art to change the world (ah, the sweet, idealistic naïveté of the tweens and teens). So I switched tracks completely and decided fantasy novelist was my calling. When I eventually realized words weren’t the tools I was best with, but that I still wanted to tell stories, I switched to wanting to be a film director. I had plans to either go to UCLA or Northwestern and study film, but I somehow fell into the theatre arts and art and design department at an in-state uni after taking some classes there while in HS. I was an actor for a while, and then a sculptor, then a costume designer, then a set designer. I even spent some time learning about databases and information systems and tried to design my own content management system for the web using ASP.NET back before such things were common (I did not succeed). But, as it turns out, life is funny, and I am, currently, none of those things in a professional capacity.

3. I was 11 when Batman Returns came out; I saw it that summer and Michelle Pfieffer’s Catwoman instantly became my whole fannish world. Naturally I wanted to be her for Halloween (I’ll get back to Halloween below), and that meant I had to be able to use a whip. You know, for authenticity’s sake. The plan to have and know how to use a real whip didn’t work out in time for Halloween that year, but the next summer—while browsing around the gift shop at the horse riding paddock at a state nature preserve—my eyes fell on one of the most beautiful things I had ever seen: a real, 8 ft long, rawhide bullwhip. I spent the next 3 years teaching myself to crack that whip in the alleyway beside our house in small town Midwestern America. Cue pearl-clutching, lots of nasty rumors about me and my family, and neighborhood kids being told they could no longer associate with me. There was no internet and it wasn’t like videos on how to crack a whip were easy to find. So I just watched her scenes in the film over and over, trying to copy her movements and understand how the whip was working. I eventually moved up to a new 10 ft whip with a longer, lighter handle. With the exception of the crack in the GIF above, I eventually taught myself how to do all of them.

4. I’ve always had very odd and vivid dreams that are very unlike the dreams described to me by most people. They tend to be extremely abstract and fantastical, occurring in illogical spaces that have more in common with Escher than the real world. The most common element in them is the labyrinth, often seeming something like a house with endless rooms opening in strange patterns off of each other and stairways winding everywhere, or vast shopping malls with odd architecture. I usually spend the dream traversing these labyrinths, sometimes with an actual goal, but more often simply out of curiosity. Occasionally these dreams are nightmares, but more often than not they are somehow deeply comforting. The use of SSRIs to control my depression has, alas, made them less frequent and less vivid (if there’s any downside to these medications for me, it’s that). In real life, this fascination and adoration of spaces expresses itself in a love for museums (museums themselves often even more than the pieces in them), gardens, installation sculpture, and architecture in general. My undergrad thesis involved creating a labyrinth out of copper pipe and muslin (see model and full scale sculpture above) that expressed something of the spaces that haunted my dreams.

5. When I was a kid and teen, my mom (who at one time had dreamed about being a film art director) and I used to go to great lengths to decorate our home for Halloween. What started as a few figures stuffed with newspaper set on the old Victorian porch turned into an entire cast of classic movie monsters, witches, a glass coffin, a creepy undead traveling salesman, a faux pipe organ, and cemetery. Keep in mind, this was both in the 90s in a small town in the midwestern US where the celebration of Halloween was still often believed to be a Satanic act and also well before the heavy commercialization of Halloween decorations via big box stores and online vendors, so most of this was stuff we made ourselves. Despite the whispers and accusations it lead to, these remain some of the best days in my life.

[itsanerdlife]

Smoke 9/16

Pairing: Ronin!Clint Batron x Black Cat!Reader

Warning: Violence. Torture mentioned. Death mentioned. Nightmares. Lies. Seducing. Sexual humor. Broken and damaged pasts. Killing. Possessive Male. Struggling to open up. Secrets. Dark past.

A/N: ENDGAME SPOILERS IF YOU HAVEN’T SEEN IT, DON’T READ THIS!!!

After the snap, the avengers split apart. Finding their own ways to cope. Clint found his under a new identity, Ronin. Getting revenge for those they lost. For the family taken from them. The evil left when heroes were wiped out, it became his mission to take out the evil. All while keeping a list of those who could help, if needed one day. Clint stumbles upon a woman, Cat. She’s a mystery in the dark. One happen stance meet, one night, gone like smoke.

After the second snap, setting the world right again. Fury is looking at those kept tabs on. When Cat appears on the screen, nobody know a lot about the mysterious woman who haunted Clint’s dreams and stole his favorite T-shirt. There’s a chance she’s in trouble, can Clint find her, convince her there is more, that he can save her? But is he the cause of what’s after her? Just what mystery is she keeping all to herself? Or is he the one she’s trying to save?

Clint

His jaw worked in angry ticks. Chewing the inside of his cheek to keep his tongue from lashing out. What was he supposed to do, sit there and watch? Bucky’s hand slips up Y/N’s bare arm and his hand grips his knees to keep him in place. His girl. His best friend. Having their own private conversation on the edge of the room. Her head tips slowly to one side, as if she was listening to his own internal struggle.

Clint clenches his jaw. Looking away from the two off to the side of the room. He cuts his eyes to Nat who sat at the other end of the couch. It’s pouring rain this morning, everyone was kicked back waiting for it to clear. Or till they were called to run out the door. He slips towards Nat, her eyes cut up from her book watching him.

“What?” She lifts a brow.

“Nothing.” He shrugs. His arm slips over the back of the couch, behind her. If Buck could do it, so could Clint. Not that he was actually into Nat, that was more like finding your sister attractive.

“Why are you near me Barton?” Nat sighs, not looking up from her book this time.

“How are you?” He smiles at her. “Good?” Now she looks up at him, like she was waiting for him to confess his sins.

“Better, if you moved away from me.” She snorts.

“You and Buck. Good?” He nods slowly. She looks passed him, at the two still talking. She rolls her eyes, her hand comes up.

“Get away from me, Clint.” Covering his face, she shoves him back. He goes over, before straightening up a little farther away from her now.

“Nat.” He scuffs.

“Drama Queen.” Nat smirks back at her book.

“She talks to him, but not me.” He huffs, admitting his issue. She sighs, closing her book she looks over at him.

“Clint you can’t push the broken.” She shakes her head softly. “It doesn’t work that way and you know it.” She gives him a pointed look.

“She thinks sex is a commitment.” He mutters.

“It’s a step towards opening yourself, emotionally. That is commitment to girls like us.” She shrugs.

“Fuck.” He sighs, scrapping his hands down his face. He turns, dropping back, his head in Nat’s lap. She snorts, picking up a pillow she waits for him to lift his head, shoving it into place for him. She had a point, she was more like Nat than he really cared to look.

“You don’t push me to talk about my secrets.” She looks down at him. “Why are you so pushy with her?” She quirks a brow.

“Because what I feel for her is very different.” He sighs.

“You’re scared to lose her, again.” Nat sighs. “But you push her and you’re going to lose her anyways and you know that.” She taps her pointer finger into his forehead. He swats at her hand.

“Oh what do you know.” He huffs.

“Drama Queen.” She grins.

“Satan.” He rolls his eyes.

“Awe. Thank you.” Nat melts a little.

“You really are fucked up.” He snorts.

“Like your girlfriend.” She gives him a cocky smirk.

“I hate you.” He mutters.

“Could you be more possessive of a woman who literally gives the vibe, of kill you in your sleep?” Nat grins.

“It’s a nice thrill. Am I going to wake up today? Is she going to kill me? Or is she going to seduce me and rob me?” He shrugs.

“You’d still ask her to come back.” Nat laughs.

“I’m a little fucked up.” He grins at her.

“Preaching to the choir, Marc.” She shakes her head, picking up her book again.

----------

“Um.” She squeaks softly, from the chair she was curled up in. He folds the paper in half, looking at her. Hair tied up on top of her head. She wore a faded T-shirt and a pair of comfy shorts.

“Babe?” He lifts a brow, wondering what she was up too.

“They’re debts paid.” She blurts out. “People I’ve killed for what they did to me.” She speaks to her hands, not looking up. The rest of them exchange a look, understanding where she was going with this.

“The tattoos?” Wanda wonders.

“Yeah.” She nods.

“Okay.” He nods, straightening his paper back out.

“That’s it?” She seemed almost surprised. “Okay?” He folds the paper down again, looking at her.

“You have tattoos. I have a small notebook of people for Karma.” He nods, her head tips.

“I have a ledger, with photos.” Nat nods.

“I have a database.” Tony grins. Clint snorts.

“Karma?” She looks over at him. “Really?”

“I read the obituaries and cross them out in my notebook.” He nods.

“What did the circus do to you?” Buck laughs.

“Nothing. Why?” Clint looks back at the paper in his hands.

“Who are the arrows for?” Peter asks softly.

“That’s a bigger story.” She swallows, chewing her bottom lip.

“My dad worked for Oscorp.” Peter nods. “The reason I survived the bite, was because he secretly stabilized the formula with his DNA. That’s why it kills everyone else.” Peter admits. Clint’s eyes cut to her once more.

“I had a sister, Maddie.” She looks down at her fingers twisted together.

“Had?” Sam eyes flick around.

“I was thirteen when I was patient zero.” She nods. “Maddie was six. They made her patient one. It killed her.” She whispers softly. It clicked into place for Clint.

“That’s why you are,” he nods “with Morgan.” Peter and Tony exchange a look.

“She reminds me of Maddie. Maddie was obsessed with Odin. Odin, he’s never grown attached to another child. Till now.” She shrugs.

“I’ll share her with you.” Peter grins.

“The arrows are for, the scientists, those who were there. Six of them.” She nods.

“You have seven.” Clint watches her.

“One for my father.” She stares back at him.

“How long have you been on your own?” Tony asks.

“Since I was fifteen.” She nods. “Never trusted anyone after that.” She sighs.

“Till now.” Buck smirks.

“I’ll find a way to kill you Frankenstein.” She points a finger at him.

“Don’t poke the cat, Buck.” Nat sighs, going back to her book. Buck and Sam laugh, dirty grins on their faces.

“I’ll kill you.” Clint sighs, setting the paper down.

“I need coffee.” Sam looks down at his cup, he’s out of his chair and leaving the room.

“I’m going to find Steve.” Buck nods, heading in the other direction.

“Possessive.” Nat coughs into her hand. Wanda cackles, Peter inhales his coffee.

“Satan, shut up.” Clint sighs.

“Who knew the devil was so hot. Is that how you get your hair so red?” Y/N grins, leaning forward.

“The blood of my enemies.” Nat winks at her.

“How do you get yours so white?” Wanda grins.

“All the souls I’ve sucked out.” She laughs, Tony coughs clapping a hand over his mouth. Peter dripples coffee down his shirt in shock.

“Really?” Clint sighs, looking over at her.

“What?” She bats wide, grey eyes at him. “Urban myth says Black Cat’s sucked the souls from people. It’s an old witches curse.” She shrugs, leaning back in her seat, picking up her phone.

“She’s so hot, it actually hurts.” Nat grins at him.

----------------------------

Everything Peaches 2/6/19: @xmtd5 @mo320 @all1e23 @courtmr @avxgers @eliza-kat @izzy--lee @irepeldirt @dumblani @nishanki1 @crist1216 @alyssaj23 @allyp1023 @joannie95 @kolakube9 @rileyloves5 @sarahp879 @sea040561 @tomhardy41 @sexyvixen7 @pcterpvrker @pigwidgexn @doctoranon @abschaffer2 @justrae9903 @bookluver01 @teller258316 @callie-bear15 @nickimarie94 @wandressfox @amandab-ftw @carostar2020 @henrietteoaks @nea90sweetie @circusofchaos @itsagalaxystar @bettercallsabs @miraclesoflove @lucifersnipnips @queenkrissy11 @this-is-mycrisis @sadyoungadult @destiel-artemis @paintballkid711 @isabelcrichards @iwillbeinmynest @sweet-honey15 @chanelmadrid13 @mellxander1993 @killerbumblebee @spookygrantaire @geeksareunique @supernatural508 @sammysgirl1997 @itzmegaaaaaaan @booksbeforebois @childishhoebinoo @elizabethaellison @aspiringtranslator @mariekoukie6661 @pure-princess-97 @capsheadquaters @samanthasmileys @nerdypinupcrystal @atlas-of-the-world @youclickedthislink @futuremrsb-r-main @lovemarvelousfics @notyourtypicalrose @petersunderoos96 @loving-life-my-way @buckystolemyheart @booktvmoviefangirl @supernatural-girl97 @dumbbitchenergytm @abbypalmer14-blog @fanfictionjunkie1112 @meganlikesfandoms @awkwardfangirl2014 @supernaturaldean67 @neverahdullmoment @xqueenofthecraziesx   @queenoftheunderdark @writingaworldofmyown @supernaturallover2002 @daughterofthenight117 @mustbeaweasleyginger @mcuwillbethedeathofme @sprinklesandsugarcubes @whothehellisbucky-1930 @verymuchclosetedfangirl @for-the-love-of-the-fandom @ocaptain-mycaptainmorgan @wonderlandfandomkingdom @crazy-little-thing-called-buck @letsgetfuckingsuperwholocked @stupendoussciencenaturepanda @jamesbarnesappreciationsociety @supernatural-strangerthings-1980

Marvel Tag List 2/6/19: @lumelgy   @dottirose   @jcc04220 @rockagurl @a--1--1--3 @mizzzpink   @jade-taillia @coley0823 @widowsfics @bookluver01 @thelostallycat @shield-agent78 @dtftheavengers   @ilovetvshowsblog @capsheadquaters   @iamwarrenspeace @thefridgeismybestie @whenallsaidanddone @deanwinchestersrifle @fandomsstolemylife00   @daughterofthenight117 @lilmissperfectlyimperfect  

Clint ‘Destory Me, I’ll Thank You’ Barton: @ml7010 @coley0823 @yavanna80 @lakamaa12 @boltsgirl919 @feelmyroarrrr @mrsseizetheday @honey-bee-holly @marvelfansworld @mybarnesmyhero   @the-real-mary-jane @dumbbitchenergytm @agentsinstorybrooke @x-whyareyoureadingthis-x @jaqui-has-a-conspiracy-theory

Smoke: @2s0uls @xxloki81xx @csigeoblue @demonlover87 @capandbuckylvr @marvelfansworld @natromanoffsboys @barton-you-dummy @thefandomimagines @thosesexytexasboys  

[westworld-daily]

Behind the Scenes of the Westworld UI

In late 2016 it happened. HBO released the TV series Westworld and invited us into the wonderful world of a technologically advanced amusement park, filled with android hosts ready to give us everything we’ve ever dreamed of.

As HBO unveiled episode after episode each Sunday, I was glued to my TV as millions of others did the same. Westworld went on to to rank as one of the most-watched first season series on HBO ever. No surprise, if you ask me.

But besides the show's stunning cinematography and title sequence, I became obsessed with its graphical details. Specifically the futuristic graphic user interface elements (GUI) you can find throughout its fictional world. As a designer of current products and interfaces, I draw a fair amount of inspiration from futuristic interfaces like these.

After digging a little deeper I found one of the designers, Chris Kieffer, who not only worked on Westworld, but other movies like Passengers, Interstellar, G.I. Joe and many others you’ve probably heard about.

Luckily Chris agreed to an interview, giving us the full tour on how it is to design user interfaces for TV and film.

Let’s go!

Tell us how you found yourself designing user interfaces for some of the most popular sci-fi films and shows out there. Did you picture yourself working in film when you first got into design?

I’ve always wanted to work on films. I didn't plan on doing UI’s for films, though I have always been fascinated by them. I used to see UI’s when I would go to the movies and always wonder how those "computers" did that. I would try remaking some of the ones that I really liked. I didn't think that would help me later on when I started to actually work for movies, but it did.

The opportunity to work on Westworld, Passengers and Interstellar were all somewhat connected. I had worked with crew from all three on previous projects. Sometimes it’s the producer, director, production designer, art director or props. It makes it easier to get on a specific film when you have those connections.

What’s your background?

My background is a mix of a lot of things. I started out in print design, working at a t-shirt shop while I was in high school. I didn't do any computer design at the time. The shop was old school, which I liked. A lot of other places used Corel Draw and Quark for screen printing designs, which I didn't know. At this place I would actually draw every shirt design, then photograph it and make the transparencies, then with a blade hand-cut the amber for all the color separations. It was very detailed work and made me appreciate fonts, because I had to do them all by hand.

While in college I went from shop to shop doing shirt designs, and I was getting a lot more into Photoshop and Illustrator. I studied graphic design and visual communications, and realized I loved the fact that I could take all my designs and bring them to life with animation.

After college I started working at a company doing a lot of print and packaging work, all the while doing motion graphics work on the side. I had moved up to managing the art department when I got a call to go to another company. I went in for an interview and it went well. On the way home I got a call from Warner Bros. to work on a film. Right after that, the company that just interviewed me said I could have the job if I started immediately. The Warner Bros. job was only a guarantee of one week of employment on a film, that’s it. I had to make a decision: take the new "guaranteed" job which paid a lot more than my previous job, or take the one week at Warner Bros. working on a feature film and hope for more. I took the one week — I couldn’t pass up the opportunity to actually work on a movie! I took a chance and I have been here since, going on 11 years now.

What's the process like working on interfaces for movies or films? How many people do you work with to complete an interface from concept to visual design to animation?

Every project is different, but I’ll give you a somewhat normal setup. Early on in the project, we get a call to come in and meet with production and discuss what they need, break down the script, develop a budget, etc.

Once all those things are done and set up, we start the design process. Preferably we would start early in production and have time to really get into the design and mechanics of everything, but that rarely ever happens. Honestly, it’s usually around 2-3 weeks before we start shooting. So first we would start designing the UI's look, style, color palette, functionality, etc. in those first few days.

Then we usually have a meeting to go over everything with the director, production designer and art director. Based on that meeting we continue to refine and make whatever changes are needed. We also discuss the hero elements that will need to happen. Hero is a term we use to describe something in a script that is specific to the story and called out to happen on a screen, hologram, monitor, etc. This is something specific that will have to be ready and worked out to be shot in camera.

Then we usually start breaking down the graphics in different sections. Usually myself and a few others will continue designing and animating graphics, some on hero and others building background screens or elements. Others will be programming how we will actually make it work and interact on set, while also prepping the gear and necessary equipment.

Then a few more meetings until we start to shoot. By then we have a pretty decent library of graphical UI elements for that film. While we are shooting a particular set we are working on the next set and the graphics for it, along with making changes on the fly if needed. This goes on until we finish shooting and finally wrap.

In post production we would normally do the graphics we couldn't shoot on set and knew would be replaced in post. That wasn't the case on Passengers, for example. On that project we came up with some concepts for post, but it was all handed off to MPC (Moving Picture Company) I believe. That’s pretty common too. I may work on a project in post that someone else did all the onset playback graphics for, and vice versa.

Tell us a little more about the post process. I'd assume seeing the UI in context, mapped to its proper surface, changes quite a lot for you.

Sometimes we can't pre-build a working graphic for something because it will strictly have to be done later in VFX. For example, the tri-fold tablets in Westworld were always going to be done in post. We tried a few options for some of the background ones that would be live in camera for interactive lighting, using tablets roughly the same size or EL Paper on the tri-folded tablets.

What made it a lot easier is pre-designing what they were going to look like and how they were going to function before we shot them. So on the day of shooting, I would go over how the UI works on the tablet with the actor before the scene and sometimes during. That made it much easier in post to match their movements and make the UI have some consistency.

Too often I get called into VFX to create an FUI (fantasy user interface) for something that has already been shot and cut together. The actor or actress just made random gestures on a tablet or hologram; now I have to reverse engineer how the UI could work based on those movements and gestures.

How is it different working on futuristic interfaces vs. real life products? For example, do you try to approach a UI for Westworld as realistically as you can? How real does it have to be?

I have worked on many different styles of UI's, everything from old CRT vector graphics to futuristic ones. They all have their own level of difficulties. Some films need the technology to look as if it was real in that time. Like making a bunch of older screens from the ‘70s - ‘80s to match what they actually looked like back then. Some need to look like they're from that time, but it’s a pseudo reality so it has to conform to that as well. There are some scenarios where they want it set in a distant, but not too far future. So we would design what we think it could be and what technology could be like for that specific film or show.

When I look at the mobile UI from Westworld, I see a lot of icons that are currently not being used. When you design an interface like this, do you imagine a purpose for every icon as you would for a product used in real life?

I try to make every button or icon have a purpose. There have been times when something is just thrown in as filler when in a rush on set before a take and they want a change, but it could haunt you after that. That might have just established a main part of the UI and has to be figured out from now on. In the particular shot you’re referencing, the icons do have general meaning. From left to right they could be:

Device Settings

Tools/Utilities

Security

Host Database/Logs

Admin controls for Stubbs character

Now those have never been established as that, but they could be.

How important is it for you to think through the whole product instead of just designing key screens?

Depends on the project. Sometimes we may be making background screens to fill a set. They will never be shot up close and don't have to be completely thought through like a hero screen. Though they do have to be designed and created for the specific world of that project. So the UI would be consistent, but the little details or elements within the UI don’t have to tell a specific detail of the story. They set the tone. Like if it was a military base or command center, the graphics would all be created for that specific military base. The maps and other parts would be locations or events from the script, but not at the detailed, scripted hero level.

When I look at some of the interfaces you design, they follow the actual dialog and story of the episode very closely. What’s the process for designing a screen like this? Do you get the script or some wireframes explaining what you need to do?

Yes, I have to go through the script and break down every shot or set that has graphics in it. Sometimes it’s vague and says something like, "She is looking through medical documents about a patient." The director will say it doesn't have to be a specific disease, just about the patient’s medical history. In this case the design is supporting the story versus telling a specific part of it. Then there are times when the script is very specific and says beat by beat what we see on the screen, so the design has to match exactly. In that case I would have to design around this while telling the story. Sometimes you only have a second or two to tell a story, so that people watching can instantly understand what they are seeing.

Where do you see real life UI design going in the future? Do you ever consider that the things you do might inspire other designers working on real, current products?

I’m not sure, to be honest. I can say that people are understanding the importance of a well-designed UI now more than ever. I think the expectations of UI are climbing way past what we saw in a movie and thought we could never have. Now we see it at our fingertips. I talk a lot with people who are making real world products or software who see things in a movie and want to make it in real life. They are inspired by what they see in a movie and want to make it a reality. On the other side, I am very inspired by real world tech. Sometimes I find that when I’m designing something I think would be cool to have in a film, it already exists in reality and it’s even better than I expected. That inspires me to make something completely new.

What would be one of your dream projects in the future? I know that's a hard one to answer right after you did Westworld. 

Because I'm a big fan, I have always wanted to work on a Star Wars film. That’s one I would really like to be a part of.

What advice would you give to someone who might be interested in doing what you do? What are the key skills of a futuristic UI designer?

It depends on what part of this work they are interested in. There are programmers who develop the software we use to play back the graphics on set. There are designers or animators, sometimes people who do both. I wish I could do all three — design, animate and program. But I can't program on that level so I will leave it to the professionals. I focus mainly on design and animation, but understanding how it will be programmed really helps the workflow. As a designer or animator you can also work in post with VFX to create FUIs that are burned in or replaced.  

I think having a good sense of design and animation is key. Knowing how something will move in space and understanding how to use motion along with your designs is a great skill to have. I would also recommend what I did. If you see something that inspires you, try to remake it. Try to solve how something was made and find a new, or even better way to approach it. Even if you can’t recreate it, you have learned something new. Then start designing and making your own. Even if it’s not for a specific project, come up with one.

Also don’t be afraid to ask other designers questions. Some may not respond and some may help. I try to help anyone who is passionate about this kind of work as much as I can.