#and the narrator had him call the reader a Goliath

[the-cat-and-the-birdie]

You know what's crazy for a character that's so supportive,

I be reading hobie x reader fanfictions and some of these pieces y'all are hitting publish on be having willlddd levels of misogyny

And I'm not saying you're writing Hobie as a misogynist. I mean the misogyny is coming from inside the house. Like the narrator is the one it's coming from and it be having me like

[nightwing-ing-it]

Nightwing: Rebirth #42

The more I think about this issue the more I’m impressed but also feel out of my depth when reviewing it.  

I’ve never watched this Bruce Lee film called Game of Death and I don’t know much about Kabuki either so I think someone who knows a little more can bring better light to different references in this issue but I’ll just talk about what I liked from the issue as an average reader.

My compliments are mostly directed towards the writers Kelly and Lanzing having known that they only had a few Nightwing issues in their hands had opted for a story that was actually pretty ambitious for one issue and pulling it off.

The structure was really good, the pacing of the story line into different sections and not dwelling at all in unimportant aspects of the story.  It didn’t slow down but felt like an adventure with a lot of movement through the whole issue.

The start with Nightwing walking up in the suit was great.  I’m not asking questions or mad.  I loved it.  Maybe he was in too much of a rush to take it off.  I don’t know and I don’t care because it really doesn’t matter to the story.  

But it was a good way to start off.  It made the issue start differently than other Nightwing issues and matched with the difference in narration tone we got from Damian.

As a reader you could tell Dick’s voice very distinctly from Damian’s voice right away without relying on really easy tells like Damian’s ‘tt’ or anything super light from Dick.

And Dick was annoyed and I’m happy because yeah it’s stressful having to go save your brother from the clutches of evil!  The fight scene at the beginning to set up the premise of all of this while not slowing down the pacing was great.

I like how all of the levels of Kabuki brought out different strong aspects of Dick’s character, how versatile he is but also how strong and unyielding he is.

His ability to use his opponents strengths against them

His grace and adaptability that serves to strengthen his power

I really liked ‘skill’ in which they chose not to give Dick much dialogue and let his actions speak for him and the way we see the fighter that seems the strongest and hardest to fight kneel in defeat

During the ‘boss’ battle I didn’t mind at all that the main villain was not super highlighted.  The writers knew that they only had one issue and would not be able to flesh out their one issue villain completely and they focused on their hero Dick Grayson and the relationship between Damian and Dick more than their OC.  Some writers get so caught up in their OC’s that they neglect their main character and I’m so glad they didn’t fall down that rabbit hole.  The villain’s were as thought out as they needed to be.

The final battle, just like the other battles, was not all about the villain but how Dick fought the villain.

Dick was able to see that rescuing Damian before finishing the fight was important so they could finish it together, which also brought out the family and humility aspects of Dick’s character.  He puts on a show not because he’s showboating or egotistical, it’s his style, it’s a distraction, and it doesn’t take away from his skill/ability to fight, it’s part of it.

It was also very sweet how Damian befriended the dragon.  They didn’t even have to show the befriending scene.  I believed it right away.  Anyone who knows Damian knows of his horde of animals.  If he hadn’t already befriended it then he would have eventually.

It also wrapped up well.  I’m glad that Bruce was included at the end when they were watching Damian in the Batcave

as well as the very cute inclusion of Goliath and Batcow, which answers all the remaining questions of, where would they keep the dragon, how would he get along with the other animals, does Bruce know about this adventure, etc.

A good self contained story that brings out good aspects of the main character and his relationships.  This issue is worth picking up.

[definitionpaper1-blog]

Frankenstein by Mary Shelley essay

Essay Topic:\n\nAn start out to identificate the substantial goliath of the new: Viktor Frankenstein or his putz.\n\nEssay Questions:\n\nWho is the material colossus of the novel: Viktor Frankenstein or his instru manpowert?\n\nWhat was the intent of the giant star worry?\n\nWhat pr tied(p)ingted Viktor Frankenstein from taking right for his actions?\n\nThesis Statement:\n\n lord Frankenstein would gull never born(p)-again his wight into a titan if he knew how to sleep with and outlet indebtedness for the unitarys we bring to this populace.\n\n \nFrankenstein by bloody shame S collieryey essay\n\n \n\n innovation: Mary Shelleys Frankenstein is a book with a doubtful message that touches to the truly snapper. This message implies that the reader ordain non see the story unaccompanied from the perspective of the narrator scarce also reveal m both hidden opinions and form a personal interpretation of the novel. unriv entirelyed of its primary statements is that no whiz is born a the Tempter and a behemoth is created end-to-end socialization, and the process of socialization starts from the hitting with the agent. It is master copy Frankenstein that could not educate the responsibility for his brute and was not able to take handle of his child. self-esteem and vanity were the qualities that directed maestro Frankenstein to his discovery of life: ...So a lot has been done, exclaimed the soul of Frankenstein- more, far more, will I achieve: treading in the steps already marked, I will pioneer a new focus, explore unkn proclaim powers, and unfold to the universe the deepest mysteries of fundament[p.47]. He could not bonk with this discovery and manifestly neglected it. The calamity of Victor Frankenstein and the tragedy of his peter is the same it is the tragedy of loneliness and confronting the world, trying to expose a place in it and deserve mortals bed. The wolf would have never become a nut if it got the love it strived for. Victor Frankenstein would have never converted his creature into a junky if he knew how to love and take responsibility for the ones we bring to this world.\n\nAccording to Mary Shelleys Frankenstein the creature becomes a genuinely monster by means of committing a murder. It becomes a manslayer whose main goal is to revenge. The creature avenges for having been abandoned by his creator and left in all alone in the hostile world that cannot let him simply comprise and have somebody to love. Obviously, the creature did not begin its life as a monster entirely became one later Victor Frankenstein rejected it and refused to progress to that he has to take c ar of this creature from now and forever and be responsible. The creature was born a defenseless existence into the world. It was simply born and attempt to see the person who make him come, the one who needed him and love him. But when it saw the world did not see anybody who at least(prenomin al) gave him an arm to refuse up. Victor Frankenstein wishinged to obligate life to a creature, but when he managed to do it the debaucher of the dream vanished, and breathless villainy and repel filled [his] emotional state[p.57]. He was scared of what he had created and ran off from his creature, leaving it all alone and hurt. Victor Frankenstein make the set-back step into devising the animal a real monster by runway away from it, not even welcoming it into this world. Victor ran away for the animal was ugly, but the marionette did not have any cruel intentions for world as a newborn it was evil-free. The fauna did not do anything bad. tout ensemble it did was it came into the world, or it would be more honest to elaborate that it did not come on its own will but was brought to life. He came looking for love and the first thing he met was rejection. How does it step for any living worldness to be rejected?\n\nThe wildcat ran away and tried to frolic to other nation. It did not want anything bad but simply attention and support. until now, his appearance do people feel disgust and everybody tried to hurt him. The beast could not to a lower placestand why it was handle so cruelly and suffered so much. It was completely uninvolved and nobody cared for this living being who wanted to be love so desperately! such suffering and constant refection dour the Creature into a real monster and the revengeful murderer of little William. The creature was not born a monster but the pooh-pooh of men made him one. Everyone he turn to hated him, hated for nothing. And when he turned to Frankenstein begging for a mate he hear the words that killed the last gains of look forward to in the depth of his heart: Devil ... do you withstand approach me? ... Be gone, miserable insect! or rather, hobble that I whitethorn walk you to dust! ... Abhorred monster! hellion that thou art! the tortures of hell are too batty a vengeance for thy crimes. reprehensible devil! you reproach me with your institution; come on then, that I may extinguish the sparkle which I so negligently bestowed[p.68]. The Creature had nobody to embody for and it was the point when revenge started being the essence of his life. He did not need people anymore he unsloped became what they everlastingly believed him to be a monster. It is assertable neither to say that the Creature was a monster from the very beginning nor accuse the Creature of anything for all it did it appeared into this world. The Creature came with a pure heart and did not meet any love or at least sympathy from people, including his very creator. The Creature was so unhappy and became a monster only because everyone treated the Creature as if they were subjective monsters that have no feelings at all.\n\nConclusion: The Creature is not a real monster. It is just a victim. Just standardised Victor is the victim of the mistakes his parents did, and the Creature is a victim o f Victors ill learning of reality. Its like an iceberg we see only the top, merely the biggest part of it stays under the wet. The top is Victors creating a monster that killed all his dearly loved people and what we see under the water - is real reason of things: the composure of people and the nature to judge everything basing on the appearance without even trying to look inside. Nevertheless there is something that can be called a genuine monster without any doubt - it is the scorn and the blindness of people. Blindness to mistakes, to the unhinge of other people, even to love What the reader learns from this book is that things are not always the way they appear to be. And what seems terrifying may turn out to be just the pain of someones heart, just like the pain of the creature that was conception to be a monster and not being one from the begging became one at the end.If you want to get a full essay, order it on our website: Custom essay writing service. Fr ee essay/order revisions. Essays of any complexity! Courseworks, term papers, research papers. 100% confidential! Homework live help. Custom Essay Order is available 24/7!

[nofomoartworld]

Hyperallergic: How a Mark Twain Travel Book Turned Palestine into a Desert

Sacred to the Memory of Adam The American Publisher vol. 3 (1872) (all images are illustrations in the public domain)

Years ago — a lifetime ago, it seems — I lived in Israel.  For three years I called the city of Ashkelon home. I was an archaeologist, and while I lived there I occasionally served as a tour guide to the site of ancient Ashkelon, now a national park within the modern city. Once I led a group of women from Hadassah, who had come to Israel in solidarity during one of the Gaza wars . (The group had their own Israeli guide with them, and he had brought them to Ashkelon.) As we toured the site, I mentioned something about the Early Islamic period, and one of the women in the group asked if there had actually been Muslims living there. Before I could tell her that we were standing on what had for centuries been farmland of the Arab village of Jura — a village depopulated in 1948 and subsequently bulldozed — the Israeli guide jumped in: “1066 … I mean, 1866.���

Actually it was 1867.

And, in a scene worthy of The Innocents Abroad, he proceeded to tell of the emptiness and ruin and disappointment that met Mark Twain when he traveled to the Holy Land that year.

The Pilgrim’s Vision

1867 was a milestone year in Western interactions with Palestine. It marked the beginning of Charles Warren’s groundbreaking excavations in Jerusalem for the Palestine Exploration Fund. And that summer, Twain set sail on the Quaker City, as a relatively unknown journalist for the Daily Alta California, reporting on the first American pleasure cruise to the Mediterranean. The culmination of the journey, for him and his fellow travelers, was the Holy Land; they traveled through Palestine 150 years ago this month.

In retrospect at least, Twain was one of the most famous visitors to Palestine in the 19th century, and his book The Innocents Abroad the most famous 19th-century account of it. The book is known above all for its description of the desolation of the landscape and the ugliness of its people. Most of the country is “a silent, mournful expanse,” dotted with “nasty” villages of “miserable huts” and “the usual assemblage of squalid humanity” — disfigured wretches “fringed with filthy rags” and “infested with vermin,” naked and “sore-eyed” children “in all stages of mutilation and decay.” But Twain directs his barbs at everything and everyone: pilgrims, other travel writers, even himself. He continually mocks his Jerusalem guide for making unbelievable claims and never admitting error. After describing the spot on the Temple Mount (al-Ḥaram al-Sharīf) where, Twain says, David and Goliath “used to sit and judge the people,” he notes: “A pilgrim informs me that it was not David and Goliath, but David and Saul. I stick to my own statement — the guide told me, and he ought to know.”

In this vision of Palestine, art has little place. Paintings in churches are only mentioned in passing. Their decoration is sometimes praised (the altar of the Greek Chapel in the Church of the Holy Sepulchre is “gorgeous with gilding and pictures”), but more often condemned for its flamboyance. Twain, the Protestant, seems to be constantly searching for synonyms for its showiness, attacking the Holy Sepulchre alone for its “trumpery gewgaws,” “tawdry ornamentation,” “flashy ornamentation, in execrable taste,” “the gaudy trappings of the Greek Church” that “offend the eye.” The Dome of the Rock is similarly “showy,” but also suffers the problem of all mosques (and beautiful women, and mountains, and Niagara Falls): that its beauty is only noticeable “after considerable acquaintance.” When Twain stops to dwell on architecture, it is usually to illustrate a point about decline, about the difference between the weight of the past that the land bears and its current state: a “dilapidated” Crusader church here, “dusky arches” and “dingy piers and columns” there.

Gray lizards, those heirs of ruin, of sepulchres and desolation, glided in and out among the rocks or lay still and sunned themselves.… where the pomp of life has been, and silence and death brood in its high places, there this reptile makes his home, and mocks at human vanity.

House of Ancient Pomp

But art shows its influence on Twain’s narrative in other ways. It is clear that for him — and presumably for much of his audience — ideas of biblical and historical events in Palestine were shaped fundamentally by paintings and prints and other representations circulating widely at the time: old master paintings of St. Veronica, “fanciful pictures of Belshazzar’s feast,” steel engravings of women at a well. At the traditional site of the Annunciation in Nazareth, Twain is unable to “imagine the angel appearing, with shadowy wings and lustrous countenance, and note the glory that streamed downward upon the Virgin’s head while the message from the Throne of God fell upon her ears.” What he describes is not the biblical account, but a Renaissance or Baroque painting of it. In the end, Twain seems to find these images superior to the reality in front of him: “Oriental scenes look best in steel engravings.”

In his own time, Twain was famous for describing Palestine as it really was. “Any one who wants to understand without going there exactly how it looks now,” one critic wrote, “had better read The Innocents Abroad.” This idea that Twain described Palestine “exactly how it looks now” originated, it turns out, with Twain himself. The Innocents Abroad “has a purpose, which is, to suggest to the reader how he would be likely to see Europe and the East if he looked at them with his own eyes,” [Twain’s emphasis] he says in the preface to the book. He adds: “I think I have seen with impartial eyes, and I am sure I have written at least honestly, whether wisely or not.” Yet the book is anything but unstudied travelogue or spontaneous reportage. It is based on notebooks he kept during his travels and a series of his letters published in the Daily Alta California while on the trip as their travel correspondent. And what we see in comparing the letters and notebooks to the final product is an account worked over at length, thoroughly revised, details changed.

In one of his notebooks he observed that prophecies of the desolation of cities were meaningless, since all cities decline sooner or later: “It seems to me that the prophets fooled away their time when they prophesied the destruction of the cities — old Time would have fixed that easily enough.” But The Innocents Abroad is full of references to the fulfillment of prophecy concerning the desolation of landscapes and cities:

Palestine sits in sackcloth and ashes. Over it broods the spell of a curse that has withered its fields and fettered its energies … Jericho the accursed, lies a moldering ruin, to-day, even as Joshua’s miracle left it more than three thousand year ago; Bethlehem and Bethany, in their poverty and their humiliation, have nothing about them now to remind one that they once knew the high honor of the Savior’s presence.… Renowned Jerusalem itself, the stateliest name in history, has lost all its ancient grandeur, and is become a pauper village.

Twain’s notebook argues against the supposed contrast between the barren Mount of Curses (Mt. Ebal) and the blossoming Mount of Blessings (Mt. Gerizim) by noting both were in cultivation; in the book, he argues against it by suggesting both were barren. The Innocents Abroad describes how “the boys still refuse to recognize the Arab names or try to pronounce them.” Of Ain

The Grave of Adam

Mellahah Twain says, “The boys call it Baldwinsville” — or was it “Williamsburgh, Canaan,” as in the byline of the original Daily Alta letter? Often the picture we get comparing Twain’s notebooks and letters and book is of someone slowly developing his comic material.

Even within The Innocents Abroad there are inconsistencies. Sometimes, when it serves his purposes, Twain describes a fertile landscape. In the case of the supposedly barren Mounts of Blessing and Curses, he points (in a little known passage) to the surrounding productive lands of Nablus to make a contrast. Sometimes Twain does criticize the prophecies of the fall of cities in his book. (Oddly, these passages aren’t widely quoted.) Sometimes he suggests the land was just as backward and empty in biblical times as in his day. (These passages aren’t famous, either.)

Twain was above all a humorist, and The Innocents Abroad abounds with irony and satire. In the Church of the Holy Sepulchre and throughout Jerusalem, what he focuses on is not describing art or architecture but telling tales. He tells of how he wept at the tomb of his ancestor, the biblical Adam – mourning that they were never able to meet (a celebrated passage at the time.) Or tells how he saw the house of the Wandering Jew (who has broken his wanderings to come back to it once every 50 years, for the last 1800). Or tells what he did with the legendary sword of the Crusader Godfrey of Bouillon:

I tried it on a Moslem, and clove him in twain like a doughnut. The spirit of Grimes was upon me, and if I had had a graveyard I would have destroyed all the infidels in Jerusalem. I wiped the blood off the old sword and handed it back to the priest — I did not want the fresh gore to obliterate those sacred spots that crimsoned its brightness one day six hundred years ago …”

The Wandering Jew

Then, after spending more than 600 pages savaging all comers and making vicious comments about the inhabitants of the lands he visited, Twain concludes, “travel is fatal to prejudice, bigotry and narrow-mindedness, and many of our people need it sorely on these accounts.” It is a wonder that anyone could read this book and take Twain to be a reliable (and unironic) narrator on Palestine in the 19th century.

Charge on Bedouins

And yet, Twain played a major role in popularizing the image of desolate, empty Palestine. The Innocents Abroad is still widely quoted for this image today: both Alan Dershowitz and Benjamin Netanyahu, among others, have cited it, decidedly unironically. I remember once trying to convince a senior Jewish studies scholar that Twain exaggerated the desolation and emptiness of 19th-century Palestine. But Twain was certainly not alone in presenting this image. By the time he arrived in Palestine, many other visitors had made it a staple of 19th-century travel writing. Far from not seeing through the eyes of others, Twain’s desolate Palestine is one of the least original aspects of The Innocents Abroad.

How reliable are these images of desolation, exactly? For 19th-century travelers, Palestine was “like the inkblots in a Rorschach test,” in the words of historian Jonathan Sarna. As Twain himself observed, each Christian (whether Presbyterian, Baptist, Catholic, Methodist, Episcopalian) came to Palestine looking for — and finding — the Holy Land of their own denomination:

Honest as these men’s intentions may have been, they were full of partialities and prejudices, they entered the country with their verdicts already prepared, and they could no more write dispassionately and impartially about it than they could about their own wives and children.

(Wise words, except that in The Innocents Abroad Twain does not apply them to himself.) Reports of desolation must be viewed critically, as many Christians came to see “desolation” everywhere in order to find fulfillment of biblical prophecy. One author describes in detail the “terrestrial paradise” of the Sea of Galilee and its surrounding hills, then sums it up by calling it a “scene of desolation and misery.” (Twain himself criticizes this ending as “startling.”) A Church of Scotland mission falsely reported that the southern coastal plain was little cultivated but a pastoral landscape full of flocks and herds, thus matching the prophecy of Zephaniah 2:6: “And the sea coast shall be dwellings and cottages for shepherds, and folds for flocks.”

David Roberts, “Ramla” lithograph by Louis Haghe; from The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia vol. 2 (1843)

For many, desolation was not the primary image at all. Scottish artist David Roberts found “a richly cultivated country” in the area around Jaffa: “The ground is carpeted with flowers — the plain is studded with small villages and groups of palm-trees, and, independent of its interesting associations, the country is the loveliest I ever beheld.” A young Cyrus Adler, years before he became a leading figure in the American Jewish community, wrote of similar feelings in a letter to his mother:

I had one general impression of the great beauty of the country and little wonder that the Israelites fought so hard for it. The succession of hills and valleys and green fields. The ruins. The tremendous rocks. The piles of stone which have been collecting since ancient times all impressed me with the idea that this little country is one of the prettiest on earth.

So many factors influenced how people saw Palestine: where they were coming from, what parts of the country they saw, what travelers’ accounts they had already read, what religious tradition they were part of. Roberts visited the country in March, Adler in April — at the end of the rainy season, when (today as two centuries ago) the ground really is carpeted with flowers, and vivid greens surround you. Twain visited in September, when there has usually been no rain for months, and everything is brown and dry and dead. (Again, Twain highlighted this problem, but suggested that, even in springtime, there would only be patches of beauty within a sea of desolation.)

But desolate, empty Palestine won out. In historical scholarship, decline from a great and glorious past has come to be seen as one of the defining issues in the history of the region; only in the last 15 years or so have specialists in the history and archaeology of the region even begun to rethink this. Meanwhile, art historians and literary critics — who specialize in studying the nature of representation and reality — have led the way in recognizing that desolate Palestine has always been an imaginary construct.

The Innocents Abroad is, in the end, an elaborate, sustained joke: at the expense of the peoples and places of the Mediterranean, of Twain’s fellow travelers, of Twain himself. That it still helps people to take this desolate image of Palestine seriously, 150 years later, is perhaps Twain’s biggest, cruelest joke of all.

The post How a Mark Twain Travel Book Turned Palestine into a Desert appeared first on Hyperallergic.

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[fuckyeaholdavengers]

Avengers 66: The Great Betrayal!

Apologies once again, gentle readers, for my long absence. Finals time came around yet again. But I have returned with another tale to bemuse and befuddle: The Great Betrayal!

We open with Thor swinging Mjolnir – which he insensitively terms the “hammer of holocaust and havoc” – at a giant piece of machinery. Yet the machinery shows not a dent! How can this be?

Thor is ashamed and horrified, which leads everyone else to jump in to reassure him that it’s not that big a deal, bro, it happens to everyone sometimes, you were probably just tired or you’d had a long day. 

Thor, however, is not to be comforted by thinly veiled allusions to sexual impotence.

Thor: Thou dost make too light of this, my friend! If this be not trickery, ’tis a discovery to shake the world!

Modesty, thy name is Thor.

Instead, they must turn to Iron Man and hope he can get the job done.

Dr. Maclain: …Your turn, Iron Man! Perhaps your gadgetry where succeed where Thor failed!

Iron Man: Maybe, Dr. Maclain… but forgive me if I don’t sound too cocksure!

Phrasing.

It appears that the chaste cylindrical device is made of a new type of adamantium, whose properties SHIELD is investigating. Iron Man and Hawkeye/Goliath each try their hands at penetrating its shell, but inevitably fail. 

While the rest of the crew discusses the implications of a material that is unbreachable by even the Avengers, the Vision is having a weird freakout.

The Vision: (thinking) My head… those sudden, stabbing pains..! I have never felt pain… before! Feel as if… being torn apart…! …Being attacked by some sinister will… not my OWN!

Suddenly, Vizh disappears from the SHIELD helicarrier and reappears in a barren graveyard. He’s standing by the grave of Simon Williams, also known as the ill-fated Wonder Man, whose brain waves formed the foundation of Vision’s self. He soliloquizes about his own inhumanity and relationship to Simon Williams, wondering if it was Simon’s soul that called to him. 

The Vision: Yes, I think like a human… act like a human! And, except for my scarlet, synthetic flesh…my cold robotic voice… I even seem a human to mortal eyes and ears!

“I even look and sound like a human, except for how I look and sound!”

Vizh abruptly realizes exactly what he must do and flies away from the graveyard and his strange Ghost-of-Christmas-Future interlude, while we must return to Avengers HQ and wonder exactly what’s going on for a few more pages.

Back at HQ, Hank is with us in pondering the Vision’s sudden disappearance. He has his own reservations about admitting the synthozoid to the Avengers so hastily, especially considering just how powerful the guy is – something no one else seems to be thinking about. So I guess we’re back to writing Dr. Henry Pym as if he’s actually as intelligent as his day job implies.

Meanwhile, Iron Man is in the situation room, or whatever they call it here, having to fend of deadly lasers. The danger seems a bit more dangerous than normal, but Iron Man manages to deactivate the weapons just in time to save himself.

Then we jump back to the Vision, who has infiltrated SHIELD’s helicarrier in the upper atmosphere and re-enters the room with the adamantium cylinder. Vizh appears to have gone full Skynet; he’s willing to suffocate all of the humans on board to ensure no one knows he’s the one who took the adamantium. 

Apparently that plan doesn’t work, though, since back at HQ, Hank calls a meeting to tell everyone that he’s received a call from SHIELD that the adamantium has been stolen by someone who looks like the Vision! Gasp!

Suddenly – a lot of things happen suddenly in this issue – they hear a “muffled cry for help” from upstairs.

Yellowjacket: JAN!! It has to be her! She was upstairs… fixing us some coffee…!

While the menfolk talk the serious issues, Jan’s upstairs getting refreshments. No doubt making hers Irish.

They run upstairs and find Jan on the floor surrounded by broken coffee mugs and covered in Bailey’s Irish cream – except for her Wasp costume, the picture of domestic tragedy. She mumbles something about the Vision, and the boys are all ready to leap into action.

But hold! The Vision is still in the room! Hank attempts to attack him, but Vizh pulls the same trick on him that disabled Jan: phasing partway through him and then becoming slightly solid again while still inside him. Which is some seriously fucked up shit but really cool. <3 Vizh 5evr

Next up, Thor.

Thor: All the grim tactics of a perverted science… shall avail thee naught against the God of Thunder! Speak… here the hand of justice doth smite thee! Why hast thou stolen the metal called adamantium… and wherefore returned hither, to menace fairest Jan?

Do you see why I wanted him the eff outta here? Jesus Ka-ryst.

Vizh blinds Thor with a solar blast, and Hawkeye/Goliath takes a swing at the android, who is flying all over the place around them. Finally someone asks why he came back to HQ if he already has the adamantium, and Vision admits that it was just to distract them from searching the rest of the mansion while the computers “performed a most vital task!”

Hawkeye/Goliath: Listen! That sound..!

Thor: A rumbling… as of some dread volcano! But its source… is beneath our feet! what in Odin’s name…? 

The Vision: Haven’t you guessed, Asgardian? That sound signals the birth of one you thought forever gone… of one who now stands composed of indestructible adamantium… of one who was destroyed yet LIVES AGAIN… 

Is everyone getting it? Have we all got it? Did everyone see Avengers 2?

The Vision: The deadly, deathless DREADNOUGHT that is…

Ultron-6: ULTRON-6!

Dun-dun-dunnnnn!!!

Next issue: “But men can die!!” the Narrator reminds us. Thanks, Narrator.