#loki i thought the world of you

[empty-blog-for-lurking]

if i can get even one person to listen to The Mechanisms i would have fulfilled my purpose

[randomnameless]

Glancing at something on Ao3 -

What kind of feelings Jerry was supposed to evoke, actually?

FE16 pushes the player - through Billy - to consider Jerry as a good parent, because it plays with the red herring about the evil lizard lady being evil.

And yet, even with all of his misgivings about his kid, Jerry is still the one who calls Flamey's bullshit and wonders if running away from GM wasn't the stupidest decision he ever made, just before kicking the bucket.

Being the cheap copy of the Ike'n'Greil relationship, Jerry's presence and death is supposed to be important to Billy - even in Tru Piss where they look pissed at seeing Emile and working with Uncle'n'pals.

And yet, unlike what we learn about Greil being the chadest amongst chads with 1 (one!) blackspot to his record, whenever you talk to characters about Jerry you're met with... less than rosy thoughts, even if the characters apparently handwave it away.

Let it be with Leonie, or even Alois, Billy learns that their dad wasn't the chadest of chads like Greil, but a drunkard (before Citrus' death, since Alois was a kid!) who apparently played dangerous games with people who idolised him, left his kid alone to be showered with praise by Leonie's village as he dealt with bandits, and left bar tabs all around the continent for his "apprentices" to pay.

Come the "journal" where, imo, we learn that dude was so afraid of his baby not being "normal" than he ran away from the odd lady who saved them "a long time" ago and who's pretty much not normal himself, and the place where his own wife, who displayed - partly - the same "abnormality" as their baby grew up and lived.

Then Nopes happened and did a number on poor Jerry - from mocking their kid's potential aspirations at being something else than a sword for hire, to their singing (done to cheer him up!) and actually learning he at times apparently let them go without food while he never invited them to the "thank you" parties throwns by the people his company saved...

Billy still loves their dad, but is he a good dad by any means?

With all that knowledge, after playing both FE16 and Nopes, can we really feel upset when Jerry kicks the bucket? For Billy maybe, because Jerry is important for them, but does it has the same echo as Greil's death, or even, to remain in Fodlan, Rodrigue's?

I guess if in Nopes, Jerry acted on his heel-face turn (or suddenly growing a brain) from his penultimate FE16 dialogue, we could have had a character growing beyond the red herring and the "unreliable narrator" stuff FE16's first part gave us, and maybe make for a more grounded-complete character, like confessing that he panicked after Citrus' death and worried for Billy, but regrets not being able to bring them the best life they dreamt of, and willing to apologise and let Billy grow in the same environment Citrus did.

Or maybe even explore what Jerry did in 300 years, if he never bothered to wonder why the fuck was he living to be as old as the elites, or his thoughts and feelings about Rhea periodically using hairdye to pretend to be someone else and "aging" even less than him...

Given how - or maybe i'm tainted by the fandom - FE16 thrived on the playerbase feeling characters/situation "relatable" from a doylist pov, I guess Jerry running away with bby!Billy because they weren't "normal" wasn't as weird as it sounds, babies should rightfully have a beating heart!

Bernie is a hikkikomori (forget the part where she's supposed to be the heir of one of the most important lands in Adrestia which would rightfully make her father disappointed with her (lbr, Greg would either have tried to get another kid with Bernie's mom, or got a second wife/bastard, or picked a branch member of his house to take his succession), Linhardt falls asleep and doesn't want to do his job as the next minister of Finances/whatever his dad does and prefers to hyperfocus on academic research ? How lol (please ignore the implications of House Hervring's heir being, uh, not interested in whatever his father does and how he is supposed to inherit his job (at least before Supreme Leader starts her war and pulls out her "reforms")).

Between the brackets are the first arguments that come to mind, if we consider the world those characters live in, aka Watsonian wise.

Jerry is worried about his baby's heart not beating and them not being normal? Jerry, you're not "normal" per Fodlan's standards yourself, you're over 300! Your wife had the same difficulties to emote than your kid and she might or not have had the same "heart not beating" syndrome given how it's her own heart that was transplanted in your kid

You know that what is "normal" for regular humans in Fodlan do not apply to you, your wife or your boss who oddly looks like your wife. So why was that argument even considered when you decided to run away and condemn your child to a life of "sword for hire" and danger at each day ending with a -y ?

IDK, it's as if, in BK, Kalas' bro, born without wings - which is an oddity since apparently everyone is born with some in this verse - finds Kalas weird for only having "one wing" and not two like everyone. It would be the pot calling the keetle back (but since BK is a game with coherent writing, this never happened).

Jerry runs away with the baby because the baby isn't normal despite the midwife assuring everyone they are?

Legit

300 yo Jerry runs away with the baby because the baby has the same condition as their mother despite the "immortal lady who saved his life" assuring him the baby is alright?

WTF

So, in the end, what are we supposed to think of Jerry?

Was he a character who made the best situation out of the shitty cards he was handed regarding their kid?

Or a character who swallowed an idiot plot ball to play with the doylist red herring, made errors but ultimately saw the light before being Clownya'd?

Or, given his supports and Nopes, a shitty character whose only redeeming point is to be Billy's dad, and who receives a lot of leeway by virtue of being Billy's dad by the writing team (given two fans) and the first game being from Billy's POV?

[moe-broey]

*pulls out a crumpled up piece of paper*

My transfemme Fire Emblem Headcanons. Include:

> Rosado, transfemme non-binary, most likely to use neopronouns or multiple sets of pronouns (fae/faer, she/he, never let 'em know your next move)

> Forrest, has been on estrogen for years but still says "I'm a prince" if asked and insists on using he/him pronouns (may be closeted, may be in denial, may do so out of a sense of obligation, may be a case of pronouns being "indicative of but not exclusive to gender identity", may also just have an exceedingly complicated relationship with the gender)

> Loki, a shapeshifter, chooses to look Like That (and she's so based for it)

> Gullveig. Just. Everything Seidr/Heidr/Kvasir and Gullveig have going on. Is so transgender. To me

And on vibes alone

> Triandra

[hcadlesshuntcr]

I think abt Eirnin swearing vengeance on whoever put him in a mind flayer pod, taking every step with investigation and insight trying to find out just Who Done It on him. Spending the first two chapters going on and on about how he's gonna put whoever put him in pod into the ground. Making it his goal right next to getting the tadpoles out. How important it is to him this person dies.

Then finding out it's not just anybody who did in him, it's his sister. The only family he recalls. His sister, born of incest and gore, raised to believe she's nothing more than her service to Bhall, to her brother, the chosen. No time of her own to pursue love, hunts and see nature. How all that rage comes tumbling down in seconds. How he stays his hand from the one he wanted to feel it's sting the most.

[magnusmodig]

||. thor's heart's desire being that he wants his brother back by his side constantly has me in a chokehold you guys don't understand

T: Loki! I should have realized such mischief wasn't the result of past misdeeds... but a real and present plot from my scheming brother. Was father's punishment not enough for you? F!L: All-Father Odin released me, Thor. For in his wisdom, he believed I'd learned the error of my ways. This is no trick, Brother. Only your heart's desire. T: I'll admit... such an outcome has never been far from my hope.

The fact that Thor auto-assumes it's a malicious trick and that Loki is up to no good... even in his own illusion of his own make.... the way he so readily wants to believe that Loki could change and that Odin could spare some mercy to let that happen... my man just wants his best friend back it's so tragic.

F!L: What does your heart tell you? T: How I've longed for this day...brother... F!L: Your hammer! My staff! Father conceded his own failings as well, and ordered we rule together, and crush the enemies of Asgard as Odin should have but never could!

like obviously, yes, he figures out literally immediately that this tower is preying on his heart's desire and kicks its butt, but in the small space of time before that? There was nothing that Thor wanted more than to go back to how things were... back when things made sense. Back when it was him and his brother and they were meant to rule together as one. Close-knit brothers. His hammer, and Loki's staff.

(It's probably also worth noting that in this same heart's desire illusion he kinda wishes Odin would stop being a jerk but y'know that's for another post)

[le-panda-chocovore]

Not me who thought all this time that the Mobius M. Mobius tag on tumblr was a big funny joke, then when I went on the MCU wikia to read the cast page and-

IT WAS REAL ????????

[therese-lokidottir]

The Loki series actually ends looping itself in terms of effort.

As far as the original trilogy goes, Star Wars also just uses visuals while never saying anything about fascism. The Nazi aesthetic of the empire is visual shorthand for saying these are the bad guys.

The Loki series has nothing say, but because they bring up the topic yet have nothing to say about it, they end up condoning it. They try sympathize and even justify the people who take visuals from nazis. Then they decide to keep the TVA around and make them the good guys now while keeping all the visuals that are reflective of the nazis.

There is no time showing the horror done to others. Instead the focus is on the TVA and how these are people tricked into this. Not how people are feed lies and fall down pipelines and come to hate and scapegoat vulnerable people. No, no, no. The focus is on how they were trick and how they're poor people who lost their lives. The TVA keeps collaring and torturing people, while Loki waxes on how the TVA can be rebuild for doing good, they won't destroy they'll just observe and protect time. But again all the nazi looking rooms are kept. No one has to deconstruct their prejudice or look at themselves. It's just treated like an oopsie, that they thought of variants as subhuman.

Rewatching Truman Show for the first time in a long time, and the detail that’s stuck with me this time is the set design.

The characters drive modern cars and hock modern products, but it’s all presented with a veneer of 1950s wholesome applecheeked Americana. Truman’s life is presented as an escape for the audience from the drudgery of the modern day, and the aesthetic they’ve chosen for this is the post-war economic boom. This is the simple time, the movie says. This is the good time. Doesn’t the modern day suck? Let’s go back and see our friends from the days when life was good.

And it’s a lie. Truman’s life is a lie, and the image of white picket fenced suburbia they’ve presented is a lie. It’s an elaborate construction to recreate a false memory that’s comfortable for advertisers. The movie is a satire, but it’s also a very blatant statement against the nostalgia for a golden age which never existed. It’s a lie. It doesn’t exist.

I don’t know. I’m spitballing. I’m biased because I despise mid-20th century Americana and I naturally treat it with hostility, but it’s very gratifying to see a movie kind of agree with me.

[justrandomthoughtsandthings]

you know what's funny? all the Justice Leage|DC x Danny Phantom crossover fics, that start with or otherwise include the premise of the Justice League (often led by Justice League Dark, and John Constantine in particular) summoning the new Ghost King to ascertain his threat status.

like. there's something very human about that. believing that, because you have named yourselves the defenders of your world, that you have any authority to demand answers of interdimensional royalty -- of anyone, really. the Green Lanterns, sure, they're quite literally a universal force and are such recognized. but only thru the lands that agree to that or are included in a sector that is under any Lantern Corps jurisdiction.

the Infinite Realms are under no one's jurisdiction but their own, so the thought of the justice league demanding answers from them is akin to a random child coming up to you in the airport and demanding you give them something. like, I'll entertain this conversation cause you're adorable but also, you have no power here, child. where is your adult?

and, from what I've seen, no one can get Constantine to do what he doesn't want or need to do. not even Batman, who is just a man.

so he'd love to be holed up in the House of Mysteries, leaving the capes to mess around and find out. but then that would make it his responsibility, so he's there to oversee the summoning and step in if neeeded, but personally has no desire to add another curse to his coat.

anywho, I'm just imagining the Justice League summoning Ghost King Danny and demanding answers and, like any teenager who knows he'll have no repercussions for doing so, he tells them to fuck off (imagine, if you will, the same joy you feel when your parents say that you're allowed to go against the rules in school because the rules are arbitrary and self-serving at best and harmful at worst, and you won't get in trouble for it even if you get detention/suspended at school)

and they're all aghast cause, what? who do you think you're talking to? and Danny's all, no, who do you think you're talking to? I am the King of the Infinite Realms, Protector of Amity Park, Keeper of the Stars, *insert all his other random titles a la Thor and Loki stalling*, and you do not make demands of me, mortal. then he just dips, cause really? a tiny lil containment circle? ha!

[urdreamydoodles]

MARVEL COMICS CHARACTERS X FEM!READER

Your first kiss

Characters: Peter Parker, Tony Stark, Steve Rogers, Thor, Loki, Clint Barton, Natasha Romanoff, Bucky Barnes, Matthew Murdock, Frank Castle, Bullseye, Marc Spector, Taskmaster, Johnny Storm, Reed Richards, Ben Grimm, Susan Storm, Felicia Hardy, Stephen Strange, Namor, Johnny Blaze, Eddie Brock / Venom, T'Challa, Elektra Natchios, Muse, Victor von Doom, Peter Quill & Nova

PETER PARKER (SPIDER-MAN)

- The city is quiet tonight, or as quiet as New York ever gets. You sit beside Peter on the rooftop of his apartment, your legs dangling over the edge, the skyline stretching endlessly before you. The neon lights paint his face in streaks of color, flickering like the embers of something unspoken between you. He’s rambling—about school, about the Bugle, about the latest science joke that made him laugh—until he stops mid-sentence, swallowing whatever he was about to say. His fingers tap anxiously against his thigh, a restless rhythm betraying his thoughts.

- It happens when he turns to look at you, his brown eyes soft and unbearably earnest. There’s something about the way the wind plays with your hair, the way the city hums beneath you, the way the space between you feels like a held breath. His hand, calloused from web-swinging, brushes against yours, tentative but lingering. "I—uh," he starts, then stops, then exhales a nervous laugh. "I think I've been waiting for the right moment, but—maybe this is it?" He’s always second-guessing, always overthinking, but this time, you see the decision settle in his gaze before he moves.

- The kiss is hesitant at first—Peter Parker, for all his brilliance, is still a boy who fumbles when he cares too much. His lips are warm, the taste of laughter and something achingly familiar laced between them. And when you don’t pull away, when your fingers find their place in his hair, he exhales against your mouth like relief, like gratitude. His arms circle around you, pulling you closer, the city forgotten, the night reduced to the way you fit against him.

- When he finally pulls back, his forehead rests against yours, his breath unsteady. "Okay," he murmurs, voice edged with wonder, "so, that was—wow." And then he grins, that boyish, lopsided thing that makes your heart stutter. "I think I need to run some tests. Y'know, for science. Just to make sure it wasn’t a fluke." He’s already leaning in again, and this time, neither of you hesitate.

TONY STARK (IRON MAN)

- The night is heavy with champagne and the soft murmur of jazz drifting through the penthouse. Tony, ever the spectacle, had spent the evening dazzling the crowd with sharp wit and sharper smiles, but now it’s just the two of you, the after-hours of the party settling into something quieter, something real. He’s undone the top buttons of his shirt, sleeves rolled up, exposing the scars that speak of past battles and victories that cost too much. His fingers trail along the rim of his glass, but his eyes are on you, dark and contemplative.

- "You know," he muses, voice rich with amusement, "I’ve kissed a lot of people in my time. Scandalous, I know." A smirk, but it doesn’t quite reach his eyes. "But this one—this one might actually matter." The admission is half a jest, half a confession, and wholly Tony Stark—deflecting with humor, with bravado, but never insincere. He leans forward, the world outside reduced to the warmth of his gaze, the space between you shrinking with every breath.

- The kiss is molten, slow but deliberate, the kind of thing that leaves its mark. Tony Stark is a man who takes what he wants, but this—this is different. He kisses you like a man savoring a stolen moment, like he’s memorizing the taste of you, the feel of you, like he’s afraid that if he moves too fast, you might disappear. His hands cradle your face, thumbs brushing over your cheekbones with something almost reverent.

- When he pulls away, his breath is unsteady, his eyes darker than before. "Well," he murmurs, his voice rough at the edges, "that was definitely a top contender for best kiss ever. Might have to do some retesting, though. Y'know, for science." The grin that follows is lazy, pleased, but there’s something softer beneath it—something that lingers as he pulls you in for another.

STEVE ROGERS (CAPTAIN AMERICA)

- The battlefield is silent now, the fight won, but the scent of smoke and steel still clings to the air. You stand beside Steve, both of you breathing hard, adrenaline still crackling in your veins. His shield is strapped to his back, his uniform scuffed and torn in places, but he’s whole. Alive. And for a moment, that’s all that matters. The world around you is chaos, but in this sliver of time, there is only him. The golden light of the setting sun catches in his hair, highlights the worry still etched in the furrow of his brow as he turns to you.

- "You scared me today," he says, voice quiet but steady. Not an accusation, just the truth. Steve Rogers doesn’t scare easily—not when facing enemies, not when staring down impossible odds—but you, you are something else entirely. His gloved hand reaches for yours, fingers tracing the bruises blooming along your wrist, a silent apology for the pain neither of you could avoid. His jaw tenses, and then, softer, "I don’t want to lose you."

- The kiss is inevitable, a culmination of unsaid words and lingering glances stretched over countless battles. Steve moves like a man who believes in purpose, in certainty, and right now, you are his. His lips meet yours with quiet desperation, firm yet impossibly gentle, as if he’s afraid you might break beneath his touch. But there is strength in the way you answer, in the way you hold him closer, fingers curling into the fabric of his suit. The war fades into the background, the ache in your bones forgotten beneath the weight of him.

- When he pulls away, his forehead rests against yours, breath mingling with your own. "I mean it," he murmurs, a promise laced between the syllables. His hand tightens around yours, unwavering. "I’m not letting go." And somehow, you know he never will.

THOR

- The storm rolls in like a heartbeat, distant thunder thrumming beneath your feet as the wind tangles in your hair. You stand beside Thor on the edge of a cliff, overlooking the vastness of Asgard’s golden horizon. The feast is still raging behind you, laughter and music spilling from the halls, but here, in the open air, it is just the two of you. His gaze is on you, blue and endless, filled with something deep and unshaken.

- "You are different from the others," he muses, tilting his head as if pondering a great mystery. "Stronger, in a way that has nothing to do with battle. I have seen warriors crumble beneath lesser burdens, and yet—you endure." There is admiration in his tone, reverence even, as if you are something worthy of legends. His fingers brush against yours, tentative for a god who has known conquest and war. "It is… humbling."

- The kiss is as sudden as the storm breaking overhead—lightning splitting the sky as Thor moves. There is no hesitation, no second-guessing, only the raw certainty of a god who knows his own heart. His lips are fire and fury, the taste of rain clinging to the space between you. He holds you as if he could keep you here, bound to him by the force of his embrace, by the quiet, unshakable devotion that lingers in every touch.

- When he pulls away, the storm settles, the world exhaling as if in reverence. He watches you, eyes dark with something ancient, something unbreakable. "I have lived lifetimes," he murmurs, his voice a promise carved into the bones of the universe itself. "But this—I would live them all again, if only to find you once more.”

LOKI

- The air crackles between you, heavy with something unspoken, something that has been threading through your conversations like a whispered promise for longer than either of you will admit. Loki lounges before you, the very image of ease, but his fingers tap restlessly against the arm of his chair, betraying the storm beneath his skin. His sharp green eyes trace your form, lingering, considering, as if trying to decipher a puzzle he has yet to solve. “Do you know what it means,” he muses, voice a blade honed to silk, “for a creature like me to crave something?”

- The question lingers, woven with challenge and invitation, but you do not flinch. You have never been one to cower beneath his words, and that—more than anything—has always drawn him to you like a moth to an unforgiving flame. He stands in a slow, fluid motion, closing the space between you with deliberate steps, the ghost of a smirk curving his lips. "I have held kingdoms in my hands, stolen secrets from the lips of gods—" his fingers lift, barely grazing your chin, "—and yet, I find myself most drawn to the one thing that refuses to be claimed."

- And then he kisses you. No warning, no hesitation, just the full force of Loki's unyielding will pouring into you like a flood breaking through a dam. It is a kiss spun from defiance and devotion, from a god who has never known worship in the way he craves it from you. His hands—so often wielding knives and illusions—now cradle you as though you are the only thing in this world worth holding onto. There is something desperate in the way he moves, as if he fears this moment will be stolen, as if even now, he expects the universe to take you from him.

- When he pulls away, his breath is unsteady, his usual mask nowhere to be seen. He searches your face, as if expecting you to vanish like another trick of the light. “Do you see now?” he murmurs, his voice quieter than before. “This is not a game for me.” There is something almost fragile in the confession, something that would be a secret to anyone but you. You smile—soft, knowing—and pull him back to you, sealing your answer between his lips.

CLINT BARTON (HAWKEYE)

- The first time Clint kisses you, it’s after a mission gone sideways, when the dust has barely settled and the adrenaline still thrums in your veins like a second heartbeat. The two of you sit on the rooftop of some rundown motel, passing a cheap bottle of whiskey between you while the neon lights of the city flicker in the distance. There’s a gash on his cheek, dried blood beneath his nails, but his grin is easy, effortless, as if you both didn’t almost die hours ago. “Hell of a night,” he says, taking a slow sip before handing the bottle to you.

- He watches you as you drink, something unreadable flickering in his sharp blue eyes. Clint has always been good at watching, at noticing the things no one else does—the way your fingers tremble just slightly when you exhale, the way your shoulders carry the weight of too many ghosts. “You okay?” His voice is quieter now, serious in a way he doesn’t let himself be often. And maybe it’s the exhaustion, or the whiskey burning in your throat, or maybe it’s just the way he looks at you—like he’s already made up his mind about something—but you don’t lie. “Not really.”

- And then his lips are on yours. No preamble, no hesitation—just Clint, raw and unguarded, kissing you like he’s afraid this moment will slip through his fingers like everything else in his life. He tastes like whiskey and recklessness, like battle scars and late-night confessions. His hands find your face, rough and calloused, thumbs brushing over your cheekbones as if memorizing every inch of you. He pulls you closer, like he’s trying to drown himself in you, like you’re the only thing keeping him tethered to this world.

- When he finally pulls away, he exhales a quiet laugh, forehead resting against yours. “Guess I really suck at timing, huh?” There’s something vulnerable in the way he says it, like he’s bracing for you to tell him this was a mistake. But you just shake your head, smiling as you steal the whiskey bottle from his hands. “Nah,” you murmur, taking a slow sip, “you’re just an idiot.” He grins, and just like that, the weight on your shoulders feels a little lighter.

NATASHA ROMANOFF (BLACK WIDOW)

- The rain falls in soft sheets around you, the dim glow of the streetlights casting shadows along the slick pavement. Natasha stands beside you, her red hair damp, strands clinging to her cheekbones. The mission is over, the enemy neutralized, but neither of you have moved from this quiet corner of the city. She has barely spoken since you both walked away from the wreckage, but you know her well enough to recognize the weight in her silence. “You don’t have to be okay,” you say, voice barely above a whisper. “Not with me.”

- She looks at you then, something shifting behind her guarded green eyes. Natasha is a woman who has built walls so high that even she forgets what lies beyond them. But here, in the quiet of the rain, she lets something slip—just for a moment. "I don't know how to do this," she admits, the words foreign on her tongue, heavy with a truth she rarely allows herself to speak. She takes a step closer, close enough that you can feel the warmth of her despite the cold. “But I want to try.”

- And then she kisses you. Slow, deliberate, like a secret unfolding between you. Natasha Romanoff has always been calculated, controlled—but here, with you, she allows herself to be something else. Her lips move against yours with a quiet intensity, as if she’s searching for something she has spent her whole life denying herself. Her hands rest lightly against your jaw, fingers trembling just slightly before she grips you tighter, pulling you in like she’s afraid to let go.

- When she finally pulls back, she stays close, her breath warm against your lips. “Tell me this isn’t a mistake,” she murmurs, and there is something fragile in the way she says it, something raw. You brush a damp strand of hair from her face, meeting her gaze with quiet certainty. “It’s not,” you promise. And this time, when she kisses you again, she does not hesitate.

BUCKY BARNES (WINTER SOLDIER)

- The cabin is silent except for the sound of the fire crackling in the hearth. Bucky sits across from you, his metal fingers curled loosely around a mug of coffee, steam curling in the dim light. Outside, the snow falls thick and heavy, turning the world into something quiet, something untouched. He has been different since coming here—softer, but still carrying the weight of ghosts in his eyes. “Feels like another life,” he murmurs, staring into the fire. “Like I don’t belong in it.”

- You set your mug down, moving to sit beside him on the worn-out couch. “You do,” you say simply, because it is the truth. He turns to you then, something unreadable in the depths of his blue eyes. Bucky Barnes is a man who has spent a lifetime fighting his own reflection, drowning in the echoes of a past he cannot escape. But here, now, you see something else—something softer, something searching. “You make it feel real,” he admits, voice barely above a whisper.

- And then, with a quiet resolve, he leans in. The kiss is hesitant at first, like he’s waiting for the world to pull him away from you. But when you don’t flinch, when you don’t disappear, something in him unravels. His lips move against yours with aching slowness, like he is memorizing every second, like this is something fragile he is terrified of breaking. His hands shake slightly when they settle on your waist, fingers curling into the fabric of your sweater, grounding himself in the reality of you.

- When he pulls back, his forehead rests against yours, his breath uneven. “Tell me I’m not dreaming,” he murmurs. You smile, pressing another kiss to the corner of his mouth. “You’re not.” And for the first time in a long time, Bucky Barnes believes you.

MATTHEW MURDOCK (DAREDEVIL)

- It happens in the quiet hours of the night, when Hell’s Kitchen is caught between the restless hum of the city and the stillness of something deeper, something almost sacred. You sit beside him on the rooftop, the neon glow of a flickering sign painting his face in sharp red shadows. His hands are bruised, his knuckles split open like old confessions, but he doesn’t seem to notice. Instead, his fingers twitch against his thigh, as if fighting the urge to reach for you. “You’re too good for this city,” he murmurs, his voice rough, edged with something that sounds dangerously close to longing.

- You shake your head, smiling softly. “And you’re not?” The question lingers between you, heavy with meaning, with the weight of all the nights spent tending to his wounds, of all the times you’ve felt his presence before he even spoke your name. He turns his face toward you then, unseeing eyes searching, and you wonder if he can hear the way your heartbeat stutters beneath your ribs. “I know what good feels like,” he says finally, his voice quieter now, like a confession. “And it’s you.”

- Then, before you can speak, his lips are on yours. There is no hesitation, no faltering—just Matt, breaking the tension like a dam finally giving way. His hands find your face, fingers tracing the shape of your jaw with a reverence that makes your breath catch. He kisses you like he’s memorizing you, like he’s mapping out something he’s known for years but never dared to touch. He tastes like rain and something bittersweet, something that feels like the beginning of an ache he’ll never quite shake.

- When he finally pulls away, his breath is unsteady, his hands still cradling your face like he’s afraid to let go. He presses his forehead against yours, his voice barely above a whisper. “Tell me I didn’t just make a mistake.” There is something fragile in the way he says it, something vulnerable beneath all the armor. You smile, brushing your thumb over the fresh bruise on his cheek. “You didn’t,” you promise, and he exhales, like he’s been holding his breath for longer than he’ll ever admit.

FRANK CASTLE (PUNISHER)

- The world around you is painted in blood and smoke, the aftermath of a night that should have ended differently. The warehouse still burns in the distance, the scent of gasoline thick in the air, but neither of you move. You’re standing too close to him, the heat of his body bleeding into yours, the adrenaline still thrumming between you like a second heartbeat. He’s got a cut on his forehead, dried blood tracing the line of his jaw, but his eyes—sharp, dark, unforgiving—are focused only on you. “You shouldn’t be here,” he says, though there’s no real warning in his tone.

- “And you should?” you challenge, your voice steady despite the weight of everything that’s just happened. Frank exhales through his nose, a sound that could almost be a laugh if it wasn’t so hollow. He’s looking at you like you’re something he doesn’t quite know what to do with, like you’re a puzzle with missing pieces. “You don’t get it,” he mutters, his jaw tight. “Everything I touch, it ends up—” He stops himself, shaking his head. But you don’t let him finish. “I’m still here,” you say softly, and those three words cut through him sharper than any bullet ever could.

- And then, without warning, he grabs you. His hands—rough, calloused, steady despite the storm inside him—frame your face, and then his lips crash against yours with a force that steals the breath from your lungs. Frank Castle doesn’t do anything gently, and this kiss is no exception. It’s raw, desperate, full of all the things he can’t say, all the things he’s spent too many years trying to bury. He tastes like gunpowder and whiskey, like violence and something achingly human.

- When he finally pulls back, he keeps his hands on you, his forehead pressing against yours. His breath is ragged, his grip just shy of bruising. “You’re too good for this,” he murmurs, voice barely above a whisper. But you don’t move, don’t pull away, don’t give him the out he’s expecting. Instead, you just tighten your hold on him, anchoring him to something solid. “I don’t care,” you whisper back, and for the first time in a long time, Frank lets himself believe you.

BULLSEYE (LESTER)

- The motel room is dimly lit, the neon sign outside casting an eerie blue glow against the cracked wallpaper. You shouldn’t be here. Not with him. Not like this. But you are. Bullseye leans against the doorframe, arms crossed, head tilted as he watches you with that sharp, calculating gaze of his. “You got a death wish, sweetheart?” he asks, but there’s something almost amused in the way he says it, like he already knows the answer. Like he already knows that you aren’t leaving.

- “If I did, I’d be dead already,” you answer, and that makes him grin, all teeth and danger. He takes a slow step toward you, his boots barely making a sound against the floor. “Yeah,” he murmurs, tilting his head. “Guess you’re tougher than you look.” His fingers brush against yours, a ghost of a touch, but even that is enough to send something electric skittering down your spine. He’s testing you, waiting for you to flinch, to pull away. You don’t.

- And that’s all the permission he needs. His lips crash against yours, all heat and hunger and something far more dangerous. Bullseye doesn’t kiss like a man who loves—he kisses like a man who consumes. His teeth scrape against your lower lip, his hands gripping your waist like he’s daring you to run, like he wants to see just how far you’ll let him go. He tastes like sin, like something forbidden, like trouble wrapped in leather and bad intentions.

- When he finally pulls away, his breath is uneven, his pupils blown wide. He runs his thumb over your swollen lip, his smirk laced with something almost possessive. “You’re playin’ a dangerous game, sweetheart,” he murmurs, but he doesn’t let you go. He doesn’t want you to. You tilt your head, smirking back at him. “So are you.” And just like that, he’s kissing you again, laughing against your lips like he’s just won something.

MARC SPECTOR (MOON KNIGHT)

- The desert air is cool against your skin, the stars stretching endlessly above you in a sky so dark it feels like you could fall into it. Marc stands beside you, his posture tense, his fists clenching and unclenching at his sides. He hasn’t spoken in minutes, but you can feel the war raging inside him, the weight of something he can’t seem to shake. “You don’t have to do this alone,” you say finally, your voice quiet but steady. He exhales a sharp breath, running a hand through his hair. “That’s the thing,” he mutters. “I do.”

- You step closer, closing the distance between you. “No, you don’t,” you insist, and something in his expression cracks. Marc has spent years running, years convincing himself that he is nothing more than the sum of his mistakes. But here, now, with you, he feels something he doesn’t quite know how to name. Something terrifying. Something real. He swallows hard, his Adam’s apple bobbing. “You don’t know what you’re getting yourself into,” he warns.

- And then he kisses you. It’s sudden, desperate, like he’s trying to brand the moment into his memory before it disappears. His hands are firm, holding you like you’re the only thing keeping him grounded. He kisses like a man who’s afraid this is the last time he’ll ever be allowed to. He tastes like dust and exhaustion, like prayers whispered into the void.

- When he pulls away, his forehead rests against yours, his breath uneven. “I don’t deserve this,” he murmurs. But you just cup his face, forcing him to meet your gaze. “That’s not your call to make.” And when he kisses you again, it’s softer—less like a battlefield, more like a promise.

TASKMASTER (TONY MASTERS)

- The night is heavy with the scent of rain, the pavement slick beneath your boots as you follow Taskmaster through the abandoned lot. His mask hides his expression, but you’ve known him long enough to read the tension in his movements—the tight set of his shoulders, the way his fingers flex at his sides like he’s bracing for something. “You got a habit of walking into trouble,” he mutters, voice edged with something sharp, something protective. “Yeah?” you counter, stepping closer, tilting your head. “Then I guess it’s a good thing you never let me walk alone.”

- He exhales sharply, tilting his head toward you. His mask catches the neon light in slashes of blue and red, making him look almost inhuman. But you know better. You know the man behind the skull, the one who memorizes the way you move, the one who catalogues your tells, your habits, the way your breath hitches when he stands too close. “You keep getting in my head,” he mutters, and there’s something dangerous in the way he says it, something that sounds almost like surrender.

- And then, without warning, he lifts his mask just enough to press his lips against yours. The kiss is firm, deliberate—like a decision made in the space between one heartbeat and the next. His hands find your waist, pulling you closer, his body a wall of heat and tension and unspoken words. He tastes like adrenaline, like a man who’s spent too long in the dark and doesn’t know how to step into the light. You grip the fabric of his jacket, anchoring yourself to him, and he lets out a quiet, almost frustrated groan, like he hadn’t meant to let himself do this.

- When he finally pulls back, his breath is uneven, his mask still lifted just enough to show his mouth, his jaw. He stares at you for a long moment, his fingers still curled against your hip. “This is a bad idea,” he says, but he doesn’t let go. You smile, brushing your thumb over the fabric of his glove. “Then why does it feel like the best one you’ve had in a long time?” He huffs out something that’s almost a laugh before tugging his mask back down. “Damn you,” he mutters, but when he walks away, he reaches back, just once, and takes your hand in his.

JOHNNY STORM (HUMAN TORCH)

- The rooftop party is in full swing, music pulsing through the warm summer air, laughter spilling over the edge of the building like champagne bubbles. Johnny stands beside you, drink in hand, his usual smirk in place—but there’s something different about the way he looks at you tonight. Less cocky, more searching. He’s used to attention, to adoration, to people flocking to him like moths to an open flame. But you—you don’t just admire him. You see him. And that scares him more than he’ll ever admit.

- “You’re quiet tonight,” he muses, nudging your arm with his elbow. “That’s a first.” You roll your eyes, but there’s warmth in your smile. “Just taking it all in,” you reply, letting the city lights reflect in your eyes. He watches you like you’re something he’s trying to memorize, something fleeting that he’s afraid will slip through his fingers if he looks away. “You ever think about just… leaving it all behind?” he asks suddenly, his voice softer than usual. “The fame, the cameras, the expectations.”

- And then, before you can answer, he kisses you. It’s sudden, impulsive—because Johnny Storm has never been one for patience, never been one to hesitate when he wants something. His lips are warm, impossibly so, like he’s carrying embers beneath his skin. One of his hands cups the side of your face, fingers threading into your hair, while the other settles against the small of your back, pulling you flush against him. He kisses you like he’s afraid this moment might burn away before he gets to hold onto it.

- When he finally pulls back, his forehead rests against yours, his breath mingling with yours in the warm summer air. He chuckles, a little breathless, a little dazed. “That was—” he starts, but then he stops himself, grinning. “—about damn time.” You laugh, shaking your head, and he grins even wider before pulling you in for another kiss, because Johnny Storm has never been one for half-measures.

REED RICHARDS (MISTER FANTASTIC)

- The lab is quiet, save for the soft hum of machines and the occasional scratch of pen against paper. You sit across from Reed, watching as he scribbles furiously in his notebook, his mind a million miles away. He gets like this sometimes—lost in thought, in theories, in equations only he can fully understand. But tonight, there’s something different. His brow is furrowed, his fingers tapping against the desk in a distracted rhythm. “You’re staring,” he remarks, not looking up.

- “You’re brooding,” you counter, tilting your head. That finally earns you a glance, his sharp eyes meeting yours over the rim of his glasses. “I don’t brood,” he mutters, and you can’t help but smile. He sighs, rubbing the bridge of his nose. “It’s just… I’ve been considering something.” You raise a brow, waiting. He hesitates, then stands, moving to stand beside you. “An experiment,” he murmurs, voice quieter now. “A hypothesis I need to test.”

- And then, before you can fully process his words, he leans down and kisses you. It’s careful at first—measured, precise, like he’s cataloging every detail, like he’s analyzing the way your lips fit against his, the way your breath hitches, the way your fingers instinctively grip his sleeve. But then something shifts, and the scientist gives way to the man beneath. His arms tighten around you, his hands splaying against your back as he deepens the kiss, no longer thinking—just feeling.

- When he finally pulls away, his gaze is sharp, searching. “Fascinating,” he murmurs, more to himself than to you. You blink, still catching your breath, and then you laugh. “Did you just kiss me for science?” He smirks, adjusting his glasses. “No,” he says simply, and then he kisses you again, because some things don’t need an explanation.

BEN GRIMM (THE THING)

- The night is quiet, the world softened by the glow of streetlamps and the distant murmur of the city. You sit beside Ben on the park bench, your fingers just barely brushing against his. He’s always careful with you, always so aware of the strength in his hands, the weight of his presence. But tonight, there’s something heavier in the air, something unspoken. “Y’know,” he mutters, staring straight ahead. “I ain’t exactly what most people would call… kissable.”

- You frown, turning to face him fully. “That’s not true,” you say, your voice firm. He lets out a rough chuckle, shaking his head. “C’mon, sweetheart. I ain’t exactly soft.” His voice is gruff, but there’s something vulnerable beneath it, something that makes your chest tighten. “Ben,” you say gently, reaching for his hand. He flinches, just slightly, but doesn’t pull away. “You don’t get to decide how I see you.”

- And then, before he can protest, you kiss him. You feel the moment he freezes, the way his breath catches in his throat. He doesn’t know what to do with this—with you, with the way you touch him like he isn’t something to be wary of. But then, slowly, carefully, he responds. His lips are warm, hesitant, like he’s afraid of breaking you, of breaking himself. His hands tremble slightly as they settle against your waist, his fingers barely curling around you, like he can’t quite believe this is real.

- When you finally pull back, he stares at you, wide-eyed, like he’s waiting for you to take it back. “You… you really mean that, don’t ya?” he murmurs, voice rough. You smile, pressing your forehead against his. “Yeah, Ben. I really do.” And for the first time in a long time, he lets himself believe it.

SUSAN STORM (INVISIBLE WOMAN)

- The evening is quiet, the world outside the Baxter Building hushed under the glow of the city. You sit beside Susan, watching the skyline through the vast glass windows, the lights flickering like stars fallen to earth. She is always composed, always poised, but tonight there’s a restlessness to her—a quiet tension in the way her fingers trace the rim of her glass, the way she exhales just a little too sharply. “I never let myself have this,” she murmurs, and when you turn to her, she’s already looking at you, her blue eyes full of something unreadable.

- You know what she means. Susan Storm carries the weight of leadership, of family, of responsibility. She is the glue that holds everything together, the lighthouse in the storm. But for all her strength, for all her brilliance, there are moments—fleeting, rare—where she lets herself be something else. Something softer. Something just for herself. And tonight, you realize, you are one of those moments.

- She reaches for you, hesitant at first, like she’s testing the shape of the decision she’s about to make. And then, suddenly, she moves—decisive, certain, as if she’s crossed some invisible threshold. Her lips meet yours, warm and insistent, the weight of unspoken things pouring into the space between you. There is something fierce in the way she kisses—something that speaks of restraint finally abandoned, of walls finally lowered. One hand tangles in your hair, the other resting lightly against your cheek, like she’s memorizing the feel of you.

- When she pulls back, her breath is uneven, her eyes searching yours for something—reassurance, maybe, or permission to fall just a little deeper. “I don’t want to lose myself in this,” she whispers, but you shake your head, touching her face, gentle and steady. “You won’t,” you promise, and something in her melts at the certainty in your voice. She leans in again, this time slower, softer, the weight of the world momentarily forgotten in the warmth of your touch.

FELICIA HARDY (BLACK CAT)

- The city belongs to you both tonight, the rooftops your playground, the neon glow painting Felicia in slashes of silver and blue. She moves like moonlight—fluid, untouchable, slipping between the cracks of the world with a smile that’s equal parts mischief and danger. “You’re keeping up,” she teases, glancing back at you over her shoulder. “I’m impressed.” You roll your eyes, but you know she can see the amusement flickering at the corner of your lips. “Maybe I just don’t want to give you the satisfaction of losing.”

- She grins, sharp and knowing, because that’s always been your game—this endless push and pull, this dance on the edge of something electric. You don’t chase Felicia Hardy. You don’t catch her. You match her. And that, more than anything, is what keeps her coming back. She leans in slightly, her voice dropping into something lower, silkier. “You know what I love about you?” she muses, tilting her head. “You make me want to break my own rules.”

- And then she kisses you, swift and decisive, like a thief taking exactly what she wants. There’s no hesitation, no uncertainty—only the heat of her mouth against yours, the way her hands find your collar, tugging you closer as if she’s daring you to keep up. She tastes like adrenaline, like the promise of trouble, like midnight secrets whispered against bare skin. The kiss deepens, slow and teasing, a game in itself—because Felicia Hardy never gives anything away for free.

- When she finally pulls back, her lips are curled into that signature smirk, her fingers still hooked in the fabric of your jacket. “Careful, darling,” she purrs, her voice thick with amusement. “I might just steal you next.” But you only smile, catching her wrist before she can slip away. “Maybe I’ll let you,” you murmur, and for the first time in a long time, Felicia Hardy wonders what it would feel like to be the one caught.

STEPHEN STRANGE (DOCTOR STRANGE)

- The Sanctum is still, the air heavy with the scent of ancient books and forgotten incantations. Stephen stands at his desk, eyes scanning the open pages of a tome older than memory itself, but his mind is elsewhere. You can tell by the way his fingers twitch against the parchment, the way his jaw tightens as if battling thoughts he refuses to voice. “Something’s on your mind,” you say, stepping closer. His gaze lifts to meet yours, sharp and contemplative. “You,” he admits, and the honesty of it knocks the breath from your lungs.

- Stephen Strange is not a man who loves easily. He is a fortress of intellect and discipline, a scholar of the arcane who has spent lifetimes mastering the impossible. And yet, here he stands, unraveling just slightly in your presence. He lifts a hand, fingers brushing against your cheek in an almost hesitant gesture—like he is tracing the edges of a spell too powerful to fully comprehend. “I was never meant for this,” he murmurs. “For softness. For wanting.”

- And then, like surrendering to something he cannot fight, he leans in. The kiss is slow, deliberate—a study in patience, in precision. His lips press against yours with a quiet intensity, as if memorizing the very essence of you. One hand rests at the nape of your neck, steady and grounding, while the other lingers at your waist, his touch both careful and commanding. He kisses you like he is trying to rewrite fate itself, like he is making a choice that defies every law he has ever known.

- When he finally pulls away, his breath is uneven, his usually composed expression softened in a way few have ever seen. “I should warn you,” he murmurs, his thumb tracing absent circles against your skin. “Nothing in my world is simple.” You smile, reaching up to touch his face, grounding him in something real. “Then it’s a good thing I’ve never been afraid of the impossible.” His lips quirk into something small, something almost reverent, before he kisses you again, sealing the spell between you.

NAMOR (THE SUB-MARINER)

- The ocean sings in the distance, waves lapping against the shore like the heartbeat of the earth itself. Namor stands beside you, the moonlight casting silver across his sharp features, his dark eyes reflecting the vastness of the sea. “This world is fragile,” he says, voice laced with something ancient, something heavy. “It does not deserve you.” You glance at him, at the way he watches you—not with admiration, not with softness, but with something deeper, something possessive. “And yet,” you murmur, stepping closer, “I am here.”

- Namor has never been a man to beg. He does not kneel. He does not ask. He takes what he wants, claims what he deems worthy. But with you, there is hesitation, a silent battle waging beneath the surface of his control. His fingers brush against yours, the slightest touch, but it is enough to set the air between you alight. “You tempt me,” he admits, voice low, almost reverent. “And I have never been a man with much patience.”

- And then he kisses you, fierce and unyielding, like the tide crashing against the shore. His hands settle on your hips, drawing you against him as if daring the world to try and pull you apart. There is no hesitation, no second-guessing—only the heat of his mouth, the sharp inhale of breath as he claims you the way he has always wanted to. He tastes like salt and storm, like the very essence of the ocean, like something wild that refuses to be tamed.

- When he finally pulls back, his grip remains firm, his forehead resting against yours as he exhales slowly. “You are mine,” he murmurs, not a question, not a plea—an undeniable truth. And for the first time, you realize you do not mind being claimed, not when it is by him.

JOHNNY BLAZE (GHOST RIDER)

- The desert wind howls through the canyon, a restless spirit caught between sand and sky. The motorcycle beneath Johnny hums like a living thing, its metal frame still warm from the hellfire that lingers in his veins. You sit beside him on the hood of an abandoned car, the silence stretching between you, thick with something unspoken. He isn’t a man of easy words, and neither are you, but there are moments like this—where the quiet speaks louder than any confession ever could.

- He glances at you, the flickering embers of his curse hidden beneath the deep blue of his eyes, and you feel the weight of his stare like a brand. “I don’t get good things,” he mutters, voice rough, shaped by years of regret and roads paved in fire. “Not for long.” You know he means you, means this, the fragile thing growing between you both. And maybe he’s right—maybe fate has already written tragedy into your story—but right now, with the stars burning above and his hand ghosting over yours, you want to defy it.

- He moves before you can answer, his lips crashing into yours with a hunger that speaks of desperation, of stolen chances and borrowed time. His hands are warm—almost too warm, like he’s barely holding back the fire inside him—but he doesn’t pull away. Not this time. The kiss is rough, raw, a clash of teeth and longing, and for a moment, you taste the hellfire that runs through his soul. He kisses you like a man who’s already lost everything once and refuses to lose again.

- When he finally breaks away, his breathing is uneven, his forehead pressed against yours as if grounding himself in the reality of you. “I don’t deserve this,” he whispers, but there’s no regret in his voice—only the trembling remnants of a man still learning how to hold onto something good. You grip the front of his jacket, pulling him closer, and when you speak, your voice is steady, unwavering. “Then we’ll steal it.” A slow smile tugs at his lips, something wild and reckless, and when he kisses you again, it feels like a promise to fight whatever hell comes next.

EDDIE BROCK / VENOM

- The city is a restless thing at night—buzzing, pulsing, alive. You stand on the rooftop beside Eddie, the neon lights casting shadows across his face, the distant hum of traffic filling the space between you. There’s tension in his shoulders, the kind that never quite leaves, the weight of a body that’s never entirely his own. “He likes you,” Eddie mutters, gesturing vaguely to the symbiote that lingers just beneath his skin. “Says I should stop being a coward and kiss you already.”

- A low, amused growl echoes in the back of Eddie’s throat—not entirely his own. “Yes,” Venom rumbles, voice curling through the night air like something alive. “She is ours.” Eddie groans, rubbing a hand over his face, but there’s no real annoyance in it. If anything, there’s something close to agreement buried beneath the exasperation. He turns to you, gaze flickering between hesitation and something darker, something unspoken. “You want this?” he asks, voice rough, uncertain. “Me? Us?”

- You don’t get the chance to answer. One moment, you’re staring at him, the city sprawled beneath your feet. The next, Eddie has you pressed against the rooftop ledge, his mouth on yours, his hands tangled in your hair. The kiss is desperate, consuming, an unspoken plea wrapped in heat and longing. And when the symbiote joins, its inky tendrils curling around your skin, it isn’t unwelcome—it’s protective, claiming, a silent promise that you are theirs, that they will never let you go.

- When he finally pulls back, his breath is ragged, his pupils blown wide. “Too much?” he asks, but you shake your head, fingers still fisted in his jacket. “Not enough,” you murmur, and a slow, wicked grin spreads across his lips. Venom purrs in agreement, and as Eddie leans in again, you realize that whatever this is—whatever you’ve become to them—it’s already too late to turn back.

T’CHALLA (BLACK PANTHER)

- The air is thick with the scent of blooming jasmine, the Wakandan night stretching vast and endless above you. T’Challa stands beside you on the palace balcony, his gaze sharp and contemplative as he watches the city below. He has always been like this—thoughtful, deliberate, a man who carries the weight of a nation with grace that borders on impossible. But tonight, he is not just a king. Tonight, he is simply a man, standing beside the one person who makes him forget the weight of his crown.

- “There is a saying in Wakanda,” he murmurs, voice low, reverent. “That love is not something taken, but something earned.” He turns to you then, his eyes dark with meaning, with unspoken truths. “I do not take this lightly. I do not take you lightly.” There is something beautiful in the way he says it, in the way he allows himself to be vulnerable with you, to let his guard drop even for a moment. You lift a hand, brushing your fingers along his jaw, and he exhales, his composure faltering just slightly.

- And then, like a tide giving way to the shore, he closes the distance between you. The kiss is slow, deliberate, like the turning of a page in an ancient story. His hands settle at your waist, steady, grounding, as if anchoring himself to the moment. There is no rush, no urgency—only quiet devotion, the kind that lingers, that settles deep in the bones. He kisses you with the weight of a man who has spent his life making careful decisions, and this—this is the one he chooses without hesitation.

- When he pulls back, his fingers trace a slow path along your cheek, his gaze still heavy with something unreadable. “You are my greatest risk,” he murmurs, and you know he means it. Because love, for a king, is always dangerous. But when you smile, pressing your forehead against his, he only exhales softly, as if surrendering to something inevitable. And when he kisses you again, it is no longer with hesitation, but with certainty.

ELEKTRA NATCHIOS

- The rain falls in thin silver threads, washing the city clean in its quiet embrace. You stand beside Elektra on the rooftop, the neon lights below flickering against the wet pavement. She is always beautiful like this—sharp, lethal, untouchable. But tonight, there is something different in the way she watches you, something softer, something almost fragile. “This is a mistake,” she whispers, but she doesn’t move away.

- You know what she means. Elektra is not made for gentle things. She is blood and steel, shadow and fury. She has killed men for less than what you make her feel. But even knowing this, even with the sharp edges of her past pressing against the space between you, you do not flinch. Instead, you step closer, watching as something in her gaze flickers—fear, maybe, or something far more dangerous.

- And then she moves, closing the distance between you with a swift, decisive grace. The kiss is not soft. It is not hesitant. It is fire and hunger, teeth and desperation. Her fingers curl into your hair, pulling you against her like she is trying to burn the shape of you into her memory. She tastes like danger, like a storm breaking over the city, like something you should run from but never will.

- When she finally pulls back, her breathing is uneven, her lips slightly parted as if she is about to speak. But she doesn’t. Instead, she presses her forehead to yours, the tension in her body slowly unraveling. “You should walk away,” she murmurs, but when you don’t move, when your hand finds hers in the dark, she exhales, defeated. And when she kisses you again, it is not a warning—it is surrender.

MUSE

- The world around you is a canvas, but Muse does not paint in colors meant for beauty. He sculpts in blood, in the echoes of silent screams, in the jagged edges of chaos where meaning is stripped bare. You should not be here—you, with your warmth, your softness, your ability to turn even the void into something full of light. And yet, he lets you stand beside him in the dim glow of a flickering streetlamp, his hands twitching at his sides as if unsure whether to destroy or to hold.

- "I see you," he murmurs, voice rasping like something broken. His eyes—dark, unreadable, filled with a hunger that has nothing to do with flesh—trace the lines of your face like you are something he will never be able to capture. "I see you in a way I don't see anything else." His art is made of madness, but you, you are the only thing that remains clear in the haze of his unraveling mind. And it terrifies him. It excites him. It pulls him closer, the weight of obsession curling around his ribs like wire.

- His hands move before his mind catches up, fingers ghosting over your jaw as if memorizing the texture of your skin. And then—without prelude, without hesitation—his mouth crashes against yours. It is not gentle. It is not kind. It is a claim, a signature scrawled in fevered ink, a vow written in the space where language fails. He tastes of copper, of sleepless nights and the sharp tang of something unhinged, but he does not pull away. He drinks you in like a man starved, like an artist who has found his only masterpiece.

- When he finally parts from you, his breath is ragged, uneven, his forehead pressed against yours as if trying to anchor himself. "I will ruin you," he whispers, a warning and a promise both. But your hands do not tremble when they pull him back in, when you whisper against his lips, "Then make it beautiful." And for the first time, in a life stitched together by violence, Muse finds himself desperate to create something that will not break.

VICTOR VON DOOM (DR. DOOM)

- The air is thick with the scent of burning embers, the remnants of his latest experiment still crackling in the distance. You stand within the towering walls of Doom’s kingdom, a place where gods are made and broken, where the laws of nature are rewritten by the will of a single man. He watches you with an intensity that borders on divine, his green cloak casting shadows against the molten glow of machinery and magic entwined. Doom does not love like mortals do. Doom does not kneel before lesser emotions. But Doom has chosen you.

- "You are a fool to stand beside me," he muses, voice rich with arrogance, with certainty. "There is no safety in my presence. No mercy. No retreat." He speaks as if this is a warning, as if you have not already chosen to stand in the eye of the storm. You meet his gaze, unflinching, and something in the iron walls of his soul fractures. He does not understand it, this defiance wrapped in something so soft, so steady. He does not understand you. And Doom despises what he does not understand.

- The kiss is not an accident, nor is it impulsive. Doom does nothing without calculation. It is a conquest, a declaration, a moment where even the weight of the world bends to his will. His gauntleted hand cups your cheek, the cool bite of metal a stark contrast to the heat of his mouth against yours. He does not kiss like a man—he kisses like a ruler branding his empire, like a god bestowing a gift upon the only mortal he has deemed worthy. It is overwhelming, intoxicating, and it is absolute.

- When he pulls away, his gaze is unreadable, something ancient and unfathomable lingering in its depths. "You belong to Doom," he states, as if it is law, as if the universe itself would sooner collapse than deny him this truth. And perhaps he is right. For when he kisses you again, you realize that the world has already reshaped itself around his words.

PETER QUILL (STAR-LORD)

- The stars stretch endless above you, the vast expanse of space humming with the quiet melody of a universe still singing itself into existence. Peter leans against the railing of the Milano, his usual bravado dimmed into something softer, something more honest in the quiet glow of starlight. “You know,” he starts, voice lazy, teasing, but edged with something deeper, “if you keep looking at me like that, I’m gonna think you actually like me.”

- You roll your eyes, but the truth lingers between you, unspoken but undeniable. Peter has always hidden behind humor, behind cocky grins and deflective quips, but you have learned to read between the lines, to hear the way his voice wavers when he talks about the things that matter. And you—you are one of those things. He won’t say it outright, not yet, but it’s there in the way his fingers drum against his thigh, in the way he leans closer without meaning to.

- "You ever think about how weird this is?" he asks suddenly, gesturing between the two of you. "Like, of all the people in all the galaxies, somehow, it’s us?” There’s something vulnerable in his voice, something almost hesitant. You don’t give him time to second-guess it. Instead, you grab the front of his jacket and pull him in, and for once, Peter Quill is speechless. The kiss is electric, dizzying, like the first rush of a jump through hyperspace. His hands find your waist, pulling you closer as if he’s afraid you’ll disappear into the stars.

- When you finally part, he’s breathless, grinning like a man who just won the greatest jackpot in the galaxy. “Okay,” he says, voice slightly dazed. “Yeah. That was definitely my favorite thing that’s ever happened.” You laugh, shaking your head, and he presses another quick kiss to your lips, just because he can. “You’re in trouble now, sweetheart. ‘Cause I’m never letting you go.” And when he pulls you into another kiss, you believe him.

RICHARD RIDER (NOVA)

- The weight of the Nova Force thrums beneath his skin, a power that has shaped and shattered him in equal measure. Richard is used to battles, to the endless war against forces greater than himself. But this? This is different. This is not something he can fight, not something he can outrun. You stand beside him on the edge of a dying world, the stars reflecting in your eyes, and for the first time in a long time, he feels like maybe—just maybe—he’s not fighting alone.

- "You make me want to stay," he admits, voice rough with exhaustion, with the kind of honesty that takes more strength than any battle he’s ever fought. He turns to you, something raw and unguarded in his gaze. "That’s dangerous." He has spent too long losing people, too long watching the universe take and take until there is nothing left. But you—you are something the universe has given, and it terrifies him.

- The kiss is sudden, but not thoughtless. It is the culmination of something inevitable, something that has been building since the moment he let himself care. His hands cup your face, firm but reverent, as if afraid you’ll disappear the moment he lets go. He kisses you like a man clinging to the last piece of something real, like a soldier who has finally found a reason to return home. And in that moment, for the first time in a long time, he feels weightless.

- When he pulls away, his forehead rests against yours, his breath steadying. “If I could choose anywhere in the universe to be,” he murmurs, “it’d be right here.” His fingers tighten around yours, and as the stars continue their endless dance above, he wonders if, for once, the universe will allow him to keep something good.

[tori-artemis]

Oh this is a great question to think about! Tbh I had a lot of hopes back when the series was premiering (and before when it was just announced), so to go off of those... well first off, I really really wanted an exploration of Loki's trauma, his past and even his psyche. Like I know a psychological thriller/horror probably wouldn't have been in the cards for a Disney+ show, but tbf I feel like the creators of Wandavision touched on aspects found in those types of genres (if in a PG 13 kind of way) so I don't think I was too off base for hoping to see something like that for Loki. (Not to mention the ridiculous comparisons to films like Se7en and The Silence of the Lambs that Mike Waldron kept making... but I'm not gonna get into that rant again.)

I think I would've put a lot of focus on what the hell actually happened to Loki when he fell into the Void and disappeared for an entire year or so, and how he ended up encountering Thanos and the Black Order, how that all went down, etc. Either through flashbacks, or (possibly altered) memories, or Loki recounting those events interview/interrogation-style (and being an extremely unreliable narrator in doing so, like for instance saying something like "I made a deal with Thanos and worked with him willingly" and then at some point you see into his head through flashbacks/night terrors and realize that clearly wasn't the case, just stuff like that). The possibilities were endless tbh, like there's just so many creative opportunities to explore that one aspect of Loki's backstory. And since that's such a burning question to me (and many other fans tbh) still to this day, I feel like that'd be the first thing I'd want to tackle.

Another important thing I'd want to include would be Loki's gender fluidity and his bi identity. Like I don't think it necessarily has to go with Loki referring to himself as bi, like I don't think he has to say the actual word "bi" in order to give any meaningful kind of rep?? Especially now that Agatha All Along has come out, I feel like I'd want to approach Loki's identity in a similar type of way, just unapologetic, and as authentic as possible to his comic book counter part. Like hell, he can have hang ups with those parts of his identity (which would actually make sense, being from Asgard and since he already has a lot of self-loathing issues in general due to being Jotun).

I wouldn't mind that, especially if it was done in a non-typical way, like maybe it's not being sexually intimate with men/males that's looked down upon on Asgard, but - similar to the Norse apparently - it's on what role they play, or basically who's the "bottom" - that gets shamed, or maybe same sex relationships aren't looked down upon at all on Asgard, but giving birth/getting pregnant while being/presenting as male is, bc it's seen as unnatural, and then let Loki go through an experience where he develops deep rooted insecurities about those aspects of his identity due to Asgard's cultural prejudices. And like this doesn't even have to be explicit (tho after the birth scenes in both Wandavision and especially Agatha All Along I can't help but roll my eyes at ppl having a hang up with Loki going thru something like this, especially if they were totally okay with Wanda and Agatha having birthing scenes, but anyways). It can be something as simple and as subtle as Loki finding out he's pregnant (maybe he can magically feel the fetus growing inside him, or he can hear the heartbeat/etc, or maybe it's as simple as having morning sickness and/or a change of diet). And it just ends up with him drinking tea/potion (due to pressure from Odin/Frigga/society, or maybe he's not ready and seeks it out himself) which gets rid of the baby, but again it's done in a very non graphic way. Of course the whole mpreg thing is just an example, and doesn't have to be in a series about Loki (that's what fanfic is for!) but basically: let Loki be queer, he can have hang ups about being queer, and tbh I'd want the hang ups to be kind of different from the usual discussions/portrayals of queerness in media mainly bc Asgard's an alien/fantasy society so I'd want their cultural norms to be pretty different from ours (human society in general), but overall just let Loki be queer, goddamnit!

Furthermore, I'd want to explore Loki's self loathing in particular, and see his view of himself change as he develops and grows throughout the series. If he encounters other versions of himself then I'd want to see what that would look like... and preferably done differently from how the show approached it (regarding Sylvie). Like I don't want him to just, I don't know, praise his other self up the way he ends up doing in the series (I know he also fought with Sylvie at the beginning but tbh I couldn't really take their rivalry seriously, it felt very sibling-like - which I actually enjoyed at the time, mind you, but a reflection of one's internal self-hatred it certainly is NOT, and like overall the whole dynamic just didn't work for me bc I find those two characters so undeniably different from each other and therefore it doesn't really work as a metaphor for self hatred/self love, but that's neither here nor there).

Like - let it be messy! Let it actually be vitriolic and hateful if that's what the series is trying to convey. Let Loki be angry, let him rage, let him lash out - at versions of himself and at other characters, like c'mon! This is a character that has a lot of inner darkness and has suffered through a lot of trauma and has difficulty trusting others due to said trauma (especially if we're going with Avengers era Loki) so how about we Show That.

Tbh I wouldn't have minded for Loki's main villain (both in the series overall and wrt the lead character) to be a version of himself. (As long as it was portrayed in a thoughtful way, like don't just make him evil please, in fact he doesn't even have to be evil at all - he doesn't have to destroy or conquer other worlds, he could literally just be out there destroying all versions of Loki, which would force our protagonist to fight/confront this person hunting him down). Like I think there would be so many possibilities for all of the ways a protagonist could deal with a "villain" - or rather, an antagonist like that. Some far more darker than others, depending on how you want your story to go. Like it could end similarly to the Agent of Asgard comics (where I believe Loki ends up forgiving and embracing his "evil" self... tho I've not read the comics so please feel free to correct me if I've gotten something wrong). Or if I were writing this series, I would've just had Loki forced into a position where, after being worn down to reaching his emotional breaking point, and in a fit of sheer rage, he'd end up brutally murdering the antagonistic version of himself, in the ultimate form of self destruction, and then I'd have him reeling from the internal consequences of such an extreme form of violence done against himself - but that's just my ridiculously morbid psychological-horror-loving ass for you. I'd just want to completely unravel him ngl, before having him overcome the impossible by rebuilding himself once more (w/ a little help from his newfound friends)...

If the TVA had to be involved in some way, I'd want to approach them as an ominous totalitarian organization, and if Loki were to be tortured by said organization, it most certainly would NOT be portrayed as some throw-away-attempt-at-comedy-type-of-scene (AHEM). I'd go for a darker tone overall, and Loki's torture at the TVA would be portrayed with all of the horror demanded by those types of scenes dealing with that kind of subject matter.

Tbh I have so many ideas for a Loki-centric show, some that involve the TVA and some that don't, but there's just so many threads and I don't want to make this any more convoluted than it already is, so to put it simply: I'd want the focus to be on Loki first and foremost. If it's called Loki, then it should be about the main lead, similar to how Agatha All Along was about Agatha, and Wandavision was about Wanda. (Which means, if the TVA has to be involved, then they would be secondary to the series' main focus - which would be on Loki and his relationship with himself.) Secondly, I'd want to see his trauma not only brought up, but fully explored. Which includes his traumatic upbringing (Odin's A++ Parenting, Frigga's enabling, family dysfunction, Asgard's toxic social/cultural norms) as well as the horror he experienced in the Void and on Sanctuary, maybe even some events in the first Avengers film, but seen through Loki's eyes this time. And I'd just want Loki to be queer, so if he's bi then let him have previous (or current!) relationships (or flirtations) with men (or attraction towards men) as well as women, if he's gender fluid then Show. That. Whether he physically transforms into a woman at times, or through his inner monologue where he refers to himself with different pronouns even if his gender presentation hasn't changed, or even his ambivalence towards being trapped/labeled in a one-gender-ticked-box, but Show. It. That part of his identity deserves to be shown, especially in a series where Loki's the central character.

If you yourself could’ve directed/wrote the Loki series, what would you have done differently? What would you have wanted to see in a series about Loki? What would you have focused on? Would the series take place somewhere other than the TVA? Which characters would you include? What would be the end goal? What aspects of his character would be explored?

[enigmaris]

All Father Thor, King of Asgard,

A new ruler of Hel has been chosen, the fearsome King Phantom, defeater of Pariah Dark. It is time for Asgard to prepare to pay the dues required to keep peace between the realms of the gods and of the dead. Bring the terms of your surrender to King’s Phantom’s representative on earth, Daniel James Fenton of Amity Park.

The Noble Scribe of King Phantom,

Ghost Writer

*****

“Okay so let me get this straight,” Tony Stark, Iron Man and Avenger said. “Ghosts are real.”

“Yes.” King Thor Odinson, Asgardian and god of thunder agreed.

“And they’re evil.”

“A bit of an oversimplification, but yes.” Prince Loki Odinson, sometimes villain and would be planet invader, answered.

“And the ghosts have had one ruler, the most powerful ghost in existence. And that new rulers are chosen by combat, meaning that every new ruler is more powerful than the last.”

“Yes, you’ve got the idea.” Thor said looking down at his knees for a moment.

“And since ghosts are so evil and so powerful, that means that their ruler is practically an unstoppable force of destruction.”

“Doesn’t it sound delightful?” Loki asked, to which he received a glare.

“So, for the past 10,000 years, at least, Asgard and plenty of other realms have been paying taxes to the ghost king to avoid a war. A racketeering scheme.”

“I don’t know what a racketeering scheme is but yes, the ghost peace treaty does require that Asgard pay the ghost king gold and magical weapons every century and if we fail to pay that price, then the peace treaty will be broken and Asgard will likely be forfeit.”

“That’s a racketeering scheme!”

“Well then yes.”

Tony pinched the bridge of his nose. It was clear the man’s headache was only growing stronger as he walked through the information the two gods had dumped into his lap this morning. Thor and Loki both had rushed into his lab and started babbling about world ending threats and how they might possibly be absolutely screwed.

“So, now there’s a new king. Which means a new peace treaty has to be signed.” Tony said the words ‘peace treaty’ in the same way he’d say ‘nuclear bomb’ or ‘Steve Rogers’.

“I thought you said it was a racketeering scheme?” Loki asked.

“Shut it.” Tony hissed.

“A new treaty must be signed.” Thor repeated, trying to keep the three of them on track.

“And since the last king Pariah Dark was so powerful that he made the entirety of Asgard tremble, you’re pretty sure this new king, Phantom, is probably worse.”

“Pariah Dark had the power to suck entire planets into the afterlife, destroying them,” Loki said looking at his nails. “Stands to reason that a ghost powerful enough to defeat him could do much, much worse.”

“Right. Fantastic!” Tony practically shouted.

“I don’t think anything about this is fantastic.” Thor admitted, he was ignored.

“And according to you Asgard has been paying the ghost tax for both their realm and ours since we were under Odin’s protection. And since Hela and Sutur destroyed your entire planet and your entire people are refugees, now we have to figure out how to keep an ultrapowerful ghost from wiping out our home without any way of paying him.”

“Technically we don’t know if Phantom is a ‘he’.” Loki pointed out unhelpfully.

“The letter literally says he’s a king!”

“Could be a title. What do the dead have need for gender?”

“This is not the point of this discussion,” Thor cut in before an argument about the usefulness of gender and the concept of a female king burst forth. “We’re here to figure out how to make peace with King Phantom without resulting in a war that would destroy our world and our peoples.”

“We don’t even have Earth’s mightiest heroes anymore.” Loki said, referencing the painful results of the civil war and the Accords.

“We’re fucked.” Tony decided.

“Yes,” Thor agreed. “We probably are.”

[ddejavvu]

i think hiccup likes watching you. it can be spun into the 'quality time love language', it can be written off as him reading over your shoulder, it can look like he's dozing across from you on the couch. but really, he's using the entire time to soak up your presence. he likes seating you with your back to his chest, so that he can see what you're doing in front of him by peering over your shoulder. sometimes he'll look at the back of your neck, counting freckles or roving over the baby hairs that escape your haphazard updo, staring at the skin he's lucky enough to get to kiss whenever he wants. very frequent back-of-the-neck kisser, this guy. he thinks its chaste and therefore meaningful.

if he's 'reading over your shoulder' he's actually just watching you read from over your shoulder. he watches your fingers twitch on the page, he watches the way you lose focus and have to restart a few paragraphs, he watches the way you toy with the corner of the cover while deep in the zone. he wants to commit everything to memory, he wants to know you deeper than he knows himself, he wants to have every minute twitch of your body recorded in something much more potent and permanent than charcoal on a page.

he studies the world around him, and you're no different. he finds out that you stuff your feet beneath the cushions on the couch because you like pressure holding you in place, so he takes to sitting on the tips of your toes with a cheeky smile, pretending its an annoyance instead of a deliberate act of thought. he watches you grapple with those same baby hairs he'd kissed and fashions some hair pins for you, pretty and effective. he knows it bothers you when your washcloth doesn't dry out in the cold winter months, so he takes them to the forge in the mornings and dries them over the fire so that they're toasty when you wash your face that night. he finds you interesting, watching you is his own hobby while you're doing yours. he doesn't get bored or feel the need to engage in his own activities if you're reading in his lap, or sewing up your shirt, or cooking, or stretching out your sore muscles, he's occupied with watching you live.

he's lost a lot in life. he's felt scarcity, not in food or shelter but in love. in tenderness, in being needed. so the way that you're so eager to sit between his legs, to lean back against his chest and crack open a book- something you could be doing alone on the other side of the couch if you wanted to- that's something special to him. he knows what it's like to feel discarded and unworthy, and he deliberately takes time to bask in the gratitude he feels towards whatever god sent you to him. he's fairly certain you didn't come from loki himself like the twins did, but he knows someone, somewhere out there, wanted him to have you, and he won't take that for granted.

[sjbattleangel]

Face it, Darth Vader, Zuko, Piccolo, Vegeta, Magneto, Loki and Venom did far worse, unforgivable things yet when they were redeemed to varying degrees, fandom gave them free passes. Yet when Catra ,a child soldier who was physically and mentally abused by her mentor, realizes how much she has hurt the people around her; strives to be a better person; saves her childhood best friend and the entire world with the literal power of love (in spite of the series being cut short), fandom screams for her blood, yelling that she was "the real villain" and "should've died".

I have nothing against either Vader, Zuko, Piccolo, Vegeta, Magneto, Loki or Venom. However, when fandom declares a queer catgirl to be "the face of unforgivable evil", that's when we need to call out the blatant sexist, and kind of queerphobic, double standards.

And no, don't even give me that "BuT BaD WrItInG" thought-terminating rubbish. Funny how everything seems to be "BaD WrItInG" only when it involves some form of media made by and/or starring women, queer people and other minorities. Don't you think?

[magnusmodig]

TAG DUMP.

( ic . ) — son of odin . the crown is a heavy burden for thee . ( ooc . ) — stories that leap from the page . ( dash comm . ) — connected by the bifrost . ( crack . ) — the elevator's not worthy . ( fosterson . ) — i believe that fate brought us together . ( mischiefmodig . ) — we grew up together . played together . i thought the world of you . ( answered . ) — black feathers fall to a raven's call . ( headcanon . ) — glory to the man who toils for his land . may it ever prosper . ( iisms . ) — love like cleansing rain . rage like smoldering fire . ( meta . ) — son of cosmos . lightning flows through thy veins . ( album . ) — roots of yggdrasil . ( aes . ) — on your head a circlet . tarnished silver and gold . ( odin . ) — let my blade strike true . ( frigga . ) — the wisest woman of all asgard . ( loki . ) — round and round we go . ( thor . ) — if he be worthy . ( jane . ) — earth to asgard . ( avengers . ) — earth's mightiest heroes .

[sunarryn]

DP X Marvel #21

Tony Stark had a lot of regrets in life. Most of them involved tequila, a few bad tattoos he had paid to laser off before Pepper found out, and one especially haunted incident involving a mechanical bull, a congressman’s wife, and the phrase “I dare you.” But none—not even Ultron—could have prepared him for the living, brooding, wall-punching cryptid that was Dante “Dan” Masters.

Dan was technically human. Probably. No one was brave enough to check. He stood 6’7”, made of nothing but scarred muscle and menace, had jawlines sharp enough to commit tax fraud, and wore an expression that screamed “I bench press semi-trucks for therapy.” His hair was raven black and permanently tousled like he’d just walked away from an explosion—which, considering the fact he had actually walked away from an explosion that morning, tracked. His eyes were the kind of ice-blue that made AI go glitchy and interns cry.

Also, he was Tony’s bodyguard.

“I didn’t hire him,” Tony said the first time the Avengers saw Dan.

“You absolutely did,” Pepper replied, not even looking up from her tablet. “You drunkenly told Happy to ‘get me someone who looks like a Greek tragedy and hits like daddy issues.’”

And so Happy had found Dan. Or, more accurately, Dan had found Happy—by appearing in his passenger seat uninvited while Happy was getting a cheeseburger.

Dan never explained how he got there.

“Didn’t open the door. Didn’t break the lock. Just was there,” Happy muttered for the next three weeks. “I looked down to grab fries, looked up, boom. Bodyguard. Demon. Something. He just nodded and said, ‘I eat souls of cowards.’ Then asked for curly fries.”

Tony loved him instantly.

“Look at him,” Tony whispered one night, wine drunk and emotionally vulnerable. “He’s like my own personal murder puppy.”

Steve thought he was horrifying. Natasha called him “the Babadook with a gym membership.” Bruce kept trying to blood test him, but the last time he tried, Dan snapped the needle with his eyelid.

No one knew much about Dan, other than that he was the estranged heir to DALV.CO, the global tech giant run by Vlad Masters, a man whose Wikipedia page had to be locked due to repeated edits claiming he was “the literal Antichrist.”

“Why don’t you go back to your dad’s company?” Tony asked once, halfway through their fourth bottle of scotch, lounging on the penthouse balcony like rich, emotionally constipated divorcees. “You’d be the richest guy in the world.”

“I’d rather castrate myself with a melon baller,” Dan replied.

“Hot.”

Dan just grunted and stared moodily into the skyline, brooding like Batman’s taller, angrier cousin.

There were… signs that Dan wasn’t quite normal. Like the way he phased through walls when he thought no one was looking. Or the time someone tried to stab Tony during a charity gala and Dan grabbed the knife mid-thrust, crushed it into dust with his bare hand, and said, “You missed his heart. Want a second try?”

Tony had to excuse himself for five minutes and blame it on the shrimp cocktail.

Also: Dan never slept. Ever. Tony caught him once at 3 a.m., levitating midair in a meditative pose above the workshop floor, glowing faintly green and whispering what sounded like Latin but angrier.

“Cool trick,” Tony said, filming it for Instagram.

Dan’s eyes snapped open, glowed neon, and he growled, “Delete that or I’ll haunt your teeth.”

Tony deleted it. Reluctantly. But saved a copy in a secret drive labeled “hotboy_shit_DO_NOT_OPEN.”

The first time Dan met Thor, he sized him up for half a second and muttered, “Nice hair, Renaissance frat boy.”

Thor blinked. Then grinned. “I like this one.”

The first time Dan met Loki, he pinned him to the wall with one hand, sniffed once, and said, “You smell like lies and lavender. I don’t trust you.”

“I’m flattered,” Loki purred.

“I wasn’t complimenting you.”

Loki avoided him for two weeks. Claimed it was allergy season.

Dan did not talk. He growled. He glared. He loomed like a death omen in leather jackets. And still—still—every villain who tried to attack Tony ended up launched through a wall, disarmed in under two seconds, or knocked unconscious with a flick of the wrist.

“Are you sure he’s not a meta, or like, a ghost, or something?” Sam asked one day.

Tony blinked. “Ghost? That’s oddly specific.”

“I’m just saying. I saw him walk through a vending machine yesterday and pull out a pack of gum.”

“Maybe it was broken.”

“He reached in, grabbed the gum through the glass, and said, ‘I don’t pay for artificial happiness.’”

“…Okay, that’s just poetry.”

Dan, as it turned out, was a ghost. Sort of. Not the Casper kind. More like the “cursed anomaly spawned from grief and rage after a catastrophic supernatural meltdown in a parallel dimension” kind.

But he didn’t talk about that. Ever. Unless it was to threaten someone into shutting up. Which he did often.

Tony once asked if “Dan” was short for something other than Dante. Dan deadpanned and said, “Damnation.”

Tony laughed. Dan didn’t.

The Avengers all had bets on what Dan really was. Bruce thought he was a failed gamma experiment. Natasha swore he was an eldritch entity in disguise. Steve thought he was “just a really intense guy with trauma.” (Steve was wrong.)

The truth came out, as these things do, during an alien invasion. A random Tuesday. Buildings were exploding, civilians were screaming, and Tony—stupidly, heroically, idiotic as always—got cornered by a space hydra in a burning alley.

“Dan!” he shouted through comms, panicking. “I need backup! Big slimy bastard, eight mouths, hates sarcasm!”

The hydra lunged.

Then Dan exploded out of nowhere in a swirl of black and green fire, his body wreathed in spectral energy, eyes glowing like apocalypse lanterns. He opened his mouth—and screamed.

Not like a human scream. No. Like a banshee from the ninth ring of hell having a breakdown.

The hydra disintegrated. Vaporized into cosmic ash.

Dan turned to Tony, eyes still glowing, hair on fire, his voice doubled and demonic: “You okay?”

Tony, covered in alien guts and halfway to fainting, whispered, “Okay? Okay? I think I just came.”

Dan dropped him.

“Deserved.”

From then on, everything was chaos.

SHIELD tried to recruit him. He burned their files.

HYDRA tried to kidnap him. They didn’t survive the attempt.

Someone from a ghost-hunting organization named G.I.W. showed up once, claiming he was a danger to the world. Dan stared them down and said, “I’ve killed gods for fun. You think I’m scared of a man in khakis?”

They ran screaming.

Tony, of course, was obsessed.

“You’re my new favorite thing,” he declared one night, flopping dramatically onto the couch while Dan watched reruns of Iron Chef in silence. “Like, my favorite. Sorry, Pepper.”

“Don’t drag me into your kinks,” Pepper replied from the hallway.

Dan never officially moved in. But his things started appearing—a toothbrush here, a punching bag in the gym, a fridge filled with nothing but protein shakes and hot sauce. Eventually, Tony just gave him a keycard.

And maybe a second suit in case he ever wanted to try flying. Dan declined. He could already fly. Casually. Like it was no big deal.

Also: he could turn invisible. Tony found this out when he walked into his lab naked at 2 a.m. and muttered, “If there’s anyone here, speak now or forever hold your—”

“I’m here.”

Tony screamed. Dan was perched on the ceiling.

“Why are you like this?!”

“Because I hate peace.”

Eventually, the world found out. A viral video. A fight gone wrong. Dan going full phantom mode on live TV and decapitating an alien with a manhole cover.

Headlines exploded.

“Heir to DALV.CO Is a Literal Ghost.”

“Tony Stark’s Bodyguard Is an Interdimensional Specter, and Honestly, Same.”

“Dante Masters: Hot, Haunted, and Horrifying.”

Vlad Masters showed up. Tried to reclaim Dan.

Dan answered the door shirtless, covered in blood, holding a spatula. “I’m cooking pancakes. Leave before I use you as syrup.”

Tony peeked from behind him. “He means it.”

Dan shut the door in Vlad’s face.

“I hate that man,” he muttered.

Tony smiled dreamily. “I love you.”

“…Stop.”

“Nope. Too late. Suffering together forever.”

Dan groaned. But he didn’t leave.

He never did.

[charliewrites99]

Me describing characters from Supernatural without ever watching it, based on what I could put together from random tumblr posts

Dean Winchester:

older brother

bi and the closet is glass

psycho-sexual relationship with his car

has a doctor kink

divorced married divorced married widowed by an angel

DADDY ISSUES

don't do this cas

was in hell at one point

shoulder hand print

red-blooded all american hunter manwhore

Sam Winchester:

younger brother

flannel

straight representation (except Gabriel I guess)

Third wheel

dropped out of uni

was engaged to a blond woman (RIP)

a literal walking death sentence to anyone who kisses him

party city wig

was possesed???

the one with common sense???

Castiel:

gay angel

world's saddest eyes

wet soggy orphan beagle

victim of the trench coat epidemic

powerful, but idk about where he lands on the scale

was brainwashed???

the daddy-est of issues (is his father god?)

YOU CHANGED ME DEAN

fish out of water

ditched heaven for the beauty of humanity (Dean's dick)

Jack Supernatural:

destiel child

may or may not be a new god

something celestial

floppy sad boi hair

Gabriel:

just here to have fun do drugs and flirt

trauma

Loki?

Sam's Man Crush Monday

had his lips sewn together at one point

is he dead-dead? or just dead to the writers?

Daddy Winchester:

did not know what he looked like until I went to google the pictures

the worst person to ever exist despite having god and the devil on this show

left the sons the trauma factory that is the family hunting business which killed their mom

doesn't know what hugging looks like probably

Various female-looking objects:

dead girlfriends

beards

that one redhead that called Dean a pussy for not knowing what fifth base is (she seems fun)

another redhead that played Poppy in The Magicians and almost killed Quentin (that I for some reason thought was from Doctor Who)

evil angel girlboss??

This was my contribution for this years November 5th celebration