#marvel powers united

[webshootersandwingdings]

The Carol Danvers Captain Marvel Gamerverse 🌟🎮

[joezy27]

HAWKEYE - Clint Barton (Classic Costume)

Marvel: Powers United VR Character Model by Billy Gonsalves

[mostsanescarletspiderfan]

(new avengers #34).

I think it's very funny that for like a little bit the new avengers were just the local New York street level superheroes living in Strange's house.

[g4zdtechtv]

THE PILE PRESENTS: X-Play - Tito Ortiz' Gallian Vacation | 6/25/08

It loves the taste of fanboy tears.

[moeitsu]

Explaining the James Logan Howlett (Wolverine) Lore for the new fans :)

I made this as a little cheat sheet for all the new Logan/Wolverine fans, in case you’ve never seen the movies or read the comics. Hopefully it’ll help with your fanfics and understanding his character better <3

Logan is my favorite of the Marvel superhero’s, and he and I go way back….so far back that my Dad dressed up as Wolverine and I as Rogue for Halloween in 2006. So he holds a very special place in my heart.

Lore - Part 2  Wolverine Comics

If you’ve seen X-men Origins: Wolverine, I hate to break it to you, but that backstory is not canon to the X-men universe. The later movies really screwed up the timeline. So the information here is strictly from the comics.

════ ⋆★⋆ ════

Pre-Adamantium Binding:

His real name is James Howlett, ‘Logan’ is later used as an alias to distance himself from his past.

He was born sometime around 1880, in Alberta Canada.

He is the illegitimate son of Elizabeth Howlett and Thomas Logan. He grew up on the Howlett estate and believed John Howlett was his real father.

His mutant powers first appeared when he was a child. He has accelerated healing, heightened senses, and retractable bone claws.

The trigger was caused by Thomas Logan killing James Howlett. The overwhelming fear and anger made his power manifest, blinded with rage he kills Thomas.

As his biological father dies, he reveals to Logan that he is his true father. The event is deeply traumatizing, and Logan runs away from his family estate. His mother commits suicide shortly after.

Logan has a half brother known as Sabertooth (Victor Creed) who has similar powers to the Wolverine but is more ‘animalistic’

The details vary across the comics but the brothers are always seen as rivals. And often pitted against eachother.

Logan served in WWI, WWII, the Korean War, and the Vietnam War.

He also served in a Canadian military force known as ‘Department H’ that specialized in superhuman affairs. (This was after the experiment, I’ll go into more detail later)

Sometime before the Weapon X program: On Earth-616, Logan had a wife (Itsu) and son in Japan where he was training at the time. They were killed by the Winter Soldier (Bucky Barnes)

Weapon X Program - Adamantium Binding:

The Weapon X program was run by multiple people working in secret for the Canadian government. Originally beginning in 1845, their goal was to experiment on mutants and create their own super-soldiers.

Logan was deceived and manipulated into undergoing the Weapon X experiment. He did not consent to being a test subject.

For some reason the X-Men Origins movie makes it out to be that Logan willingly chose to undergo this process, only to later reveal that he was tricked into doing so.

Before being captured, he was still struggling with his identity, he was close to 100 years old at the time. His life was filled with violence and loss. Making him physically and mentally vulnerable.

He was a prime target for exploitation.

Part of the experiment was to completely erase his memories and replace them with false ones. This allowed them complete control over him.

This also made it difficult for him to recall how he ended up in the program to begin with.

I repeat: they completely wiped his memory. His whole identity was gone.

100 years of memories were gone.

The bonding process turned his entire skeleton and bone claws into indestructible metal.

Due to his regenerative nature, Logan was not given anesthetic or put under for the procedure. It was excruciatingly painful.

Logan worked as a mercenary for private military contractors. He took on these assignments without fully understanding their implications because of his fragmented memory.

Sometime later he became a member of X-Force, a private military unit (affiliated with the CIA) that dealt with incredibly violent operations.

The purpose of the project was to create an unstoppable killing machine. With their end goal being to erase his humanity all together. However Logan’s mental fortitude allowed him to resist the conditioning and make his escape before it was too late.

After escaping, Logan developed a mistrust with authority. And just people in general. He felt deeply betrayed by the Weapon X program. And he struggles with the fear of being used as a weapon.

The escape and aftermath of Weapon X:

After everything Logan went through, the intense trauma and confusion significantly impacted his actions and mindset.

He was left with extreme psychological damage, and behaved more as an animal than a man for the first few years of his freedom. Living in the wilderness of Canada.

Quite literally a feral man. He lost touch of his humanity. Embracing his animalistic abilities, turning him into an apex predator.

Logan has the ability to enter something called “Beserker Rage” which he becomes entirely driven by animalistic instinct. Turning him into an unstoppable force and exerting himself for very long periods of time.

Think of when you see him running on all fours…

Over time, Logan began to regain bits and pieces of his humanity. He was later discovered by Heather and James MacDonald Hudson who took him in and helped him recover physically and mentally.

(Logan actually fell in love with Heather, and James became his best friend. They were the closest thing he had to a family)

After he recovered, he was recruited by the Canadian governments ‘Department H’. They were responsible for a lot of his training and became a key member in Canada’s superhero team: Alpha Flight.

This is where he took on the code name “Wolverine”

His time with Alpha Flight was short lived. And soon he was approached by Charles Xavier, who was looking for mutants to join his X-Men. He recognized Logan’s potential and offered him a place on the team as well as the promise to help him regain his memory.

Logan accepted, and his time with the X-Men marked a critical and significant moment in his life. Under Xavier’s guidance he was able to rebuild his identity and gradually piece together his past. All while fighting for the rights of mutants.

Being part of the X-Men gave him a sense of purpose and direction. Although his main goal had always been to uncover what he had lost, which was himself. He still struggles with trust and relationships, but eventually forms strong bonds with the other X-men.

His past with Weapon X still haunts him. And he has vivid and terrible nightmares about what he had done and what was done to him.

I won’t go into detail about his time with the X-men because that varies a lot across the comics. Just know that he had a love-hate relationship with them, but he ultimately loved them in the end.

Some sad facts about Logan that actually haunt me:

Logan has outlived everyone he ever loved. Family, friends, even his own children. He is so so so lonely.

Immense amount of survivors guilt. He feels unworthy of the life he continues to live.

He suffers from chronic nightmares. Often waking up in a violent and panicked state.

Deep-seated fear of abandonment that goes all the way back to his early childhood. He isolates himself to protect himself from more pain.

Tons of self-loathing. He believes himself to be nothing more than a killer. He thinks he is unworthy of love and happiness.

In the “Old Man Logan” storyline, he is tricked into killing the entire X-Men team. This event haunts him for the rest of his life.

Logan had a long, unrequited love for Jean Gray. He has watched her die multiple times, and each time a piece of him dies with her. On one occasion, he even had to kill her himself.

When he succumbs to “beserker rage” he loses control of himself. And the aftermath horrifies him. He is even afraid of himself at times and one of the reasons why he distances himself from others.

Some happy/soft facts to make up for everything you just read:

Logan is incredibly fatherly at times, often taking younger mutants under his protection and guidance. He becomes a mentor to them and looks out for their well-being.

In one of the comics he takes a young girl (Jubilee) to the mall and followers her around carrying her bags. He loves doting on her and I find it so adorable.

He also teaches another mutant named Kitty how to dance.

In one mission he is tasked with taking care of an infant, Hope. And he is incredibly gentle and tender with her. Cradling her in his arms and being fiercely protective.

He has a deep love and connection with animals. Especially ones that have been mistreated or misunderstood.

Caring for an injured wolf, he nurses it back to health and releases it back into nature.

He also adopts a stray, abused dog at one point.

In one of the timelines, he funded and ran the ‘Jean Gray School for Higher Learning’ He was the headmaster, and was dedicated to protecting and teaching young mutants.

In one scene he literally makes pancakes for all the students. I love him so much.

His relationship with Nightcrawler (Kurt Wagner) is very brotherly. They share alot of respect and understanding for each other, and Nightcrawler often serves as Logan’s moral compass.

His happiest memories are when he was training in Japan. And he has a deep appreciation and admiration for the culture. Taking on the samurai code of honor, and respecting its discipline and humility.

His entire relationship with Laura Kinney (X-23). Essentially his daughter. Taking on a father-figure role for her.

In one of the comics he organizes a birthday party for her, knowing she never had one. He goes all out and it shows just how much he loves her.

Logan has a great sense of humor. Often dry and sardonic, he’s known for his quick wit and playful banter. Which adds a layer of warmth to his otherwise tough persona.

He is very fond of life’s simple pleasures. Which reflects his inner desire for peace and normalcy. He values the little things that make life enjoyable.

His numerous acts of kindness towards strangers. Logan is compassionate at heart.

He doesn’t comfort others with his words, but rather his presence. Logan has a very unique understanding of grief and tries to give others relief in knowing they aren’t alone.

WOW okay I wrote way too much. Tbh I actually cut a ton out of this but if anybody wants a part 2 I’d be happy to share more. Shoutout to my brother for helping me source all this with his comics lol.

If you read all this, you’re a real one. And I’m so glad we’re all witnessing the Logan Howlett Renaissance

[wonderjanga]

Respect

Captain Marvel is a marvelous hero. He was one of the first. He was a a brilliant man who helped all over the country, not just his hometown of Fawcett. And although this went for about every other hero that churned out of Fawcett as well, This man helped with construction, the wars, the people. He was revered. He was respected. He was powerful. But most importantly, he was kind. That was what won over a majority of the American peoples soon after his debut. That was what made him the hero of that time. That’s why when he and the other Fawcett heroes suddenly disappeared, the people were distraught. There was memorial after memorial for them all. Most were for the Captain though.

So yes, it’s been established already that he’s had a big impact on America, but one could argue it’s way deeper than that. He was, and still is the blueprint for how a hero should act or look like. When the hero Superman first made his debut, people, especially older people liked the similarities they shared. When Flash debuted he was also well liked among older people for his similar costume to the Captain. When Americans found out Wonder Woman was related to the Greek Gods, she was liked too because the Cheese got his powers from the Gods.

Old Man: “You’re the daughter of Zues?”

Old Lady: “Wasn’t Captain Marvel the son of Zeus?”

Old Man: “No, no, he just got his powers from him. At least I think so. It was in the newspaper some many years ago.”

Wondy: “Who’s this… Captain Marvel?”

Old Lady: “One of the best men to come from this country.”

Old Man: “That doesn’t explain anything, Gertie. He was a wonderful hero from when we were children. He disappeared in about ‘62 last I recall.”

Wondy: “A hero that drew power from Zeus… How could he have disappeared?”

Old Lady: “No one knows.” *shrugs* “One day, he and the other Fawcett heroes up and disappeared along with the city itself.”

His impact wasn’t just on heroing of course. This extended to multiple other things. Middle schoolers have a history unit dedicated to the Fawcett heroes. He was honest to God, the beauty standard for men during a resurgence in the 90s. There are posters and photos in a multitude of places from the Whitehouse to a random Ihop in Los Angeles. There are schools named after him and other Fawcett heroes.

Couple: *looking around the lobby of an ihop and spots a photo on a bulletin board* “Is that Captain Marvel…?”

Hostess: “Yes! He came here in 1959. He apparently got some breakfast with some of his hero buddies and took the photo with the owner. Your table will be this way.”

Couple: “Gosh, I used to think he was so cool as a kid.” *follow after the hostess*

When the time bubble finally popped, the entire country was blindsided by the fact that their hero was back in the flesh. He looked exactly the same, acted exactly the same, and still had that exact warm smile.

Marvel: “It’s wonderful to meet you, Mr. Superman Sir.” *puts hand out for a handshake*

Supes: *inner fangirlling because oh my Rao, this guy is practically his idol and he just called Clark both Mister and Sir* “It’s wonderful to meet you too.” *shakes his hand*

The hero worship wasn’t exclusive to just heroes who were kids. No, no, kids, teens, adults, elderly, most heroes think he’s absolutely amazing. Even Batman! They look up to this guy just as much as the regular elderly civilian who was alive before Marvel had been caught in Suspendium.

The most interesting part about all of this in some people’s opinions are that it was like the Cheese had never even left. He still unknowingly evokes respect whenever he walks into a room. He could still make kids smile with a glance. His power had certainly never waned either during the time he was gone. He was still just a marvelous hero.

.

.

.

Meanwhile during all of this, Billy is internally confused at everything in the modern world and is just trying to handle it the way he normally would. It seems to be working.

[queenshelby]

AMERICAN GIRL (PART ONE)

Pairing: Tommy Shelby x Grace's Stepdaughter!Reader

Warning: Grace is a bully, infidelity, taboo

On a brisk autumn day, you and your younger sibling Emma sailed into Liverpool harbor. You each carried a large, old-fashioned cart filled with towering brown suitcases, with a satchel casually slung over your shoulders.

The journey had left Emma exhausted, clinging to you as she marvelled at the unfamiliar sights of the port with wide eyes.

"I'm afraid," she confided in you, her words barely audible as they grazed your ear.

"I understand Em, but we have each other, and I will always look after you," you comforted her, putting on a smile. You promised to always take care of Emma, and true to your word, you have been her guardian angel since the day she arrived in this world.

Shortly after Emma was born, your mother sadly passed away due to unexpected complications during the pregnancy at her age.

It was a shock to everyone and left you to step into the roles of both mother and sister to Emma at the young age of 12.

Even in your youth, you held onto the hope that your father would one day find love again. Little did you expect that it would come in the form of Grace Burgess who was a young Irish woman with no money to her name after fleeing England in a haste. Grace had cleverly leveraged his wealth and power to her benefit despite their significant age difference.

Your father fell head over heels for her the moment he laid eyes on her at the corner grocery store in New York, just after your 13th birthday.

Their romance blossomed quickly, leading to marriage in less than a year.

At the tender age of seventeen, your father's love for her tragically transformed into heartbreak as she started a romantic relationship with a man from England - the very same man you were about to start living with.

Thomas Shelby was a name that sent shivers down the spine of those who knew of him - an enigmatic and formidable figure who held significant sway in the depths of England.

In the streets of Birmingham, he controlled his own illicit kingdom, bending the rules to his liking. And yet, your stepmother Grace couldn't help but be drawn to him, just as she had been to your father all those years ago when they first crossed paths.

Just before ending his life due to a broken heart, your wealthy father decided to cut ties with his second wife, leaving all his possessions to you and your sister for your 21st birthdays. This decision left Grace boiling with rage.

Soon after, she vanished to be with her lover in England and the two of you were forced to reside with a cruel family member instead as you had not yet turned 21, being the age of adulthood in America.

Within less than a year of living with this man however, you brought about his demise with a single bullet to the head, all because he dared to touch your sister Emma. It was in that moment that your entire world began to shift.

After a series of run-ins with the law leading to stints in juvenile detention, your father's lawyer came to the rescue, securing your freedom at the age of nineteen, albeit with the catch that you had to leave the country for good.

Of course, you gave your consent, but you were taken aback when it was revealed that your grandparents had struck a deal with Grace, out of all people, to care for you and Emma until you turned 21 and inherited half of your father's wealth.

What also came as a shock was the discovery that for the past two years, your family had been colluding with the Shelby Family, smuggling liquor into the United States without your knowledge and you knew that this must have been Grace's doing.

Grace had always been fascinated by the concept of wealth, much like your grandparents and uncle who shared her passion. Therefore, it didn't come as a shock to you when you recently stumbled upon the name 'Shelby Company Limited' in multiple transaction records within your grandfather's office.

While you understood the reasons behind everything relating to the business deals between your family and the Shelbys, the mystery still lingered as to why Grace decided to take you and Emma in after all the turmoil she had caused. After all, she had found herself entwined with a man of considerable wealth, so she had no need for the money that your family would have been willing to pay her for looking after you and your sister unless, of course, she was worried it wouldn’t last.

After two years had passed, this man still hadn't made her his wife, leaving you to ponder whether she harboured any doubts about his commitment to ever tying the knot.

Your stepmother may have been anxious about her partner abandoning her once the business arrangement in the US came to an end, a deal that she likely orchestrated and this, in itself, made you think that, perhaps, you would now finally have the upper hand.

As any young woman in your situation would, you nurtured a deep-seated anger towards Grace. She was the last person you wanted to rely on, let alone live with.

But you shoved those emotions down as you and Emma disembarked the large ship, weaving through the bustling crowd, ready for what lay ahead.

Just as instructed, outside the dock, you were greeted by a young man named Finn.

Finn, in his early twenties, extended his hand to take your luggage with a friendly smile as you approached.

"I am Finn, and you must be Y/N and Emma, right? Tommy has sent me to pick you up," he told you and Emma clung to you tightly, before peering at Finn suspiciously.

"Nice to meet you, Finn," you replied, offering a warm, polite smile.

Once your luggage was stored securely in the back of the Bentley, the three of you set off on the two-hour journey from Liverpool to Birmingham.

Emma's head rested on your shoulder as she slowly drifted off to sleep, her energy depleted from the journey, while Finn was attempting to make small talk with you while, occasionally, looking back through the rear-view mirror.

It was obvious to you that he had already taken a liking in you, but his youthful charm and charisma was not enough to sway you, not after everything that had happened in the past.

You acknowledged his attempts with brief responses, unable to fully engage in the conversation until he brought up the fact that you had killed a man.

"So, my brother mentioned that you had to leave New York because you killed someone. Is it true?" Finn questioned earnestly and without any filter whatsoever.

Your heart raced as you contemplated the best way to respond to his question.

"Yes, it's true," you finally admitted bluntly, looking straight ahead, not wanting to engage in a detailed conversation about it.

Finn, seemingly surprised by your response, paused before shifting the Bentley into a higher gear.

"Did you shoot him?" he asked, curiosity piqued.

You nodded, your jaw set.

Finn didn't press for more details, for which you were grateful. But you could sense his intrigue as he glanced at you through the rearview mirror.

Emma stirred in her sleep, mumbling softly, drawing your attention back to her peaceful face. You smoothed her unruly hair back, your heart swelling with protectiveness.

You would do anything to keep her safe. After all, you had already lost so much in your life already, so you could not lose her as well. 

***

Eventually, the streets of Birmingham came into view, appearing as a striking contrast to the glamour and elegance of your hometown. 

"Wow, this is different," you murmured to yourself, your gaze locked on the sprawling slums that lay outside the car window. There were workers fighting each other and whores selling themselves on the cobblestone streets, while children ran in all directions, many of them ragged and filthy.

"Don't worry. I am taking you somewhere nice," Finn assured you, seeing the look on your face and you could only hope that he was right, because if this was what Birmingham looked like everywhere, you wondered how you could possibly survive here for the next two years.

Despite Finn's enthusiasm, something about the place left you feeling uneasy, like a predator lurked in the shadows and you could see the appeal for criminals to operate here.

Before long, the Bentley turned into the private road of a luxurious home outside of Birmingham  .

The driveway was long, shielded by trees, and it wasn't until the last bend that you caught a glimpse of the mansion at the end.

The house was stunning, with intricately carved mahogany furnishings, rich velvet curtains framing large bay windows, and marble floors polished to a high sheen.

The structure exuded opulence while maintaining a cozy air with its plush décor.

Upon arrival, Finn hopped out of the driver's seat and opened the back door for you and Emma.

You carefully stepped out onto the cobblestone driveway, feeling the weight of this new world pressing down upon you. Emma rubbed her eyes and slowly emerged from her drowsy state, taking in the splendor of the ornate mansion with fascination and open admiration.

Finn led you through the imposing oak door, which creaked slightly as he pulled it open. As soon as you entered, you were met with a grand foyer adorned with chandeliers that cast an amber glow upon the walls.

"You made it," Grace 's stern voice eventually echoed off the marble tiles, causing you to turn around.

She stood there in a long-sleeved maroon blouse and black pencil skirt, her piercing blue eyes sizing you up like some sort of puzzle she couldn't wait to solve.

Emma, seemingly intimidated by her appearance, slowly retreated behind you as Grace approached with determination.

"You look well, given the circumstances," she then said to you, her voice laced with a noticeable hint of sarcasm, causing you to roll your eyes.

"I was hoping not to see you again, but here we are," you murmured under your breath, drawing Grace's ire as she narrowed her bright blue eyes infinitesimally.

"You should be grateful that I took you in," she snarled sharply, causing you to chuckle.

"How much are my grandparents paying you to have us?" you said, unflinching, watching Grace's face for a reaction.

Grace's expression barely changed, merely raising an eyebrow as if amused before replying scathingly, "Nothing. At least not until you make it to 21, so you better behave," she warned.

You took a deep breath, realizing that this was not the time to engage in a war of words with your stepmother. You turned to Emma and noticed that she was trembling slightly and you could see the worry etched into her delicate features. You slipped your arm around her shoulders, pulling her close and offering what you hoped was a reassuring smile.

"Let's get you settled in," you said softly to Emma, who managed a weak nod in response as Grace turned and led the way down the grand hallway.

"The maids will show you to your rooms. You will be staying in the staffing quarters,"  Grace snapped as she pivoted and strode through an arched doorway, leaving you and Emma with two young women wearing crisp white aprons who appeared in your line of vision.

You watched silently as Grace disappeared before you turned to Emma, smiling despite the tension thickening in the air, and whispered gently, "She can't hurt us, Em. She needs us. So just ignore her." 

Emma nodded slowly, but it was clear that she wasn't entirely convinced.

You couldn't blame her - the past few years had been nothing but a series of harsh lessons for both of you, leaving you both vulnerable and wary. But deep down, you knew that things would be different here. This was a new beginning for the two of you, away from the cold-hearted family members who had mistreated you, and into the care of someone who, while intimidating and unpredictable, was bound to follow your father's final wishes for financial reasons.

You were determined to make the best of this opportunity, no matter how difficult that might be considering your complicated history with Grace and, with that in mind, you unpacked your suitcases and settled in.

The rooms were modest but comfortable, with the staff quarters being clean and well looked after, much to your surprise.

Soon enough, your first day in Birmingham was drawing to a close and after you put Emma to bed, you decided to have a warm bath before venturing out to explore this somewhat opulent mansion. 

You put on the satin robe which once belonged to your mother and strolled towards the grand staircase with bare feet, looking at all of the incredible paintings that lined the walls, showcasing various landscapes and portraits of people whose names you did not yet know.

As you reached the second floor, you came across a door which seemed slightly ajar and upon pushing it open, you discovered a library.

Your eyes widened at the sight of thousands of books neatly arranged on wooden bookshelves that stretched from floor to ceiling before, in the room next to it, finding a large piano.

You walked over to the piano and gently touched its surface, marveling at the intricate carvings before looking back at the books surrounding you.

The library was quiet, save for the occasional creak of the old wooden floorboards settling. You moved further into the room, running your fingers along the spines of various titles.

There were novels from authors you recognized like Charles Dickens, Jane Austen and the Bronte sisters but there was also an array of non-fiction texts ranging from science, philosophy to mathematics and history.

There was also a section dedicated to poetry where you spotted a few works by Lord Byron, Samuel Taylor Coleridge and William Wordsworth which intrigued you.

Despite the vast quantities of books in this room, the smell of old leather-bound volumes filled the air as if it was just yesterday when they were placed on these mahogany shelves.

Just as you were about to pick up a book of poetry, the door creaked open, and you heard a dark voice behind you.

"It's quite sad, really," the man said, his tone heavy with contempt. "The book, I mean," he clarified as you turned around, meeting the stranger's gaze.

"I am Thomas Shelby and you must be Y/N,"  he introduced himself, approaching you with a confident stride.

Your eyes widened as you took in the sight of the man who stood before you. He was handsome, there was no denying that, but it wasn't just his chiseled features or his magnetic blue eyes that caught your attention. No, it was the air of danger that surrounded him, like a cloud that warned others not to get too close.

You composed yourself, extending your hand towards him. "Yes, I am Y/N. It's a pleasure to meet you, Mr Shelby," you greeted him with a polite smile, determined to maintain your composure.

"Please, call me Tommy, eh,"  Thomas replied, his cockney accent more pronounced than you'd expected.

He took your offered hand, giving it a firm shake before letting go and stepping back to study you with his intense gaze which lingered a little longer on your bare legs than it probably should.

"Thank you for letting me and my sister stay here, with you," you said almost professionally , breaking the silence. You had to admit, Thomas was an intimidating man but you held your ground without flinching under his scrutiny.

"Well, it wasn't my choice," he chuckled. "Grace practically begged me and I find it rather difficult to say no to her these days,"  he admitted, his tone softening.

You couldn't help but raise an eyebrow at his candidness. "Well, my stepmother can be persuasive, I give her that," you told him while putting the book back into the shelf. 

"You could say that," he replied, offering little insight into their relationship. "Do you drink?" Thomas asked in a manner so casual that the question caught you off guard, but your curiosity was sparked, and you wanted to know more about him. Despite his intimidating presence, he struck you as an intriguing puzzle you couldn't wait to solve.

"I wouldn't say no," you responded with a slight tilt of your head, smiling coyly.

Thomas chuckled at your response before turning around to pour two glasses of whiskey from a crystal decanter on the leather-topped table nearby. With an elegant grace, he handed one to you.

You took it with a slight nod, allowing your fingers to graze his before taking hold of the glass. The warmth spread from your fingertips and up your arm, causing a pleasant shiver to run down your spine.

"There you go, now you can keep me some company," Tommy said with a sly grin as he took a sip of his whiskey and sat down.

"Why don't you get Grace to keep you company?" you asked as you followed suit, feeling the alcohol burn your throat and spread through your body, warming you from the inside out. 

"Because, by now, I would assume that she is sound asleep," Thomas replied, chuckling wryly.

"Well, it is midnight already, which brings me to the question of why you are still up," you asked, raising an eyebrow at him.

"Because I can't fucking sleep, Love," he replied in a tone of voice that made your heart race, "there is always business on my mind, day and night." 

You stared at him for a moment, contemplating whether or not to ask more about his life. After all, you had heard stories about Thomas Shelby and his criminal empire. 

"Well, the booze doesn't export itself to New York now, does it?"  you replied, a small smirk playing on your lips.

Thomas chuckled at your response, finding amusement in your wit. He appreciated a challenge - it was something he hadn't encountered in a while. Grace had always been so timid around him, obedient almost. But you, on the other hand, didn't cower in the face of his daunting presence.

"So you know what I do, eh?" Thomas agreed, swirling the whiskey in his glass. "Did Grace tell you?" Thomas questioned, a slight glint in his eyes as he studied you intently. His gaze was unwavering, and you couldn't help but feel a sense of discomfort at his scrutiny. However, you refused to let him intimidate you, meeting his gaze head-on.

"Oh god no. My stepmother would not discuss matters like this, not with me anyway. She very much dislikes me," you told Tommy as he lid himself a cigarette, his gaze never wavering. "But I know more about my family's business interests than one might think," you admitted, reluctant to speak ill of Grace.

Tommy's lips quirked upwards before he exhaled a cloud of smoke. "That doesn't surprise me, Love. A little birdie has told me that you had some run ins with the law recently, which is why you are here now, in fucking Birmingham of all places,"  Thomas said, his tone laced with an underlying hint of mischief.

He leaned back against the leather armchair, his eyes never leaving yours as he took a long drag from his cigarette.

"Well, it's safe to say that I had made some mistakes in the past," you admitted, holding his gaze firmly. "But I had my reasons for doing what I did," you explained, and  Thomas chuckled at your response, finding your confidence endearing. He had always admired a strong-willed woman - and you were undoubtedly that.

"We all have our reasons, Love,"  Tommy agreed, his tone softening.

You took another sip of your whiskey, the fire in your throat becoming increasingly comforting, and you let out a sigh. The truth was that you had always been impulsive, driven by emotion rather than reason.

You took a moment to gather your thoughts before speaking. "I suppose you're right," you admitted, swirling the amber liquid around your glass before raising from your seat.

"It's getting late and I should probably get some sleep," you said before thanking Tommy for the drink.

Your gaze lingered on him for a moment, studying his features as he did the same with you. There was a spark of curiosity between the two of you, but you quickly tried to push your intrusive thoughts away. 

"Good night, Y/N,"  Thomas murmured, his gaze dropping to your lips for a fleeting moment before you turned around and walked towards the door, hiding your body's reaction to his intense gaze.

"Goodnight," you replied softly, taking one last look at the library before stepping out and closing the door behind you.

You couldn't shake off the feeling of uneasiness that clung to you like a second skin. You shook your head slightly as if to clear the thoughts away, telling yourself that you were only imagining things.

But the way he had looked at you, the slight hint of something deeply sensual in his gaze, lingered and left you with a curious sensation.

You made your way to your guest room, undressing slowly before slipping between the smooth sheets. Emma was already fast asleep, her gentle snores barely audible as you switched off the bedside lamp. The room plunged into darkness, leaving only the faintest gleam of moonlight to cut through the curtains and cast thin stripes of silver upon the walls.

You stared up at the ceiling, the alcohol swimming lazily in your veins and causing your thoughts to swirl with unclear notions.

As much as you tried to fight against the growing allure, Thomas Shelby had intrigued you. There was no denying it. He possessed an air of mystery and darkness that called out to that impulsive part of you like a siren's song which was a part of you which you knew you had to suppress. 

Tags:

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@heidimoreton @nela-cutie @futurecorps3 @delishen @nosebleeds-247 @thirteenis-myluckynumber @gills-lounge @hjmalmed @lost-fantasy @tiredkitten @sidechrisporn @smallsoulunknown @charqing-qing @hopefulinlove @aporiasposts @shycrybaby @me-and-your-husband @hjmalmed @lacontroller1991 @galxydefender @aporiasposts

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[rnope-c1e]

Hello everyone! I'd like to present to you:

Solarpunk daylight setting system!!!

What is this? This is a way of categorizing and defining solarpunk futures by how far in the future they are by using the natural daylight concept!

The Solarpunk daylight system is supposed to help define your setting, but it's not supposed to limit you in any way!!! It's also supposed to make it easier to search for particular settings in stories :D

🌱Morning Solarpunk 🌄

(Today or Seedling Solarpunk)

Morning Solarpunk resembles the world of today, it resembles the sprouts of solarpunk in societies and our current struggle under capitalism, it resembles the beginning of change.

Morning solarpunk can be happening in twenty-first century or prior.

Defining elements:

Everything you can do today to be solarpunk is what morning solarpunk is! Visibly mended clothing and tools, art on the streets in all forms, guerrilla gardening and permaculture gardens, communities uniting and people joining climate action.

Peaceful Anarchist, Violent World by kayas-kosmos

🪴Noon Solarpunk ☀️

(Tomorrow or Flowering Solarpunk)

Noon solarpunk resembles post-capitalist world or world where significant effort in abolishing capitalism is done. Things are already better, but the scars of the old world are still visible.

Noon Solarpunk is supposed to show us better times and answer the question, what happens on the next day after revolution and in the following years.

Defining elements:

Taking lots of stuff from morning solarpunk and making them more pronounced, repurposed old infrastructure, we can see new solarpunk architecture (sustainable and integrated into nature) appearing, all tech is powered by renewable energy and easily repairable, community gardens everywhere.

Art by mimiitambonne

🌻Evening Solarpunk 🌇

(The day after tomorrow or Ripening Solarpunk)

Evening solarpunk resembles late stage solarpunk world, pure science fiction! This is stories of our successors and how they are living in new refined world!

Defining elements:

Defined by being futuristic, practically unrecognizable from modern age, new hi-tech solarpunk technologies (low tech stuff still exists btw), go as CRAZY as you CAN to show marvelous bright future!

Art by thalieshelen

Things are bound to change and get more refined, please submit your ideas on how this system can be improved! :D

[internetskiff]

Falke is so compelling. Usually when a machine is imbued with a God complex in fiction it immediately decides it's superior to humanity and goes on a rampage - but FKLR units are nothing more than tools, just like the other Replikas. In Replika hierarchy, yes, they're basically deities - hell, their inner circle is literally comprised of units designed to be reliant on her guidance, ADLRs explicitly designed to be dependent on them and KLBRs acting as relays for their bioresonant abilities. They built polyethylene icons of godhood and then they built hopelessly devoted apostles for them. And yet, despite that, even the corrupted Falke unit in charge of Sierpinski never considers herself above humanity - perhaps it's because her ego is satiated by her status as a superweapon of the Nation, or perhaps it's simply a devotion of her own.

And then her godhood is challenged. She passed through the Gate, came back different, split by the flood of memories foreign to her. At first she sees it as an attack, a curse sent down to her from afar, but slowly she grows enamored with it. "These memories are mine now" - as if passed down, inherited, gifted to her. Is losing yourself really a curse when the "self" wasn't yours in the first place? Is this whole ordeal that much different from her creation? In the end, despite her status, her power, her authority, her influence on this dollhouse of manufactured devotees - she's just like any other Replika: a vessel to store memories that don't belong to them. Nothing is truly hers. Her body manufactured, her mind passed down to her from a frozen body, her power bestowed unto her by a module inserted into her shell. This isn't hers either, but it gives her something she'll otherwise never experience - memories of being loved. Not the hard-coded obsession of an ADLR unit, not the pride AEON feels towards her as a technical marvel - memories of someone's actual fondness. These memories don't belong to her, but at this point, the one they truly belonged to is gone. She is not alone anymore. She isn't one. She is split in two. She isn't just Falke anymore. She is also Elster. And perhaps she prefers being Elster to being Falke.

So when she is pierced with her own spears and left to bleed out, she is content. She is Elster. She is one entity in two bodies. And now, with one body left as nothing but a pile of eroded, tumorous, bleeding flesh, only one remains. She was two. And now she is one.

[littlesolo]

This Made Me Tear Up

The article:

Students at the New York City Institute for Special Education in the Bronx welcomed Friday a special visitor who spoke about the importance of representation of people with disabilities in the media. Actor Charlie Cox, best known for his role as the Marvel superhero with a visual impairment Daredevil, spoke with K-12 students about his experience portraying a blind character. Marvel’s Daredevil follows the story of attorney Matt Murdock, a vigilante who fights crime on the streets of New York City when the sun goes down. Cox played the iconic character in the television adaptation of the comic book written by Bronx legend, Stan Lee. Founded in 1831, the New York Institute for Special Education (NYISE) is a private non-profit school that serves children who are blind or visually disabled and preschoolers who are developmentally delayed. It was one of the first schools to serve the unique educational needs of students with visual impairments in the United States. Cox discussed the need for people with disabilities to be represented in the industry, noting their low numbers. For instance, the 10th annual Hollywood Diversity Report from the UCLA Entertainment and Research Initiative found that less than 1% of shows in the 2021-2022 season featured characters with physical or visual disabilities. Cox and the students watched his performance in Daredevil, then created superhero themed craft projects. Cox encouraged the NYISE students to realize their full power and potential. Cox, who is not visually impaired, worked with teacher Joe Strechay at the American Foundation for the Blind (AFB) on the role, observing his movements and learning to walk with a cane while blindfolded. The AFB awarded Cox with a Helen Keller Achievement Award for his work to portray the blind Marvel superhero accurately.

[webshootersandwingdings]

So I just found out about Marvel Powers United, a VR game where you can play as Captain Marvel AND pet Lockjaw. I’m dying inside knowing I’ll never be able to play it! AND my Captain Marvel “gamerverse” post is incomplete because it was missing this! Heck, imma edit it.

[wheelsgoroundincircles]

1987 Buick GNX

1987 Buick GNX: A Rare Muscle car That Showed How Awesome GM Could Still Be

Let's talk about one of the most iconic cars from the 1980s – the Buick GNX. This car wasn't just a vehicle; it was a statement, a powerhouse, and a collector's dream even when it was new.

Here's What Made It Special

Ultimate Performance: In 1987, the GNX stood at the pinnacle of Buick’s turbocharged lineup. Its 3.8L V6 engine, enhanced with a Garrett T3 turbocharger and a larger intercooler, produced a formidable 276 horsepower and 360 lb-ft of torque. Those were BIG numbers for the time.

Limited Edition: Buick produced only 547 GNX units, each transformed by ASC McLaren Performance Technologies.

It Wasn't Just a Hopped-Up Engine: The GNX included numerous performance upgrades like a reprogrammed engine management system, a performance suspension with a torque bar, and a unique GNX rear differential cover.

It Was Lightning Fast: This car could rocket from 0 to 60 MPH in under five seconds and complete a quarter-mile in just over 13 seconds, making it one of the fastest cars of its time, and capable of running with the Big Block Muscle cars of the late 60's.

It Looked Cool: The GNX had a menacing exterior with vented fenders, a lack of hood and fender emblems, and 16-inch aluminum mesh wheels with blacked-out faces and GNX center caps.

The Car Pictured Here is an Unrestored Gem: GNX number 155 of the 547 built remains unrestored with an incredibly low 12 miles on its odometer, showcasing its pristine condition. Still, too bad nobody has ever really got to enjoy driving it.

Luxurious Interior: This GNX featured a six-way power adjustable driver's seat, GNX-badged front carpet savers, and a special instrumentation package, making the interior as impressive as its performance.

Rare Documentation: It includes the ASC McLaren GNX window sticker, listing all the unique features that made it a Grand National Experimental.

It's a Sought-After Collector Car: With its unmatched performance, limited production, and unique features, the GNX has become a highly sought-after collectible in the classic car world.

The Buick GNX wasn't just another car; it was a high-performance marvel that left a lasting legacy in automotive history.

When it comes to the grand national the GNX is the holy grail

[deesea-ao3]

I've finally realised why I fundamentally disliked the New 52 version of Shazam/Captain Marvel.

I've had nitpicks about it before, but I always chalked it up to my personal preferences, and not anything inherently wrong with the retcon. It just wasn't my thing.

However, I could never shake the feeling that there was some deeper flaw to it than a mere difference in taste. New 52 Billy is a very different character to his older versions, but the core of his backstory (homeless orphan, history of abuse, extreme independence) was arguably retained, just in a new modern rendition. So why did I feel like the new 52 had lost something important?

Then it hit me.

Any version of Billy Batson would, realistically, never let himself have parents again.

Now that is not to say they don't have merit, I can see the vision with them. A perfectly normal, loving, and safe parental unit to contrast the insanity of Billy's life and give him that sweet hurt/comfort goodness. In the end, though, I could never get used to them. Even with all of Billy's changes in the new 52, it always felt deeply ooc whenever he would respect their authority or consider their comfort more important than his responsibilities. In fact, the new 52 version of him is even more distrusting of adults than the golden/silver age version, so Billy compromising his independent personality (especially after he gets his powers) feels like a huge contradiction to both his original and retconned selves. The Vasquez's aren't developed enough characters to make such a huge narrative trade off satisfying. This weird "distrusts authority figures + is proficiently independent yet let's them dictate his responsibilities and make choices on his behalf" characterisation extends beyond the Vasquez's and into Billy's professional relationships with the League. I love reading things where the trinity try and parent Billy, but the fun of it is how he never let's them in the end. Billy's been treated like an equal long enough for him to have seen his colleagues true selves, there is no chance in hell he'd let Superman dad lecture him when he's seen the man at his worst before.

While I never enjoyed the new 52 "Shazamily" brand, I could tolerate it. I never found any of Billy's siblings aside from Mary and Freddy compelling for various reasons, but Darla, Pedro, and Eugene were alright as far as superfluous characters went. What I really never liked were the Vasquez parents, Rosa, and Victor.

What I love about Billy Batson as a character is how inherently tragic he is, but in more subtle ways. Billy was orphaned/abandoned which is sad in and of itself, but the real meat and potatoes is what came after. Billy's been failed by everyone in life, but will not give up faith in people irregardless. He is the world's most competent 12 year old, with wisdom beyond his years and hard won skills that helped him survive on his own. All of this is what made him worthy of the lightning, what made him different and less likely to misuse such power.

Billy Batson in any era of DC always starts out as one of the weakest members of society. His misfortune always stems from the selfishness of others, who's proclivity to abuse their privileges make the boy intimately acquainted with the worst mankind has to offer. He has been robbed at every turn of good choices, and left with the hard ones instead. Education or food? Entertainment or work? How far is he willing to go for survival? If he lies, cheats and steals will he still want to survive by the end? if it means losing who he wishes to be?

If I were in his circumstances, I would be insulted by any attempts to parent me. Acknowledging that I deserved better wouldn't negate a childhoods worth of untrustworthy adults. By that point I'd be so used to living on my own that any well-meaning adults attempt to "lessen my burden" would certainly chafe. God forbid anybody try discipline me in the hopes of providing structure. I would never respect them again. Put the fucking mantle of Champion of Magic on all that, with an ancient wizards seal of approval, and I'd be out of any foster home faster than you could blink.

Why the hell does Billy stay in a house with a bedtime, and lectures, and restrictions on his ability to choose if he can transform into an invulnerable demi-god who can teleport into a safe, warm pocket dimension? Why doesn't he sell off some old junk from the rock, impersonate an adult, get a cheap apartment and load it up with magic wards and runes and just live there? This kid is divinely sanctioned as worthy of responsibility, why the fuck would he listen to life advice from two adults he barely knows? Billy can still be humble about his power while also having a spine about it.

Billy can have as many siblings as he wants, even if I don't find them all that interesting, but I don't think he would ever want parents again. Not if it meant losing the security that comes with full self-determination. He deserves to have had parents, but the tragedy of Billy Batson is that he can't. He has power unimaginable, is a beloved public figure and successful superhero, all these things that only existed in dreams before, but he doesn't have parents, arguably the one thing universally all children should get to have.

[artbyblastweave]

So for those of you who don't read twenty-year-old marvel comics a lot, the 2005 Marvel Crisis Crossover was called House of M. The basic premise of this was that this was smack dab in the middle of the Scarlet-Witch-is-Having-a-Normal-one arc that was very, very loosely adapted into Wandavision; in her initial breakdown, she'd killed several of the Avengers, wound up in the protective custody of Magneto, and the recently reformed team was debating whether or not they were going to have to kill her before she deleted reality on accident or some such thing. But when they're on their way to Magneto's stronghold to have a "talk" with her, the world is enveloped in white, and Wolverine (the initial POV character) wakes up in a world where Mutants are 98% of the human population and have been for decades, and Magneto and his family (the titular House of M) are leaders of the global political order, and Wolverine is one of the only people in this realigned world who remembers that it was ever different.

Wolverine initially is operating under the assumption that Magneto cajoled Wanda into rewriting reality in his family's favor, but after rounding up and waking up several of his allies, he realizes that what actually happened is that Wanda rewrote reality so that everyone she knew would get everything they wanted- Magneto being in charge with a 98 percent global mutation rate is just the inevitable byproduct of that. The resulting world is an amalgamation that has to accommodate the conscious or subconscious "perfect life" of every superhero on earth, in a way that acts as a fascinating characterization tool, often with a monkey's-paw angle. Spider-Man is a beloved celebrity wrestler, and Uncle Ben and Gwen are both alive, but he attained that status by pretending to be a Mutant and he lives in constant fear of being exposed. Mystique, Rogue, Nightcrawler and several of their associates are the tight-knit family unit they were always kept from being.... as the elite jackboot of Magneto's regime. Luke Cage and Hawkeye lead the human resistance, standing in perpetual principled opposition to the powers that be, but with no real hope of accomplishing anything. Captain America didn't lose years of his life to the ice, but he had to live through a global authoritarian takeover he ultimately couldn't do anything about. Wolverine gets to remember his entire life, but that includes remembering that his current ideal circumstances were manufactured to keep him placated. And on and on and on. Lot of really interesting character takes packed up in there, paired with the equally interesting project of packing as many of them as possible into the same timeline without contradicting each other- after all, from the word go you have to contort everyone's happiness around the basic conceit that Magneto rules the world.

Anyway. House of M AU for Worm. Discuss.

[dorothylarouge]

Comic Book Review: Runaways by Rainbow Rowell

Hello, all. Today I will be taking some time to discuss a comic book I enjoy. This is the first in what will hopefully become a series of long-form comic book reviews I'll be writing for this blog as I continue working through my backlog of unread comics as well as ones I'm rereading, both on my own and through me and @bimboficationblues' book club.

I first read the original run of Runaways in digest trade paperback format at my local library when I was in middle school, and the book hit me at the exact right time, since I was pretty firmly the book's target demographic - young, restless, and beginning to grow resentful of the adult authorities in my life. I never read the 2017 revival, as I was not reading comics when I was in high school and college, but I was at my local library - a different one, I don't live in Texas anymore - while waiting for the power in my apartment to come back on due to an outage, and discovered that they carried the full series in trade paperback. I decided to check it out and see how it held up to the original run, and found myself pleasantly surprised by how much I liked it - enough, clearly, to make this post. I'll get into more detail about the 2017 book later in this post, but I'd like to first give an overview of the original series to provide some context for how this book came to be, since it's quite a niche, cult-classic book as far as Marvel titles go.

Part One: Born to Run

At the turn of the century, comic books faced a number of problems. The bottom had fallen out of the industry in the early 1990s due to the burst of the speculator bubble, sending shockwaves that continued to reverberate into the early 2000s. Marvel Comics had nearly been bankrupted and stripped for parts, surviving only by the skin of its teeth, and was only just getting back on its feet. But now, another threat was looming: anime and manga. Imported comics from Japan were beginning to capture a larger and larger market share of comics sold in the United States, fueled by the popularity of Dragon Ball, Sailor Moon, and others on television. Marvel sought to fight back by producing books which would appeal to young fans of these Japanese imports and act as gateway drugs into more standard Marvel fare. Their first effort came in 2000 with the utterly embarrassing Marvel Mangaverse, a group of books which copied superficial and stereotypical aesthetics of manga, without any of the substance.

Just look at this shit, man. Anyway, in 2003, Marvel tried a different approach with their Tsunami imprint. The books in this imprint would also employ art styles that reflected the influence of anime and manga, but would feature character-driven, in-continuity storylines aimed at a variety of age ranges. Among the titles Tsunami would publish was a book written by Brian K. Vaughn (known at the time mainly for his work at DC's Vertigo imprint, including a run on Swamp Thing and his own Y: The Last Man) and illustrated by Adrian Alphona (who would go on to co-develop Kamala Khan with G. Willow Wilson) titled Runaways.

The initial premise of Runaways was really quite brilliant in its simplicity: Alex Wilder, Nico Minoru, Chase Stein, Gertrude Yorkes, Molly Hayes, and Karolina Dean are casual friends bound together mainly because their parents are all friends - actors, engineers, lawyers, and influential people in the Los Angeles area - who gather once a year for a charity event.

As the kids are left bored and alone while their parents meet at Alex's house in Malibu, they find a secret passage and are able to observe their parents at the meeting, learning that, in truth, their parents are a group of supervillains known as the Pride, who control crime and vice in Los Angeles, and who conduct human sacrifices in arcane rituals.

As the kids attempt to discover more about their parents in order to find evidence to bring to the police, they each begin to discover unique powers and abilities: Gertrude has a psychic link with a genetically-engineered deinonychus, Karolina is a light-powered alien with the ability to fly, Molly is a super-strong, super-tough mutant, Chase gains access to powerful technology created by his parents, and Nico is able to summon a magical focus known as the Staff of One when she bleeds, which she can use to cast powerful magical spells, with the catch that she can never cast the same spell twice. Alex, with a genius strategic mind, becomes the group's leader, and with the group learning that the police in LA belong to the Pride, they run away from home and drop off the grid in order to find a way to put a stop to them.

The first volume of Runaways chronicles the kids' conflict with their parents, as well as run-ins with a vampire named Topher and Marvel's original runaway teen superheroes, Cloak and Dagger. Eventually, they learn that their parents were gathered to serve godlike giants called the Gibborim and conduct a ritual which would wipe out all life on Earth, save for six of the Pride - or more specifically, their heirs, the children. The volume ends with the team's climactic confrontation with their parents, as they begin the ritual to end the world, with Alex revealing himself to be a mole in the group and having secretly been on the side of the Pride all along. After Molly disrupts the ritual, the Gibborim arrive and vaporize Alex and kill the Pride, with the kids barely managing to escape. In the aftermath, the kids are placed into foster care, which they promptly run away from, becoming teenage fugitives once again.

The first volume of Runaways lasted only 18 issues, but sales of the digest format trade paperbacks (another thing copied from how manga is distributed in the US) proved so strong that a second volume began publication in 2005, featuring the same creative team. This volume saw the kids continue to evade the police, adult superheroes, and social services. Along the way, they recruit a few new runaways, including Victor Mancha, a cyborg built by the Avengers villain Ultron, and Xavin, a shapeshifting, genderfluid Skrull who imposes themself upon the group as Karolina's fiancee due to a marriage arranged by her parents. They also take a trip to New York City to help clear Cloak's name when he's accused of attempting to murder Dagger. There, they come into conflict with the Avengers, and get sushi with Spider-Man.

Over the course of the second volume, Gertrude is killed in a fight with a reformed Pride made up of a time-displaced version of Alex's father and his MMO friends, and Vaughn's run on the title ends with a story in which Chase, who is grief-stricken after her death, makes a deal with the Gibborim in order to bring her back in exchange for a sacrifice. The deal falls through, and the kids are forced to fight the gods that their parents once served, ultimately managing to defeat and erase the Gibborim from existence.

After Vaughn left the book, unfortunately, Runaways started a long period of decline. He was replaced as writer on the book by Joss Whedon, who penned a couple middling stories, including one where the kids fight the Punisher and the Kingpin, and another where they're flung back in time to 1907 New York, where they recruit the final member of the team, a young mutant and child bride named Klara Prast who can make the flowers grow. Yawn. Volume 2 of Runaways ended with issue 30, and the book was relaunched with a new #1 in 2008, this time with the creative team of Terry Moore (best known for his indie book Strangers in Paradise) and Humberto Ramos (a veritable workhorse whose portfolio speaks for itself, particularly his work on Spider-Man). This brief, forgettable run was followed by a fill-in issue or two by Christopher Yost, and then a final, mediocre arc by Kathryn Immonen which ended the series abruptly on a cliffhanger.

After this, the wilderness years. Characters from Runaways appeared with some regularity - Nico, Chase, and Victor all played major roles in various Avengers spinoff books, none of which suited them particularly well - although in the pages of Avengers AI, Victor would forge a friendship with a reprogrammed Doombot which would play a role later. Mostly, though, it became clear over the years that these characters did not work in normal superhero books, because they were not normal superheroes - they were Runaways. Part of the problem the book had come to face in the later years was a failure to understand that point. The Vaughn run had proven the potential of the characters and concept of the Runaways - they needed a writer who understood that potential, and how to bring it out - and they could have a renaissance.

Then, in 2017, a Runaways TV show premiered on Hulu, to tie into the Marvel Cinematic Universe, and Marvel, for the most cynical and synergistic of reasons, decided to give them that renaissance.

Part Two: It's Only Teenage Wasteland

Runaways volume 5 (volume 4 was an unrelated Secret Wars tie-in) is written throughought by Rainbow Rowell. Rowell's background is in contemporary young adult fiction, which isn't usually my cup of tea, but translates very well to this comic. Runaways, at its core, is not a superhero book- a point which will be made more explicitly later in the series - it is a teen drama with superpowers. Angst, sexual tension, and resentment of authority are all key elements of the series, which Rowell employs effectively throughout. Joining her on art for the initial run of the volume is Kris Anka, who would later go on to be the lead character designer for Spider-Man: Across the Spider-Verse. Anka's art is colorful and expressive and complements the tone of the series brilliantly. It's probably the best Runaways has ever looked. Of particular note are the outfits Anka designs for the characters, which change from issue to issue and help to characterize each Runaway visually.

The book picks up with the Runaways having split up, with Molly living with her grandmother, Victor having been reduced to an inert, deactivated head following his apparent death in Avengers AI, Karolina in college and dating Julie Power of Power Pack, Klara in foster care, Xavin in space, and Nico in a shitty LA apartment after a brief stint with the all-female A-Force. The inciting incident of the book occurs when Chase appears with a time machine, having recovered the dying Gert from the events of volume 2. Nico is able to use her magic to save Gert's life, and she wastes little time pushing to get the rest of the gang back together.

Of course, two years have passed since Gert died in-universe. Karolina, Nico, and Chase are all adults now, and Molly is a teenager now, happily living with her grandmother. Things changed while Gert was away, and there's no way to go back to the way things used to be.

The first arc of the book establishes some core themes which will continue to be relevant for the rest of its run: change, growing up, and family bonds. Gert is the heart of the book, despite her vociferous denials of that being her role. She is the driving force behind reuniting the Runaways, and her character is explored in this book more than it ever was in the Vaughn run - her negative self-image, which she hides behind an acid tongue, is a recurring focus. Of note is a scene where she discovers that her purple hair, which had previously set her apart and helped her to feel as if there was something special about her, has become a common fashion statement in the time she spent being dead. Her relationship with Chase is also examined - the age gap that now exists between them precludes any resumption of dating, and she eventually gets together with Victor - but Chase still loves her despite himself, and holds out hope that things can change when Gert gets older and the age gap is less of an issue. It's a little creepy, but psychologically understandable, as is his giving into temptation when a future version of Gert appears and practically throws herself at him.

Rowell's focus on character is central to what makes the book work. There are few titanic threats and fewer supervillains; the drama in Rowell's Runaways is driven by the characters and their relationships to one another, which are given a fresh perspective due to the characters having aged and grown since the previous volume of the series. Molly struggles with the idea of growing up and having to face adult fears and responsibilities, especially when her best friend in middle school offers her a way to stay young forever. Nico struggles with the feelings she's realized for Karolina - picking back up a plot thread from Xavin's introductory arc - as Karolina struggles balancing university, supporting the Runaways, and being a good girlfriend, failing at the latter as Julie breaks up with her - but in the process allowing her and Nico to finally have the right timing.

Also complicating matters are Victor's Doombot friend, who becomes a recurring character and joins the main cast in the back half of the series, and Alex Wilder, who has returned as a living corpse, with the children of the Gibborim on his heels. Rowell's portrayal of Alex is one of the series' most interesting aspects, as a young man burdened by his past mistakes and whose inability to acknowledge or account for them prevents any reconciliation with his one-time friends, and leads him to continue making the same mistakes over again. The only bond with the group he is able to maintain is with Molly, the only other Runaway who still misses her parents, and they have some very sweet interactions in a spotlight issue which serves as a look at what things could be like if Alex was willing to own up and atone for how he's hurt the others. His arc is left unresolved, though, for reasons we'll get more into in a bit. Doombot, meanwhile, has a brief storyline in which he comes to grips with his sense of individuality separate from the programming he was given by Doctor Doom, but other than that his primary role in the series is to serve as a caretaker, of sorts, to the kids, as well as a source of consistent comic relief.

That's another thing about this series: it's very funny! Much of the humor is character- and interaction-based, which is very much my style of humor in comics, but there's also some really nice sight gags and creative use of lettering and sound effects to create jokes. A lot of the humor in the original series can be hit-or-miss, in particular a lot of the more dated references, so the humor in this volume is a refreshing change of pace.

Following the fight with the children of the Gibborim - one of whom, Gib, sides with the group and becomes their newest member - the series enters its midpoint, in which Karolina drops out of college and begins moonlighting as a superhero as an unhealthy outlet for her anxiety, which ultimately ends up dragging the other Runaways into the orbit of Doc Justice, one of Los Angeles' premier superheroes, who outfits and equips the group as his new J-Team. I'm conflicted on this arc for a few reasons. The first is that it interrupts what I felt was an interesting arc for Karolina using superheroics as a coping mechanism, which I felt wasn't explored fully before Doc Justice showed up. On the other hand, though, the arc really gives Gert the spotlight after some time of having it off of her, and she's really able to shine as the one Runaway excluded by Doc Justice due to her weight and lack of powers, both key elements of her own negative self-image which haven't gotten a lot of focus since the early arcs of the series. Further, the arc serves to drive home the point that the Runaways are not superheroes and that Runaways is not a superhero book in the traditional sense. Seeing everyone in spandex and responding to distress calls just feels wrong. And Doc Justice is a great villain for the series: a conceited superhero obsessed with fame and media attention, who has systematically arranged the deaths of various teammates over the years in order to maximize sympathy and publicity. It's all very Hollywood. The ultimate downside of the Doc Justice arc, I think, is that after it's done, the series only has seven issues left. The eternal curse of Runaways, to have each volume cut too short, rears its head once again, and in using one of its final arcs to make a meta-commentary on the series as a whole, it sacrifices some opportunities for the character interactions and interpersonal drama that really make the book shine.

The final arc makes an effort to pivot back to that interpersonal drama, including a delightfully fucked-up romance between Chase and a future version of Gert who has traveled back in time to supposedly save him from himself, which blows up as you might it imagine it would once present Gert and Victor stumble across them. There's also a plot thread of Molly, Chase, and Nico helping a visiting Wolverine and Pixie track down a mutant who sent a distress message, in which Nico very nearly kisses Pixie due to her established character flaw of getting caught up in the moment, and it seems like she and Karolina are going to have an honest conversation about it - only for the conversation to instead be about the frankly much less interesting conflict Nico has been facing about the evil sorcerer whose spirit is housed in the Staff of One, and who is taking a piece of her soul every time she casts a spell. It's a conflict that could be interesting if more focus was placed upon it, but it's the subject of one issue prior to this and the end of the series means that it ends up going nowhere beyond Nico entrusting Karolina with the staff in the end. That's a major flaw in this run, though one that isn't entirely its own fault - its abrupt end means plot threads, like future Gert's abduction of Chase, Nico's conflict with the spirit of the Staff of One, and Alex's usurpation of the Doc Justice mantle, are left hanging.

It really is unfortunate, and makes the time spent on the Doc Justice arc, which probably could have taken four issues instead of a frankly indulgent seven, feel even more egregious and unnecessary with hindsight. This series has a leisurely pace, which is good when it allows character interactions and dynamics to stretch out and have maximum impact, but it also means that at the end, when everything has to wrap up relatively quickly due to the amount of time taken in previous arcs, there's a disorienting and frantic energy, like trying to get your room cleaned five minutes before your parents get home. In particular, the last issue crams a ton of stuff in, to an exhausting degree - Karolina summons her people to take her into space and treat her for injuries she sustained in Doc Justice's efforts to martyr her, future Gert enacts her plan to kidnap Chase into the timestream, Gert's time traveling parents show up for some reason, Alex is surveilling the team for reasons unknown, Xavin is now a general of Karolina's people... it's a lot to leave on a cliffhanger.

Rowell's Runaways is a good book, and I do recommend it, either on its own or, preferably, after reading the original 2000s run. It does a great job of moving the characters forward, maturing them, and giving them more adult problems to deal with, while maintaining the series' core themes of identity, questioning authority, and anxiety towards adulthood. It simply doesn't have enough issues left at the end to resolve all of its plot threads, and that is what ultimately holds it back from being great. 38 issues is a good run, better than any volume of Runaways before it was able to achieve, but its pacing choices and the number of plates it attempts to keep in the air leave the reader wanting more.

But, to its credit, it succeeds in making me really care about what that "more" could be.

Part Three: Run Away With Me

Volume 5 of Runaways ended with issue 38, cover date October 2021. It outlasted the TV show it was meant to tie in with by two years - a TV show that was eventually pulled from streaming as a cost-cutting measure. In the years since the series concluded, not much has been happening in that corner of the Marvel Universe. The characters have made few, if any, appearances, and there's been no talk of a sixth volume, despite the plot threads left hanging.

Well, that sucks, you know? Runaways is such a unique series with such a special voice and perspective in superhero comics, and it deserves a place in Marvel's publication roster as much as the millionth Spider-Man or X-Men spinoff does. It has never sold spectacularly, but it has an audience and, crucially, has always been good for its originally intended purpose: giving Marvel a backdoor into the teen and young adult market that has for decades now largely eschewed comic books. Manga sales now account for nearly half of all comics sold in the United States, and while Marvel now mainly serves as an IP farm for adaptation into the much more lucrative MCU, I think there's value in a series like Runaways that's able to tap into that YA market in a way Marvel's other books aren't able to.

I think with the right creative team, Runaways could easily become a solid seller that is able to have a respectable run of issues. Volume 3, as well as the original Vaughn run, prove that this is possible. I would seek out a writer like Mark Waid, whose bread and butter is character work and who was able to revitalize Archie's comic line to appeal to YA readers, or Ryan North, whose Fantastic Four is one of Marvel's best titles right now primarily on the strength of its character dynamics, or David Willis of Dumbing of Age, whose work for the past decade has entirely centered on young adults finding themselves, to take over the reins of a revival, someone with established chops in the genre. Pair them with a quality artist - think Chris Samnee or Todd Nauck, and I think there's a recipe there for a hit.

I hope we see Runaways come back again, sooner rather than later. Another eight year hiatus would be unbearable.

G-d help me, I wanna see these crazy kids again, and see where the road takes them.

FINAL SCORE: 3.5/5. A good comic.

[jellogram]

I want to talk about the Rosetta Stone for a second:

This chunk of rock is the reason that anyone today can read Egyptian hieroglyphics. It's an incredible artifact (which is unfortunately in the British Museum, but I'm getting to that) because it allowed us, for the first time, to go back in time and actually hear from the people we had studied so much about. It allows us to look at pictures inscribed thousands of years ago and know what the carver meant by them. There's a reason it became an iconic piece of rock.

But my main point here is how much we love this rock. In one of the most impressive archaeological collections in the world, assembled through centuries of violence and thievery and racism, the crowning jewel of the museum is this rock. It's the banner image on their collection page of their website.

Isn't that interesting? This rock is special because of the way it connected cultures and allowed us to gain new understanding for people from another time and place. It's incredibly human, in the best possible way, that one of the world's most prized possessions is a tool that reached through millennia and brought us someone else's thoughts and words. It's wonderful that we are a species who places so much value in that.

But it's in the British Museum. An institution which offers a thorough summary of one country's attempt at world domination, at exercising their culture's own superiority over every other. At their disinterest in treating others like people.

It's not entirely known how the stone even came into British hands. The French discovered it. How it ended up in England's pocket was something that happened in hushed voices, between two world powers that hated each other but were united in their shared disrespect for Egypt's rights as a country.

But the museum today doesn't seem to see the hypocrisy in any of this. They marvel, and expect us to marvel, at this artifact for its ability to connect us with ancient Egyptians. Meanwhile, the perfectly functional and safe museums in Egypt today don't get to display this stone. The tool that opened up study of their own history was stolen from them. The exhibit might as well be a neon sign, declaring that Britain cares more for ancient Egyptians than modern ones.

So there it remains, at the British Museum. A testament to both human connection and human violence. I think if I wanted aliens to understand human history, the Rosetta Stone might be a good place to start.