#quicksilver with a not-so-quick edit

[thou-shall-fucketh-off]

let it be said that fox made quicksilver too op in the movies and that I will forever cherish him

[dinogoofymutated]

Please, when u have the time, more Pietro stuff 😭😭😭 ur writing for him is excellent and I need more!! Headcanons, stories, idc I just need more Quicksilver written by u.

Enemies to lovers!Quicksilver/GN!reader - pt 2

Here's part 1

It's finally here!! I'm sorry if there are any spelling mistakes. Also, I think the ending is probably the most dialogue heavy scene I've done so far, and I'm not entirely happy with it, but i wanted to post this so bad!! I might go back and edit later though. Hope you all enjoy!! TWS: Fighting, passive aggression, full on aression kinda, logan is a worried asshole big brother, Professor X watching his tragedy not quite repeat. Pietro is kinda an ass but he's a broken ass so its okay.

You and Pietro had a weird relationship. And it seemed to just spiral into even weirder territories and murkier waters. Each and every interaction tiptoed into something a little more than just enemies, and one night you think the two of you fully crossed the line. You were sure of it, and it was just the start.

    You’re finally starting to fall asleep when there’s a sudden whoosh of air and grunt of pain. It startles you, and you sit straight up in bed, leaning over to flicker on the light. When your eyes finally adjust, you see Pietro standing by the window, hunched over in clear distress.

    “Pietro? What are you doing here?” You ask, But he doesn’t respond. His suit is ripped and bloody, and various deep cuts litter his skin. You swear he’s about to pass out as he stands in front of you, swaying just a little like he did on that day at the beach. Whatever fight he had just been through, it had taken a little more out of him than that fast metabolism could heal so quickly. 

    “Are you okay?” You ask, wide-eyed at him. Pietro grimaces in a way that looks more angry than it does pained, and yet he still says nothing. Unable to deal with the idea of admitting he needs help, you assume.

    He’s sitting on your bed now, naked from the waist up as you stitch his wounds. He’s been silent the whole time, only offering a wince or grunt every now and then with particularly tender wounds. Right now you’re on your knees as you stitch up a rather deep cut on his upper side, his arms keeping his balance as he leans back on your bed.

    “Do you wanna talk about it?” You ask eventually. Pietro’s chest pulls on the stitches just a little as he huffs in annoyance, regretting the action a moment too late.

    “If I did, I would be.” He snaps. You raise an eyebrow at him as you begin a new stitch, piercing the skin perhaps a tad less cautious than you had been before.

    “Take it easy, speedster. ‘Last time I checked I was the one with the needles in my hand.” You snark. Pietro has nothing more to say to that, instead turning his head away so that he doesn’t have to look at you. It doesn’t take a genius to know he’s a bit embarrassed at this whole situation, and you feel a bit bad for him. Out of all the places he could have gone to, there had to be a reason he chose to come here. You just couldn’t tell what that reason was. 

    You’re gentle while you finish wrapping him in bandages, and he can’t seem to look you in the eyes even for a second. When you reach out to brush some dirt off of his face, he finally meets your eyes. He’s a little less guarded than he was before, but the wall between the two of you still remains. There's a quick gust of wind as he moves towards the open window, stopping just before he leaves.

    “...Thank you.” He says after a moment, looking at you from the corner of his eye. You smile at him, a warm feeling in your chest. The difference in his attitude was noticeable, and the fact that he was acting even a little less cold with you was reassuring.

    “You’re welcome.” You reply, and then he’s gone again, having closed the window behind him this time.

The difference between the two sides of Pietro you saw was so jarring. You were so used to the cocky asshole that spent all his effort in terrorizing you, not the quiet, almost angry, and guarded man that stood before you that night- and the many nights afterward.

The second time he showed up, this time woundless and simply laid on your bed to rant, you were surprised but didn’t mind it. Then it happened again, and again, and then came the board games, the nights of talking endlessly, and the midnight snacking. 

And eventually, Pietro started to climb into your bed. He never spoke a word when he did, simply pulling back the covers and pulling you close, pressing his face into the back of your neck. Nights like this were vulnerable, and tender. Quiet. He came to you in need of comfort often, and you were willing to be his safe space for as long as he wanted.

The more he came to you, hurt or angry or sad, the more concerned you became. And you were upfront about it, much to his dismay.

     “You know, I get that we’re on two different sides of things- but you know that the school’s doors are always open to those who need it, right?” You ask, late one night after he had crawled into bed by your side. You were facing him, hand curling on the pillow an inch away from his face, fighting the urge to brush his bangs away from his forehead. Immediately, he has a negative reaction to it. He scowls, recoiling away from you as he glares. You know it should hurt worse than it does, but all you can see is the hurt he's feeling right now.

    “The last thing I need is for another person to tell me what to do.” He snaps, turning his head away from you as he sits up and runs his hand through his hair, aggravated. You sit up on the bed a little further, almost wanting to reach for him, but you don’t.

    “Pietro, You know that’s not what I meant-” You say, softy.

    “Does it matter what you meant?” Pietro practically cuts you off. His tone is sharp, and it hurts you for a second. You frown at him- not that he could see it anyway, and the hurt quickly turns to aggravation on your end.

    "Yes, it does. I'm not bossing you around, I'm just telling you that the X-men- myself included- are here if you need any help." You huff, watching as he practically rolls his eyes at you and stands, looming over the bed as he turns to look at you.

    "The telling part is the problem. Everyone tells me that I could do something, but what they mean is that I should do it." He snaps. You move over to his side of the bed before standing, almost in a challenge. The two of you are now almost uncomfortably close, to the point where you’re sure if you moved an inch your noses would be touching.

    "Well, What if that's not what I’m doing but you're just reading it that way?" You say, meeting his gaze. Pietro was never one to back down from a confrontation, especially not one with you. You don’t think you’ve ever seen him quite this angry at you before, rocky past be damned.

    "So you’re saying I'm overanalyzing?" He says, and you groan at the fact that nothing you said was getting through to him, pushing the palms of your hands into the outer edge of your eye sockets. 

    "I'm saying that I'm not your dad-" 

    "And what would you know about my family?!" Pietro yells, and you’re quick to look back up at him, scowling. 

    "Don't raise your voice at me!” You snap, pushing a finger into his chest. “I know enough to know that your dad controls every aspect of what you do, and that's not fair to you." You tell him.

    "Don't pretend that you understand or care about any of that" Pietro says, grabbing ahold of your hand rather tightly. God! You did not understand why he couldn’t get it through his thick fucking skull!

    "I do care, Pietro!" The words burst out of you, almost uncontrollably. You slam your other fist into his chest, tears of frustration welling in your eyes as you look at him. His eyes are wide, looking shocked and confused. You’re beginning to lose your fight, leaning against his chest, still somewhat caught in his grip despite the fact that his hold on your hand had become light, and still, it felt confining. 

    "I may not understand why you do what you do, but I do care about you." Your words come out quieter this time, blinking away those stupid tears that had started to well. Pietro’s eyebrows are furrowed, eyes searching your own, but you don't know what for. The two of you stand there for what feels like forever for both of you speedsters, but was surely more like a split second. You’re still pressed up against his chest, faces so close they could touch.

    And then they did.

    Pietro is the first to kiss you, leaning in and quickly cupping the back of your neck with his free hand, almost in a possessive manner. Once his thoughts have finally caught up with his actions, he pulls back. He looks at you, wide-eyed at his own actions before you gently pull him back in for another kiss. It only takes a moment to click before he sighs into you, melting into the kiss. His kisses are tender, sweet presses of his lips against your own. After a few long moments, you slowly pull away from him. He rests his forehead against your own, a fond look in his eyes that you were sure you mirrored. 

From that night on, his nightly visits to you meant something more than they had in the past.

That didn’t mean that they went unnoticed by others, however, and one day you found yourself being called into the professor's study. Of course you were a little worried, but you were so sure that there was no way anyone could have noticed, right?

    Logan is standing next to the professor's desk when you enter the room, frowning with his arms crossed. Professor Xavier on the other hand sits rather calmly, inviting you to sit down. You choose to stand instead, cocking your head at them.

    “Wow. What is this, an intervention?” You joke, trying to laugh off the oddness of the situation.

    “Yup.” Logan snorts. You shoot him a confused and slightly panicked look that the professor picks up on immediately.

    “There’s no need to worry, my dear.” The professor says calmly. “We just had a few concerns about-” 

    “We know that Magneto’s brat has been sneaking into your room.” You almost flinch at Logan's accusatory tone, bristling with a sudden flash of embarrassment and then anger at him for what he calls Pietro. “I’ve been smelling his scent on you for weeks.” Logan finishes, and you’re so taken aback you don’t know what to say at first, mouth hanging open in shock.

    “Easy, Logan.” The professor says, raising an eyebrow at the furry man, but Logan isn’t listening, approaching you with a scowl on his face.

    “Have you ever heard the phrase, no fraternizing with the enemy, kid?” He continues, and the close contact has you bristling again, unwilling to back down.

    “Logan.” The professor tries again, unsuccessfully.

    “Look, the first time he came to me he was injured. I wasn’t going to turn him away.” You finally say, fists clenching as you ignore Logan before looking back at the professor instead.

    “I understand that. In fact, I’m thankful that you could be so forgiving towards Pietro, despite the past the two of you share.” The professor states, but his words hardly relieve you.

    “Then what is the problem?” You ask, exacerbated by this whole interaction already. Logan seems to be angry that you’re ignoring him but snorts at your question.

    “-The problem is that you shouldn’t be letting him in your knickers.” You gasp at Logan's accusation, and the professor looks appalled. 

    “Logan!” Professor X scolds as you struggle and scrabble for words, now both embarrassed, mortified, and rather flush in the face.

    “-Excuse you! We weren’t- we’ve never!” It’s a struggle to finally find your words, and even more embarrassing to be so caught off guard. What kind of asshole accuses someone of that out in the freaking open?! In front of your mentor no less?!

    “Sure you haven’t. That’s why your bed doesn’t smell like him.” Logan rolls his eyes, and you refrain from punching him in the face right then and there.

    “Well if your stupid nose was as good as you say it is, you would know that we haven't done anything just by the smell!”

    “Just because it hasn’t happened now-” 

    ENOUGH! Both of you! The professor silenced the argument with a single thought. Both you and Logan feel scolded, and yet still bitter about the other. You cross your arms in a bit of a defensive manner ad the two of you turn back to face the professor.

    “This was never supposed to be an argument, simply a conversation.” He sighs, pinching the bridge of his nose. You scoff at that, sending a pointed look in Logan’s direction.

    “Well maybe, Logan should learn to stay out of my business!” You say, only for the professor to hold his hand up for you to stop, simply hoping both you and Logan would quit continuing to dig this hole deeper and deeper.

    “I’ve heard enough.” Professor X states. “We were simply concerned about the nature of the relationship between the two of you, seeing that you have been growing closer. I know your mind, and I trust you to stay by the X-men’s side.”

    “Then what is this?” You ask, the words coming out as more of a whisper. Logan sighs, looking regretful but ever the stubborn ass. He looks at you, moving to where he can lean against the professor’s desk again.

    “... Look, Kid. we just don’t want you to get hurt. Anything between you and Pietro isn’t going to end well.” Logan says. You feel a little more understanding of him now, but only a bit, with him back to acting like he normally did. He was always an older brother figure to you, but that did not give him the right to air out your business, even if the professor could find out everything that had been happening with the barest glimpse into your mind. Still, you scowl just slightly at Logan, looking away from him. He sighs again, and with a nod from the professor, leaves the room. The professor nods you over to his side, wheeling his way towards the bookshelf with one particular photo on it. One of him and Magento in their college days.

    “You are an adult. I cannot stop you from making your own decisions.” The professor starts. You find yourself tracing the features of the young Erik, finding the image of Pietro in every part of his father's face. The professor looks at you, and all he can see is a face so similar to his own. “I too, understand what it is like to hold affection for someone so distantly aligned from you. It’s due to that understanding that I worry for you. I…” The professor trails off and you turn to look at him with a frown. You knew. You know. The two of you are so different from each other, but surely that didn’t mean you would be enemies forever? He wouldn’t hurt you in the way that Magneto had hurt the professor so many times before… would he? Professor Xavier reaches out to take your hand in both of his own, squeezing it reassuringly.

    “Just be careful, my dear.” 

    “I understand, professor.” 

[house-of-dadneto]

We're halfway through of the House of Dadneto 2025! ✨

It's hard to believe it's already the middle of June, but despite how fast this month has gone by, the House of Dadneto is still going strong! Thank you so everyone who has posted your amazing works this week, and we can't wait to see more as the event continues!

In the second week, the House of Dadneto had 33 unique works posted for the event!! (Again we ask- what are they feeding you all? 🤣)

Like last week, we have created a list below with links to all the fics, edits and gifsets that were posted in this past week! We have also included two gifsets at the top of the list that were missed from last weeks count (sorry about that!). Be sure to give these creators some love as they've all done a fantastic job during this event!

✨ Just a quick reminder that the House of Dadneto has an official AO3 Collection you can browse or add to if you are posting on AO3! Check out this post for more details on how! ✨

Second Week of the House of Dadneto!

Redemption by @mapofyourstars

Gifset: erik tasted redemption after the birth of his daughter.

Forced to Fight by @mapofyourstars

Gifset: nina forced to fight to protect her father.

i hear it when i look at you by @xxqueenofdragonsxx

“—give it back!” “I saw it first—“ OR Sibling relationships don’t really change, apocalypse or not.

Stay Changed by @onlyheartaches

A short piece in which Pietro and Magneto reflect on what could happen if the Master of Magnetism doesn't stick to his redemption plans - over breakfast, of course.

1983 (What a mess) by @star-lights-up

Nina lives, Apocalypse sleeps - this is what happens when Erik and his daughter come to the school. Chapter 1: Forced to Fight Chapter 2: Sanctuary Chapter 3: Mutation Chapter 4: Restrained Chapter 5: Bonding Chapter 6: Heirloom Chapter 7: Sacrifice

Broken Promises by @theaterpug-writes

Erik hums in response, arms cradling the newborn closer to his chest. She doesn't stir, doesn't cry out in pain or discontent, but instead trusts her Papa.

when the villains fall, the kingdoms never weep by @xxqueenofdragonsxx

Magneto is dead. Father is dead.

To Save Lives by @onlyheartaches

Hours ago, Erik saved two young children - a boy and a girl, twins - from deaths at the hands of an anti-mutant mob. Now, he's faced with a sleepless night, locked as he is in memories of his deceased daughters, the two twins he'd failed to save years ago. But only one of the children he's taken in is asleep. The other, not yet with powers of his own and thus lacking his sister's mutation-caused overload and exhaustion, finds the trauma far too recent to sleep through.

Moonstruck by AuntieEm30

Quicksilver returns to the X-mansion late at night with a small and very unexpected companion. Very unsettling events are brought to light, and important discussions are had, and a family gains a new member.

takes a strong hand and a sound mind. by @mapofyourstars

Chapter 6: Sanctuary - When the hum in her mind quiets, Lorna is reminded that she's her father's daughter. Chapter 7: Missing Scene - Pietro gets a taste of his own ability. Chapter 8: Restrained - Wanda's abilities scare her, and Erik learns his beliefs are not always shared by others. Chapter 9: Vacation - Erik travels to Germany with his children to see his mama.

wash it clean, white as snow by @xxqueenofdragonsxx

It isn’t until Erik is on the ground, Charles nursing his bruised knuckles, and a bewildered Peter to the side, that the reality of the situation sets in. Not the time travel, to be clear. That has long since set in. Logan spent the entire flight from Westchester to D.C.—and then the car ride to the Maximoff house—coming to terms with how different Hank and the Professor are, and before that, how alive the world is compared to what it would— could, because he can change it, will change it—be. The reality of that situation has become uncomfortably familiar. No, he’s more referring to the whole ‘Peter is Erik’s son, and neither of them have any fucking clue’ situation.

How Almost Getting Blown Up by My Teammate Caused a Midlife Crisis and Helped Me Not Become My Father by Pietro "Quicksilver" Maximoff by @theaterpug-writes

In which an accident while training reminds Peter of his age, his goals, and his as of yet unrevealed relationship with his father.

His Funeral by @onlyheartaches

A short piece exploring the X-Men '97 funeral we didn't see.

let me be your shelter, let me bring you home by @sunsetuniverse

Post-Apocalypse — Jean encourages Peter to tell Erik the truth.

What You Need by @onlyheartaches

And Pietro sobs. He feels like a child right now, running to his father for help with something he can’t even articulate. But Magneto hugs him tight, lets him cry, doesn’t push for an explanation beyond what he’s already been given. Nor does he bombard Pietro’s senses with conversation, save for an occasional “It’s okay” or “I’m here, son, I’m here.” There isn’t judgment or annoyance, just care and love and concern.

unsaid by @xxqueenofdragonsxx

He never verbalizes it.

A precious, beautiful thing by @silverpleatherjacket

It had been Hank who informed them of the energy spike. It had been Charles who had asked him to come along. It had been Magda who answered the door. But it was Erik who had to face two children he had never known. Or, in another world, Erik meets his children a lot sooner.

Slumped Over by @onlyheartaches

When Magneto keeps overworking himself, Pietro forces him to go on a vacation. And thus, Magneto learns to relax Pietro-style, with nature walks, good food, aquariums … and Squirtle.

violets and purples, diamonds and circles by @xxqueenofdragonsxx

The aftermath of a food fight, and an unexpected breakthrough in Erik and Pietro’s relationship.

Blood And Fire by @onlyheartaches

Pietro has a half-baked plan to return to his homeland and find something, anything, from the Maximoffs. Magneto insists on accompanying him, for he has his own experiences with returning to a site of immense grief, and he fears that Pietro will only find more hurt.

waves of life by @xxqueenofdragonsxx

Admittedly, when Wanda first approached him with the idea, Erik had his doubts.

Heirloom by @mapofyourstars

Giftset: "What's happened to them? Your parents?" "They were taken from me when I was a little boy."

Something You Can't Ask Of Me by @onlyheartaches

In the aftermath of Genosha and Asteroid M, Pietro and Magneto are trapped in a desert, far in the past. While there, they have a discussion about Magneto's sacrifice in Genosha.

If there are any details missing or mistakes in this list please let us know and we will amend it as soon as possible!

Thanks again to everyone who has participated so far! We've loved seeing your creations and we hope to see many more as June continues! ✨

Announcement // Prompts // Event Info

[prismaticpichu]

Hi! How are you? Also, umm, can you make Zack Seph, like Zack does vlogging with his friend Seph, like add Funny, angst, happy ending, Protective Zack, please? I'm sorry if I bothered you. 🥺❤️♥️✨

Heya!!! I’m doing great, my friendo!! Hope all is well with you!! 💕

Ooooh vlogging???? Absolutely!!!

(BIG jumbo shoutout to @rottenpumpkin13’s series of SOLDIER vlogging shenanigans for inspiration!!!! Those things are frigging hilarious <333)

~

Nibelheim Fix-It: Vlogging Edition!

[the camera flashes on to reveal two Mako-blue eyes gazing steadily into the lenses, their electric glow all the more accentuated by the dismal blackness of his backdrop, his footage jostling up and down slightly as the spiky teen makes his way through the corridor in which he is recording.]

“Heyyyyyy, world and all who inhabit it! Zack Fair here, and I’m coming to you RIGHT from the basement of some screwed up manor in Nibelheim!”

[the young First glances around a bit, ensuring that he’s still going the right way.]

“It’s very very very VERY, dark, as you can see… Just trying to make sure I don’t bump into anything here. Already bumped into three rats, eight cobwebs, a whole buncha coffins. Spooky stuff. But don’t worry!! This isn’t your boy’s first trip down here…”

[there’s another quick turn over his shoulder, this time spotting a very vague rod of light floating in the distance, some nebulously victorious sound escaping his lips as he eagerly starts toward it.]

“This is actually my second time down here. First time I was kinda totally kicked out. Not at all rudely though! Guy just needed some space… I think. He’s been getting that for like four days now, anyhow. ‘Bout time he took a break.”

[as the glowing belt approaches, Zack mindlessly pads around for a bit, pawing and groping through the thick basement gloom.]

“C’mon, where’s the knob….”

[the faint sound of palm meeting metal is heard echoing through the dark.]

“Ah, sweet. Okay okay okay… So you folks are probably wondering right now who I’m even talking about. Well, lemme tell ya. Ever hear the name ‘Sephiroth’ before? You know, quicksilver hair and bare chest and pupils that go all upppppp like that? Yeah, well! He’s in there. In a library right here, devouring books like free samples at a superstore. And he’s been there for days. Been in there ever since—“

[he pauses for a beat, cutting himself off, a look of confliction cracking the teen’s cheerful masquerade]

“Well, uh… for Purposes, I don’t think I’m going to say what happened when we went to investigate the reactor. Doesn’t really matter, anyways. It’s more about how it affected my poor bud—uh, Sephiroth! Shoot he’s gonna kill me for using that silly nickname on this. Anyyyywaayy! I’m here to get him some fresh air, tell him what he needs to know and, most importantly, get it all recorded so he’ll never forget it again.”

[the camera hobbles as Zack presses his ear to the door, listening intently.]

“Alright… he’s definitely in there. Can hear his boots walkin’ around. Okay. Okay, you got this, Zack… Alright! I’m going in. On three, two, one…”

[and the door to the library is pushed open, his camera’s eye capturing the shift in backdrop as Zack makes his way across the threshold, the young SOLDIER traveling down what looks to be some narrow corridor that abruptly pools into an eerie candlelit opening.]

“Ooh. There he is.”

[the camera blearily pans around to capture a slender silver shape with a book in his hands, leather coat dancing with faint orange hues from the casting candlelight, silver hair appearing almost copper under the ghostly illumination as he paces back and forth across the floor without so much as a flinch.]

“Gaia… does he not even know I’m here? Okay, okay! Let’s do this, guys. Let’s get this man outta here.”

[there’s a deep, centering inhale from behind the camera.]

“Hey! Sephiroth! Seppphiroth! Sepppphiiroth! Put down the book.”

[a heavy silence dogs as Sephiroth continues to pace the floor in silence.]

“Shit…”

[the camera pans back to Zack.]

“Okay, so… He seems really out of it. Really engrossed in that book there. We gotta get through that noggin of his.”

[the camera pans back to the catatonic SOLDIER.]

"Sephiroth! Hey! Sephiroth! Sepppppphiroth!! I'm talking to you, man. HelloooooOOO?? Holy Ifrit... HEY! SEÑOR SEPHIROTH! STOP READING FOR A SEC, would'ja???"

[there's another bout of silence.]

"Dear Gaia... What’s going on with you?? Why aren't you responding? Sephiroth! Sepppphirottth.”

[following yet another wordless stretch, Zack swings the camera back around, rubbing his neck with an expression of both frustration and hurt.]

“Alright… guess he left me with no choice. Time for extreme measures.”

[the camera hobbles a little as Zack approaches the soulless SOLDIER.]

“Ah, screw it. Who cares if I don’t stick to the formalities…”

[an inky splotch of black momentarily covers the lenses, not wanting to capture the horrid images and texts that had seemingly possessed his friend, leaving only the teen’s gentle voice to provide any content.]

“…Hey. Bud. It’s me. Hey—yeah, I’m gonna put my arm here if you don’t put that thing down. I miss you… alright? You have any idea how long you’ve been down here? Gaia, pal… those bags… Look… you need some rest. Okay? We can talk alllllll this out in the morning. Let’s just go, okay? You’ll feel better after a good snooze…—“

“—I… c-ant…”

“You can, pal. These books aren’t going nowhere. I’m not going nowhere. Not without you.”

[another swath of silence stretches over the two SOLDIERs, the blackened smudge shifting slightly against the lenses.]

“Look, bud. Look. I know what he said is screwed up. I know what you saw is screwed up. But it doesn’t change anything… okay? You’re still my friend… you’re still Sephiroth. You’re still my old pal. You’re still…”

[even through the inky smudge, shards of blue are seen dancing across the camera, a cursory glance being cast toward the lenses in consideration.]

“…Y’know what. Fuck whatever they hear. You’re human, Seph… Not some alien. Not a monster. Not anything but the kind and lovable person that you are. And… and I’ma jerk for not telling you that sooner. I shoulda told you that the moment Genesis said those horrible things in the reactor. I shoulda told you that day of being here… okay? And I never ever ever ever want you to forg…—“

[suddenly, smears of black and silver flash across the camera as it plummets to the ground, cutting out instantly upon impact.]

.

.

.

.

[and it cuts back in a nebulous amount of time later, titled sideways, unknowingly capturing the sight of General Sephiroth slumped in the sheltering arms of his best friend.]

“Shh… it’s okay, pal. It’s okay… let it out. Let it out. I’m not going anywhere…”

—————————————

[the camera flashes on to reveal a smiling Zack leaning against his headboard at the Nibelheim Inn, happily accompanied by a freshly-showered Sephiroth, tresses of golden sunlight streaking in through the open window beside them.]

“Heyyyyyy, world and all who inhabit it! Zack Fair here, and I’m coming to you RIGHT from the Nibelheim Inn! Today I got my best friend and ex-commander here, Mr Señor Sephiroth!”

[Zack slings an arm around his buddy’s shoulders, earning himself an amused grunt from the mercury-haired man.]

“Yes. Hello, inhabitants of the world.”

“You wanna add a littttleeee bit more cheer—?”

“No.”

“Okie doke. You wanna at least tell ‘em the news?”

[the camera pans so that it is completely facing Sephiroth, green eyes well-rested and gleaming under morning’s warm embrace.]

“Hnph. Fine. As of this moment—“

“Say ‘breaking news!’”

“I will eat you whole.”

“Yeah, yeah. Just say it!”

[silver bangs sway against the lenses as Sephiroth shakes his head.]

“…Fine. Breaking new: as of this moment forward, both I General Sephiroth and First Class Zack Fair officially resign from SOLDIER. Cadet Cloud Strife will also be discontinuing his duties and is currently staying with a beloved family member.”

[Zack’s euphoric cheer is heard behind the camera.]

“Heck yeah!! Oh, and! For the record: all future episodes of ‘Zack Tracks’ will be recorded with my new partner here! Woooo!”

“I didn’t agree to this.”

“Bummer, ‘cause you’re doing it.”

[before an utterance of protest can be made, Zack takes the camera back from his pal.]

“Anywhoooo! Anything you wanna say to the people before we sign off, pal?”

[the camera lingers on Sephiroth’s face for several beats following the question, capturing the traces of wistfulness that flicker through his emerald eyes, the almost pensive pulse that ripples through those celestially human pupils as he contemplates an appropriate closure for Everything.]

“…Yes. I do.”

[and the camera zooms in, focusing on his sincere expression, aged and weathered from all the ravaging storms that have opened up to what he calls his life.]

“Hojo, you can disrespectfully burn in the deepest and most incandescent stoves in Hell.”

[a simple click, and the footage goes black.]

[permanentmess]

The Case of Mr. Dibbles

A/N: I made this up on the spot just now with an idea I had earlier. I thought it was cute enough to share haha. I’ve been having a lot of dreams with Pietro in them lately, and I’m back on my major Quicksilver kick so...

Edit on 4/2/2025: to change from first person to third and add a summary, also adding a GIF back which was removed. not a huge fan of this one but i liked it at one point, so it'll stay

Summary: Pietro and reader enjoy a calm time after some universe-ending threats by adding someone to their little family

Warnings: None! Just fluff. Reader is a teleporter btw. Canon is absolutely skewed here.

Word Count: 477

NOT MY GIF

Slivers of orange and yellow light are filtering their way through the apartment windows, illuminating the wall next to the couch. You're leaning against a pillow on the couch armrest while Pietro is spread out over the rest of your body, tucked just behind where your legs are curled up. Wisps of his bleached hair are tickling your skin, so you run your hands through the softness to keep it at bay. A sitcom is playing quietly from the TV. Just a lazy day for you both. Just beautiful.

You knew it had been months since you had felt this peaceful. With the recent missions and universe-killing threats that had been happening lately, you were soaking up every quiet and calm moment you could get with Pietro, and thankfully his apartment was the perfect little sanctuary. Usually, you stayed at the compound, but it had been….chaotic to say the least. 

“Babe.” It was so quiet and raspy, you almost didn’t hear him say it. You look down just as he’s turning to see your face more clearly.

“Hmm?”

“We should get a pet together.”

You contemplated it for a second. It couldn’t hurt to get one. It could always come with you both to the compound when you needed to head back. “Alright, what kind?”

“A turtle.” You laugh at the juxtaposition of it all. Him, a speedster, and you, a teleporter, with one of the slowest creatures. You may as well have bought a sloth. 

“I like it, let’s go to the pet store tomorrow,” you tell him and give him a quick kiss before you move to lay down on the couch, wrapping your body around his. 

~The next day~

Nobody told you turtles could be so damn expensive. 

But the grin on Pietro’s face through the whole experience was worth every penny he had spent. You would’ve bought him an entire farm myself if it made him happy.

As he was setting up the tank in the kitchen you asked him, “So, do you have a name for him yet?” 

“Hmm, I’m thinking Mr. Dibbles.”

“As in, Cheesy Dibbles from Penguins of Madagascar?” He freezes for a second and looks away, genuinely pondering it. You narrow your eyes playfully. “Do you watch that show?”

“Sometimes, when I watch Tommy and BIlly. It just may be. I thought I made it up and now I’m disappointed.” He pauses. “Do you watch that show?” 

“Like, when I was younger. But otherwise, only with Tommy and Billy.” He finally goes back to setting up the tank while you look at the newly named Mr. Dibbles, chomping on some shredded carrots you gave him, and then at Pietro. His mouth was pulled into a tiny smile, humming an old song that was playing on the radio as he assembled your pet’s new home

Your own little family. 

[justanotherpersonsuniverse]

uh, ml bnha au

Yep. Here we go folks. Uh I don’t know much I’ll expand on this but it’s here. The quirks that is. Uhm- here we go I guess? Thank you @ghostatjoes and @symphonic-scream and all y’all for the ideas and inspiration.

Adrien’s will be the only on the nose most obvious one. I wanna try and keep these powers from being just the miraculous powers. So this will be a mix of just original ideas and akuma stuff.

Adrien: “Cataclysm” pretty much it’s Shigaraki’s Decay but a little different. It’s this au’s version of One For All. The Destruction Hero, Plagg, passed this quirk down to him when Adrien proved that he had a good heart to be a hero cause Plagg needs a replacement due to an injury causing Cataclysm to slowly start to kill him. Adrien is aiming to save as many people as possible as a rescue hero. (His outfit has a cat motif in honor of Plagg who has a cat head due to an unrelated mutation like how Tokoyami has a bird head)

Marinette: “Growth” Marinette can amplify the life in a living object. Whether this means taking a small flower and turning it a building tall beanstalk or amplifying the healing of someone’s body. However she can only use this in short bursts or else she risks over growing her body causing chronic pains and possible plants growing from her arms. 

Nino: “Bubbles” Okay yeah so obviously Bubbler, but it’s a little cooler? Nino can entrap anything into these bubbles. Sounds, healing packs, explosions, balls of fire, light itself, all condensed into these bubbles ready to be yeeted across the battle field like bombs, med packs, or flash bombs. However they can be a little fragile so he’s working to make them more tough. The bubble solution he uses to make these bubbles are made of his unique sweat. Bakugo style. Don’t ask what it’s made of he isn’t sure either. At least it makes him smell nice.

Alya: “Signal” Not the most offensive quirk, but she can send a signal to every single person in a certain radius that she’s training to grow. Whether this is a message, an image she’s seeing(this can extend to just what she’s seeing in general), etc. She’s also training for this to extent to different signals in the air like WiFi signals so she can send them electrically as well. However she risks heavy migraines with overuse. To make up for her very situational quirk she’s working on upping her physical strength.

Chloe: “Venom/Honeycomb” With Venom she can temporarily paralyze a specific part of an opponent. It’s not as strong as her mother’s Venom or her Aunt/Mentor Pollen’s Venom as it’s a quirk she’s gotten from her family, but she’s working on making sure she’s the most exceptional in the entire class, and making sure no one hears of her other quirk. Honeycomb, which is actually her main quirk and not secondary, gives her the ability to produce a honey like substance that can harden into resin following her will. Chloe refuses to use it for it is unexceptional. She must be like her mother or else..

Sabrina: “Emotional Pulse” Sabrina draws energy from the emotions around her to give her a physical boost. It can go from a strengthened punch to something looking like Detroit Smash. However a draw back can be that the emotions around her can start literally affecting her and somewhat tilting how she may feel. So in an angry environment she herself might start to become angry as well. Hyper empathy basically. And it makes her a little anxious about her identity as an individual.

Nathaniel: “Ink” Nathaniel basically water bends ink into creations he can control, quite literally drawing his creations to life. His limit is how much ink he has. Like that one fuckin Mickey Mouse game.

Alix: “Clockwise” For, at most, thirty seconds, Alix’s speed is super enhanced to an incredible degree, practically breaking time itself. This also enhances her strength and mind, pretty much giving her the spiritual equivalent of that one scene with QuickSilver or that one scene from Over the Hedge. However she can’t go over thirty seconds right now or else her body, mind, and definitely internal organs will begin to face serious damage. To make sure she can track herself, she has a pocket watch that she always has handy to remind her how much time has actually passed.

Kim: “Icarus” Kim can create wings out of a waxy substance from his back that allows him the power of flight. One of the most straightforward power here honestly. Like Icarus however, these wings can melt and can be destroyed. Kim, however, has a small control over the wax which means he could potentially be able to use it for something else, however this requires patience and control, something he lacks. 

Max: “Locker” Pretty much, Max is able to set a “marker” on any enclosed space (of a arm reachable size, spanning from a literal locker or a luggage bag) and from anywhere in a 4 mile radius (that he can train to grow) Max is able to “reach into inside” and grab anything that’s inside there. However this space must exist, it’s not a pocket dimension, and so are the objects inside as well. This quirk is useful for holding emergency equipment or grabbing a quick weapon. However it has to be something he can actually hold and something he has already put in there, so he must calculate what would be useful so he can prioritize space and what he should bring with him. 

Ivan: “Minotaur” Gives him attributes akin to The Minotaur. Though his appearance is mostly human, it does become more and more beastly as his anger or need to use his power rises. 

Mylene: “Fear” Mylene gets a boost of power from the fear around her, which she has the ability to enhance to terrifying levels, leaving her victims in states of trauma and distress if she doesn’t control its degree. This quirk mutates her slightly to be akin in some way to the form of the person she’s using her quirk on’s fear. However she herself is easy to be scared so this backfires most of the time.

Juleka: “Vampire Bat” She can do anything a bat can do! Plus a bloody bonus. She has the power of echolocation which, if trained, can possibly knock down a small target. She doesn’t have wings but is working to incorporate some kind of glider into her hero design. As for that vampiric bonus, she has minor control over blood, able to bend it at will, however at this moment, the best she can do is make someone dizzy through a few edits with their blood stream.

Rose: “Perfume” Rose is able to admit a powerful perfume like gas which, upon inhaling, can reduce the victims into a drowsy state of mind. However she’s the only one immune to it so she must be extremely careful with how she uses it and who's around to possibly inhale it. A strange side effect from this quirk is that there’s a slight green tint to her blush.

Extras-

Luka: “Synesthesia” like the actual condition of synesthesia, he is able to visualize and conceptualize sound on different levels of understanding. With this, his hearing is incredibly sensitive and simply pressing an ear against the wall could help him develop an map of the entire building. He claims to hear the souls of others as well, which is supported by his ability to tell from illusion or reality just by his sense of hearing.

Kagami: “Storm” She has the entire essence of a storm wrapped up inside her. Though it may be confused with Class 1b’s Aurore Beaureal’s quirk “Weather” if you were to mistake those two, you would certainly get a lightning bolt to the stomach. Kagami’s quirk has been part of her family for generations, and as the up coming member of her hero family’s legacy, she is planning for no one to be in her way.

Marc: “Origami” Has complete control over paper and can manipulate them to become any creation they can think of, getting said creation’s attributes. So if Marc made a origami dog it might start barking and it’s teeth might become sharp enough to actually pierce skin, same if Marc made a paper sword. However the limitation is how much paper Marc actually has.

Lila: “Whistle” Lila can manipulate a person’s perception through the power of her whistle, causing possible hallucinations or problems in their sight. However it’s controlled by her whistle and it’s power so breathing exercises are important for her to do. To make things easier, she has taken up using the flute to better enhance her quirk. 

Maybe in a different post I’ll talk about the different pro heroes, vigilantes, and villains.

[itsapapisongo]

“WEBBED SURVEILLANCE”

Pairing: None, though I won’t blame you for any spotting Ho-Yay banter/interactions.

Genre: Superhero | Comedy | One-Shot

Word Count: 2.0K

Warnings: Language

Summary: An exasperated Spider-Man (Mark Lee) trails the elusive Black Cat (Lee Taeyong) across town, hoping to knock some sense into the master thief.

Notes: This was supposed to be the first of a series of one-shots focused on original characters face-claimed by several members—from NCT to Stray Kids to SEVENTEEN—but I decided to drop the whole face-claim thing and simply go full what if x member was a superhero route instead. A choice that is partly inspired by @vernosaur​ and her awesome fic Playing Hero.

Edited: 20.09.25 (last update ) | 20.12.06 (recent update)

HE had planned to land on the floor, but it was already occupied.

“Oi!” Spider-Man exclaimed, his voice a nervous, high-pitch. “Nope!”

In the nick of time, without missing a beat and with superhuman ease, he performed an in-air flip and clung to the ceiling, arms extended to either side of his body as though to maintain balance. He didn’t need to be so theatrical but he had been caught off guard. Ignoring a reaction as visceral as this one had become harder and harder to contain; more often than not, sheer instinct kicked in and he just went with it.

Spider-Man stared in disbelief at four of the ugliest Komodo dragons he had ever laid eyes on and they glared back at him, thin tongues slithering in and out of their snouts. He could hear them hissing—or snarling, he couldn’t tell—and gulped, shocked at how late he had come to notice them. A tingling sensation notified him of potential danger but he hadn’t imagined it would be a quartet of monitor lizards casually dragging themselves on such a small apartment.

He’d set up his phone and laptop to monitor emergency channels, in hopes that it would direct him to where he could make a difference. Robberies, fires, break-ins, super villains being up to no good was what he had in mind but apparently the universe had other plans for him. And so, in a matter of minutes, a routine night of surveillance turned into a bizarre chase across the city. He had been swinging non-stop for the past hour and half, chasing the elusive Black Cat across town, mumbling to himself that he probably shouldn’t have made such a dynamic entrance in Inner Demons territory.

You gotta time your quips, man, he scolded himself when everyone hauled ass in different directions and he lost sight, albeit briefly, of the Cat. The master thief had connections with just about everyone in the crooked lane that was Enn City. Following the guy meant getting in a heap of trouble but that was already part of the job so what the hell, right? He just hadn’t considered Komodo dragons to be part of the equation.

The chase led him to the shady part of town, where the properties looked ancient and in need of a new coat of paint, and into the lost (apartment-sized) world of Komodo Land. The Black Cat had been quick to find and subsequently hide in this narrow, five-story monstrosity that oozed with not-so-chill vibes and shamelessly overpriced and claustrophobically small apartments. It reeked of neglect, nicotine, and chemicals, as though it had been repurposed for some clandestine drug operation.

Spider-Man wondered if it had been a deliberate ploy to distract him. After all he had checked the lobby and the first floor and found no sign of the master thief. What he’d found instead, much to his disgust, was the stench of the dragons’ dinner, excrement, and urine.

Just my luck, he thought, crawling across the ceiling and scanning the rest of the apartment: the door had been left ajar and there was nothing but a bucket and a mop by a corner. The pungent smell stung his nostrils even through his mask and he resisted the urge to gag by clearing his throat. One of the Komodo dragons stared, as though it could see right through him. Big bioluminescent green eyes stared back and narrowed until becoming thin slits of contempt and disgust. Behind the mask, Spider-Man cringed.

Who knew something could smell so bad?

“Good Lord,” he whispered, gently shaking his head. “You guys should think about cleaning after yourselves.”

As he shifted his weight and positioned himself to face the door, crawling slowly toward it, he saw it. A shadowy figure in the hallway outside the apartment. The figure moved itself with grace and purpose and just enough that Spider-Man caught a glimpse of his face in the dim-light of the hallway. Aware of the now incessant hissing—or snarling, Spidey still couldn’t tell—of the lizards, the figure turned toward the half-opened door then dashed into the hall.

Pushing himself off the ceiling and clinging to the door, not trusting his new Komodo besties to not take a chunk out of him, he peered into the narrow hallway and saw the Black Cat running toward the elevator. Spider-Man gracefully leapt off the door and slammed it shut behind him because there was no way in hell he was going to leave those beasts out of there.

Who waits for an elevator while they’re being chased?

Spider-Man groaned and shook his head.

The chase was on—again.

ALRIGHT, folks, let’s do this one last time.

His real name is Mark Lee.

He was bitten by a radioactive spider—or at least, he thinks it was radioactive—and for the last year and half he’s been Spider-Man. By chance, fate, or design, he’d been bitten. Just like his idol: Peter Parker, the original Spider-Man. Mark would love to call himself the One and Only Spider-Man but knows it would be a lie and disrespectful to Parker. So, in a town as big and as shady as Enn City, Mark did what he could and took up the mantle, making it his mission to live up to his idol’s example and use his powers for the greater good.

The encounter made him superhuman, granting him spider-like abilities. He can leap great distances, cling to almost any surface, and sense when something is about to threaten him, allowing him to avoid and react to danger with ease in the blink of an eye. The bite not only made him quicker on his feet but it granted him superhuman strength, stamina, reflexes, as well as enhancing other skills, such as his balance and dexterity, that he’d honed over the years as an athlete. Physical education was certainly less of a hassle after that.

The suit—black and green—represents his passion and ambition and paid homage to the original Web-Slinger by keeping the same spider symbol upon his chest and back; the web-shooters, designed by Joshua Hong and Moon Taeil, make it easier for him to move across the city and enable him to snare criminals; and the mask offers anonymity, protection, and comfort, a way to fight crime and keep his life as boring as it always has been.

Being a hero was no easy feat. Mark is aware of this. He does his very best to kick ass and take names. Life has meaning, even if it includes being pounded into the ground and fighting guys in colorful suits that possess, whether innate or manufactured, unique abilities that rival his own. New threats crawl out of the woodwork but he’s ready for all of them. Because he’s Spider-Man and it’s his duty to kick ass and keep people safe.

But sometimes, no matter how cool it might feel, being Spider-Man can be exhausting.

THE Black Cat was fast.

Not Quicksilver fast, but definitely-athlete-fast. Like, come to think of it, track-star fast. He moved with such complete control of his body that for a second Mark felt jealous of his flexibility. He dashed and shouldered a door open at the end of the corridor, promptly disappearing through it. Just then, as if on cue, the elevator binged itself open. It was empty. Obviously. The Cat had no plans on waiting for it and had been a last second attempt to lose his pursuer.

Mark sprinted after him and launched himself forward with a leap that had him cling to the ceiling then bounced on a wall and thrust himself toward the exit the Cat had improvised for himself. He noticed that the master thief’s choice of exit was the emergency staircase. Instead of descending, the Cat ascended not by foot but via grappling gun. Seconds before he was propelled upward, they came face-to-face.

The Web-Slinger, albeit reluctantly, admitted the elusive and perpetually frustrating thief was quite the looker—even if a good part of his face was still concealed by the domino mask-like goggles he was wearing. The lenses were pristine and made his eyes visible: one was dark, the other bright blue. His complexion was pale, his hair a mess of red and white. When he smirked he came across as both charming and devious, a strange mix that only added to his allure.

You seriously gotta focus, the Web-Slinger scolded himself. There’s no time for man-crushes.

In the blink of an eye, the Black Cat was whisked away and the sound of the line echoed in the empty staircase.

Seriously?

“Son of a—hey—that’s cheating!” Mark exclaimed as he leapt on the stair’s railing then aimed his web-shooter at the Cat’s feet. “Gotcha!”

Only he didn’t. The webs flew past the Cat’s head and attached themselves to the railing three stories up. Spider-Man groaned, shook his head, and released the weblines. He cracked his neck and knuckles, inhaled through his nose then exhaled through his mouth. With all the strength he could muster and crouching as low as he could, while still balancing himself on the railing, he sprung upward like a bullet. He flew, matching the Cat’s altitude, and caught him mid-air before he could disengage the line on his belt. The impact was harder and a bit more painful than expected; it was bound to be either way. Mark shrugged it off with a faint grunt. The Black Cat? Not so much.

Shooting his webs to a railing, the Web-Slinger managed to hold them suspended before completely falling. The Black Cat groaned from the whiplash but was still conscious and strong enough to smack Mark across the face, using him and the web to ascend as though he were back at climbing the rope in PE. Mark groaned despondently, his upper-lip stinging, then saw the master thief run through a door that led to the roof.

You gotta be shitting me.

He spun another web, triggering the web-shooters to pull him up, and dashed through the door as soon as he touched ground. The Black Cat, who had a decent head start, was running toward the edge of the building’s roof. He leapt on the edge and looked down, as though to prepare himself to jump. Yet, before he could he even think about doing that, two strong web-lines dragged him back. The master thief landed squarely and pathetically on his back. When he blinked and groaned, pain shooting through all of his back and some of his buttocks, he saw a pair of green eyes squinting right at him.

“Hey,” said the Black Cat, trying to conceal a smirk. “How’s it going, Webs?”

Mark tilted his head, arms crossed. “It seems like we’re in a rush, aren’t we, Puss in Boots?”

The Cat scoffed and cackled sarcastically, rolling his eyes. Though he could make another run for it, he remained on the ground. “I thought you’d be taller,” Black Cat exclaimed, sounding disappointed. “Like way taller.”

“And I thought you’d be—uh—less of—dammit.”

Mark groaned and rubbed the back of his neck when his quarry stared at him with a smug half-smile. The master thief shrugged, chuckled, then his hands moved to either side of his head faster than Mark could register it. With acrobatic ease and proficiency, the Cat performed a perfect kip up and was instantly on his feet. If he was winded and exhausted from the chase, he didn’t show it.

“Cat caught your tongue?”

“Funny,” mumbled Spider-Man. “Real funny.”

“Not as funny as this.” The Cat titled his head to the side. He was still smirking as he sang, “Oh Mr. Sandman, bring me a dream—make it the harshest pummeling I’ve ever seen.”

“What are you—?”

And there it was. A second too late but still there. His entire body buzzed, goosebumps spreading everywhere, and his head felt heavy as a wave of nausea hit him like a punch on his gut. Everything momentarily slowed down but before he could react to the danger, before he could even register it, he was swept aside with such force that felt like a van had smacked him squarely across the side. The pressure and velocity of it overwhelmed him. He flew, high and far away from the building’s roof . . . until he wasn’t. 

He didn’t know where or how he landed. He just knew, as everything turned dark, that everything hurt and there was definitely a good amount of sand in his pants.

[glitterfairy-21225]

WandaVision Wishlist/Theories

Okay, my thoughts have pretty much been consumed by WandaVision, Spider-Man 3, and this whole multiverse. Ironically, when I first heard about a potential multiverse in Far From Home I was relieved to find out it was all a facade. I wanted the MCU to remain an isolated world in itself, I guess not really understanding what a multiverse story could lead to. Now that I have a grasp of what might be happening, I have not only changed my mind but I've fallen into my fanfiction trend of waking up each morning, going through the day, actively going and looking for old news, hoping for a new update of some sort. So my wishlist. Some ground rules first; I'll also write individual wishlists for the others, this is just for WandaVision but also some of the stuff pays off later and I'll talk about that.

Evan Peters Quicksilver. I've said this multiple times so I'll keep it quick. I keep telling myself to just accept a cameo, but I hope he plays a big part, maybe coming back to help in Doctor Strange, maybe bringing his universe's heroes with him. I sort of see Wanda having a breakdown at the end of one of the episodes and doing something freaky with her powers, and it ends on the wham shot of Peter Maximoff asking who she is. I. Would. Scream.

I've also said that I'd be happy if he plays Mephisto as predicted, but now that I've really thought about a Quicksilver.... That might not be true anymore. That being said, I think the main appeal for me at least would be seeing Peters pull out his American Horror Story acting chops. But that's only if it's not Quicksilver, which I don't see why they wouldn't.

Post credits scene. Now I'm not suggesting one after every episode.... Actually, maybe one after every episode. Why not? It would probably get old quick though, but maybe still. Anyways, what if in the final episode, we get a post credits scene of Wiccan and Speed getting reincarnated. 

Okay, so you know how there's a dream related song playing from every decade they're parodying? For the eighties, do Sweet Dreams Are Made Of This. There may be a better choice for that, but shut up no there isn't. Plus all that stuff about abuse could be applicable to Wanda's situation with her reality world.

Give Jimmy Woo a boyfriend.

Wanda gets her reality warping/hex magic and is revealed to be a mutant. I struggle to even put this because it seems like a given, but a part of me is still like, 'What if they don't, though.' And I can't accept that. Wanda Maximoff is one of the most powerful beings in Marvel. Act like it. I'm sorry, I just love her and her comic powers so much. That's how you write an overpowered goddess, by giving her a crap life and every reason to just explode. I'm glad Marvel's learning.

Maybe start an episode with a prologue of Wanda's backstory with the missiles and her and Pietro going to Hydra. Trailer breakdowns have determined that at points in the trailer it shows Wanda in her first appearance in Winter Soldier. I'd prefer if, either as a basic flashback or a break of reality causing a hyper real flashback, Wanda relives her powers being unlocked by the soul stone firsthand. This could also be a nod to mutants.

Erik Lehnsherr cameo. In another start of an episode, or the same one, show him helping them out as kids. Maybe even Erik giving them up for adoption. Either Wanda doesn't know he's her dad or she does and hates him. If it's the latter, they joined the Nazis out of resentment, because... Come on. Also, maybe he's raising Lorna Dane post plane crash as a foil to his relationship with Wanda.

Show Wanda's struggle. Since House of M is a major inspiration they should draw from that. In that story, Wanda's powers got out of control due to grief and pretty everyone was all for killing her. I kind of hate that when it comes to god level superwomen, they're all either evil or written like Captain Marvel, obvious exceptions aside. The way you write overpowered is by giving the character no control over the massive abilities and having that as a point of contention. 

Two paths for Agatha. A) She’s a villain. Either she works for Mephisto if we go down that route, or she actively encourages Wanda to stay in this strange universe and pushes her on when she has a breakdown. She seems confused but I hope this is either an act, or if not then she just goes with the chaos and uses it to her advantage.

B) Agatha Harkness as a former mentor/mother figure of Wanda's. She seems really confused and not in a fake way in the trailers. Though it could 100% be fake. Maybe the reason she is in Wanda's sitcom world is as she tried to get through to Wanda, like I think Monica Rambeau did. Maybe Wanda's mother was a witch like in the comics (after a shitty retcon) and Agatha raised them after them after their (adoptive?) parents died... Ooh!

Wanda has both magic powers and mutant abilities. Agatha taught her as a child, but she swore it off at some point for some reason. I think I finally understand her powers in the comics, because it never made sense to me, but this does. Simple explanations equal understanding I guess.

Wanda's headpiece. Not as a Halloween costume, but for real that's all. Also I heard someone theorize that her outfit is colored as a sort of couples matching with Vision, which, uh, yes please.

Wanda creates the reality herself, not Mephisto. He still feeds off this dilemma though. She doesn’t know what she’s doing or how she’s doing it, but at some point in the series she realizes what’s happening and decides to devote herself to the false reality, which is when she willingly changes the furniture in the trailer.

As excited as I am for Evan Peters, give ATJ Quicksilver some love as well. I heard that the actor doesn’t want to return to the MCU, which is fair, but still give him some love. And at some point before Evan Peters shows up so it’s not like, ‘Oh yeah, I remember him!’ Maybe a flashback to Wanda before entering the sitcom reality mourning him as well. Maybe sitcoms where everything is wrapped up with a pretty bow is how the twins coped as children. Hell, maybe it was a family thing with dead parents/Magneto/Harkness.

God, I hope that people don’t find this after the show comes out and says, ‘This would’ve been better than that travesty.’ Maybe after the show is completed I could reblog or something to see how much actually came to fruition one way or another. Just the basic wish though, because my brain is too specific for anyone else. Like when youtubers make movie predictions and then play bingo after it comes out.

Edit: Just realizing I didn’t title this... Shit.

[frobster]

zero fucks given, next please, with whoever u want ;)

Clint x Pietro / Hawksilver

Edit: now on ao3!

☆☆☆

Clinton Francis Barton was known for his sharp eye, both with a bow and with people. He could spot people's tells, their nervous tics, their bullshit poker faces. It was so easy to string them along like an arrow getting notched as he pulled taut, never faltering for a moment. The final release was his favorite - when the plan came to fruition and the shock on their faces showed how perfectly he had laid it all out. He didn't become a feared mercenary for nothing.

While Hawkeye rarely ever worked with anyone, there was a person he allowed to assist him sometimes. The kid was quick on his feet and with his tongue, speedy and witty in ways that eased Clint's frustrations rather than add to them. Pietro Maximoff was casual, cool in every meaning of the word, and his sly grin could make even the most hardened of criminals nervous.

Getting hired was never an issue. People had endless problems and endless money, and Clint capitalized on that. Sometimes he exacerbated problems in the dark, spreading rumors and sparking rivalries just to stir up trouble. It amused him when he felt bored, when that restlessness crept into him and he felt dissatisfied with the world.

Between jobs, Clint would stretch out in his apartment. It was actually a very nice place but he rarely went through the effort of cleaning it so it tended to look like a trash heap. He would lounge on his couch, his $6,000 leather couch with brass finishings and hand-carved wooden legs, and stare at the ceiling as take-out containers piled up around him.

And sometimes, during these lulls where Clint rarely moved at all, Pietro would come by. Quicksilver would rush around the apartment cleaning things up, throwing things out, putting things back where they belonged. The archer rarely ever reacted. He would stare at the ceiling, letting his numbness and guilt immobilize him, as the younger man tended to a residence that wasn't his.

"You know, old man, you should really take better care of yourself," came an accented voice with a hint of snark and maybe an undercurrent of something else too.

Clint didn't reply. The couch was clean by then so he stretched out further with a yawn, pointedly not looking at Pietro.

"Yourself, your apartment, your bow." The bow had been sitting on the floor rather than hanging on the wall where it should. Pietro returned it to its rightful place with care and reverence, knowing how important it was to Clint.

Still no reply. Not even a sigh or a grunt to show that Clint was listening. Pietro knew he was, but it still annoyed him.

"You'll lose your edge if you keep letting yourself slip." Pietro sat on the floor by Clint's head, his silver hair catching and reflecting the light enough to draw the archer's attention.

But still, he continued to be stubborn. "Zero fucks given. Next," he grumbled.

Pietro sighed and lifted up on his knees to press a kiss to Clint's head. The casual affection still made him flustered, his blank expression cracking slightly as he blushed.

 

"I've got a few more ideas if you want to keep crossing them off," Pietro said with a smirk, the same one that made so many people nervous and instead had the opposite effect on Clint.

Finally sitting up, Clint shook his head with a small smile and framed the smaller man between his legs. They shared a look for a moment, both daring the other to do something.

"Zero. Fucks. Given," Clint enunciated with an amused look. "Next."

Pietro's smirk became dangerous, teasing, willing to take on any dare. He surged forward to press a heated kiss to Clint's mouth as he shuffled closer to the couch. If Clint wouldn't cheer up with words, Pietro had plenty of other tricks up his sleeves.

Or, down his pants.

☆☆☆

@mom---nicole @leisurelypanda

[kilopmad]

Launchbar mac

#LAUNCHBAR MAC FOR MAC OS X#

Open Keychain app and add a new Generic Password named ProxySwitch. Action retrieve the admin password from Keychain. LaunchBar’s behavior is similar to Spotlight, one of the native OS X functionality, so the regression is graceful when I have to work on a Mac without LaunchBar. Install and launch ProxySwitch.lbaction and edit UserProxy.json located in /Library/Application Support/LaunchBar/Action Support//.As you type, Launchbar suggests applications and files based on the letters you've entered, and what items you use most frequently. When you trigger Launchbar with a keyboard shortcut, a search box pops up at the top of your screen. If youre using a recent Chrome version you. Today, however, LaunchBar, recently updated to version 6, is the single most important utility I have installed on my Mac. Sends current Page Title, URL and any selected text to LaunchBar. Launchbar is, at it's root, a system wide search. Unofficial Send to LaunchBar or Mac extension. As is the case with all of the aforementioned options, the possibilities are endless of what you can do with this launcher. Launchbar is one of the most powerful applications available. Launchbar has been around for longer than even Spotlight and is on version 6 in its history. If Quicksilver is the basic, no-nonsense version of Spotlight, then Launchbar is the big fish in the small pond. Katie and David take an in-depth look at currently available keyboard launchers for the Mac including Spotlight, LaunchBar, and Alfred.Project management software free microsoft office project. I have been using LaunchBar for over 3 years and it has become so natural that I feel literally paralyzed when I approach a Mac without LaunchBar. When you activate it by pressing Command-Spacebar, the LaunchBar window (the.

#LAUNCHBAR MAC FOR MAC OS X#

LaunchBar is one of the ten light automation utilities (Macademic Ninja Kit), which make academic work on a Mac fast, smooth and enjoyable. LaunchBar is a utility for Mac OS X that provides quick access to your files.

[tawortotu]

Pixelmator batch resize images 無料ダウンロード.How to batch process images with Pixelmator

Pixelmator batch resize images 無料ダウンロード.Pixelmator Classic - パソコン用

                                                                          Choose a workflow type.Pixelmator Photo

    Pixelmator Pro is an image editor designed to make the most powerful professional image editing tools accessible to everyone. And with an extensive collection of tools for editing and retouching photos, creating graphic designs, painting, drawing vector graphics, and adding stunning effects, it’s the only image editor you’ll need Feb 26,  · With Pixelmator Pro Quicksilver, you can now batch process your images using five powerful actions for the Automator app. These actions let you easily automate repetitive tasks by creating complex workflows, greatly speeding up The ultimate beginner’s guide to Pixelmator Pro. Create a realistic T-shirt mockup. Replace the color of objects. Change the background of a photo. Remove the background of an image. A quick overview of every retouching tool. How to extend the background in a photo. How to change the color of an object in a photo    

Pixelmator batch resize images 無料ダウンロード.Resize Images - Pixelmator Classic Tutorials

The ultimate beginner’s guide to Pixelmator Pro. Create a realistic T-shirt mockup. Replace the color of objects. Change the background of a photo. Remove the background of an image. A quick overview of every retouching tool. How to extend the background in a photo. How to change the color of an object in a photo Pixelmator Photo is a powerful, beautiful, and easy to use photo editor for iPad. It features a collection of nondestructive, desktop-class photo editing tools, a set of stunning, machine learning-enhanced film emulation presets, a magical Repair tool to remove unwanted objects from your photos, support for editing RAW images, and more May 30,  · How to batch process images with Pixelmator Tweet. Pixelmator is an image editor for the Mac that provides a lot of the same functionality as Photoshop for the spectacularly low, one-time fee of $I’ve been using it more and more for things like retouching and resizing images. One Photoshop feature I miss, however was batch processing         

 Pixelmator Photo is a powerful, beautiful, and easy to use photo editor for iPad. It features a collection of nondestructive, desktop-class photo editing tools, a set of stunning, machine learning-enhanced film emulation presets, a magical Repair tool to remove unwanted objects from your photos, support for editing RAW images, and more. Watch the film. Pixelmator Photo now fully supports the Apple ProRAW format.

Use simple gestures to precisely adjust the tone curve directly in your images. Enjoy significantly improved shadow and highlight recovery. Customize the visibility of individual color adjustments. Pixelmator Photo brings a desktop photo editing experience to iPad. Advanced Adjustments. Make photos shine using a wide range of powerful, desktop-class color adjustment tools.

Automatically apply Lightness, Color Balance, Selective Color, and other adjustments using a machine learning algorithm trained on 20 million professional photos. ML Adjustments. ML Presets. When you choose a preset after applying ML Enhance, the most important ML Adjustments are retained.

So presets are beautifully consistent and consistently beautiful, no matter the photo. These black and white presets are based on classic black and white films. The black and white look is very versatile and is great for artistic photography, landscapes, portraits, street photography, and many other styles. Especially when you want to add a little drama. Some presets apply film-style grain to create an old-school film feel, others increase contrast for a more striking look.

Inspired by the contemporary color grading process used in the movie and video industry, these presets emulate the cinematic look and feel. Subtle changes to the colors of the shadows and highlights of an image are key to achieving this look. Before digital, there was analog. And many analog films have become legendary for their visual qualities — these presets are based on some of the most well-known and popular analog films. This collection is great for portrait and lifestyle photography, adding a subtle and tasteful vintage look and feel.

Many modern analog films are well regarded for highlighting skin tones, creating pleasing outdoor shots, or having unique grain detail. This collection of presets for landscape photography is designed to boost colors and bring out details in photographs of nature — especially in shots with lots of greens and blues.

Along with color changes, the presets also increase contrast for a more striking and eye-catching look. The vintage look never gets old, especially with a more modern take on the old-school feel. Using a combination of faded shadows, tasteful color tints, and film grain, this collection gives photos an aged, yet contemporary look and feel. Created for urban photography, these presets improve the look of shots taken in cities dominated by buildings, manmade structures, and urban life in general.

Designed for shots taken in low light, this collection works especially well with photos of cities taken at night. The presets bring out details in the highlights and add tasteful color tints for an artistic finishing touch.

This group contains all the presets from Pixelmator Pro, including presets for creating black and white photos, vintage looks, and eye-catching landscape shots. These presets are especially playful and artistic and can work great with a variety of different photography styles. Save any combination of color adjustments as a custom preset to quickly apply them to any of your photos and even share presets with others.

Pixelmator Photo was designed exclusively for iPad, taking full advantage of its large display and bit architecture. It also fully supports great iPadOS features like the trackpad and cursor, Split View, Slide Over, and many others. And it uses iPadOS technologies like Metal, Core ML 2, and Core Image to deliver blazingly fast editing, zooming, and scrolling, even in large images.

So the only thing that can slow you down is your imagination. Pixelmator Pro Pixelmator Photo Pixelmator for iOS Pixelmator Classic Tutorials Blog Community Support. Pixelmator Photo 1. Overview What's New. Apple ProRAW Pixelmator Photo now fully supports the Apple ProRAW format.

On-Image Curves Use simple gestures to precisely adjust the tone curve directly in your images. Shadows and Highlights Enjoy significantly improved shadow and highlight recovery. Customize Adjustments Customize the visibility of individual color adjustments. Desktop-class, nondestructive photo editing tools.

Built and designed exclusively for iPad. iPad Pro

[loyolafilmcircle]

“There was an idea...”

by Renzo Guevara

edited by Anna Cayco

Avengers: Infinity War (2018) is the 19th film in the Marvel Cinematic Universe (MCU), a franchise that has been relatively consistent in terms of quality and vision for the last 10 years. It’s the massive culminating event that has constantly been set up with the three phases of movies with each of the individual heroes’ adventures leading up to this film.

But Marvel’s massive reputation and cultural impact was not as prominent as it is today. They sold some of their most recognizable characters’ movie rights to other companies such as the X-men and the Fantastic Four to 20th Century Fox and Spiderman to Sony. Their first movie, Iron Man (2008) was a risk to say the least. The concept of an Avengers movie was merely just a thought but never an actual legitimate vision. A fun little innocent scene was placed at the end of the credits, showcasing Samuel L. Jackson’s now iconic character Nick Fury showing up to talk to Robert Downey Jr.’s Tony Stark about the Avengers initiative. Conversations about this scene grew until Marvel Studios revealed its plan to produce more superhero movies to lead up to an Avengers film. Thus, the MCU was born.

The first real culminating event was 2012’s Avengers directed by Joss Whedon. To say that the film was a success is an understatement compared to how exactly fans and critics responded to it. It featured breathtaking action sequences, entertaining interactions between the characters and a carefully crafted three-act structure that successfully combined all the elements that were set-up during the standalone movies. Included in Phase 2 was its sequel, Avengers: Age of Ultron (2015), which featured new characters such as Scarlett Witch, Quicksilver and Vision. Unlike its predecessor, it was met with mixed reactions between the audience and critics. Some commended it for the sheer spectacle on display and seeing our heroes assemble again but in time people soon accepted the fact that the film had a disjointed narrative, a disappointing villain and a few unlikeable characters.

Regardless, these first two Avengers films successfully assembled the heroes and characters we’ve all come to love. It’s not wrong to say that some of us may have garnered some sort of attachment to them that naturally makes us care for what happens throughout the series, especially in Infinity War where stakes are at an all-time high with talks of possible permanent deaths and ending of contracts of certain actors.

What could possibly have created this attachment to this universe is how these movies always tried to set themselves apart not just in their tonality also in the production behind it. The directors the studio hired were not your typical action filmmakers but were more story, character and comedy focused. And it’s also not uncommon to see the MCU go with the recent trend of giving blockbuster projects to directors who mostly made a name for themselves in the indie scene or in television. Filmmakers Anthony and Joe Russo, who were mostly known for the TV series Community (2009-2015), were hired for Captain America: The Winter Soldier (2014) and then for Civil War (2016). Both films were met with commercial and critical praise. With engaging plots that were grounded in reality setting it apart from the rest of the MCU, it was a clear choice for Feige to call upon the Russo brothers again to work their magic. And boy did they deliver with Infinity War.

The 3rd Avengers film features an incredible roster of every hero that has been established alongside the Guardians of the Galaxy. This feat has been so monumental in scale and scope that it has often been regarded as the most ambitious crossover event in cinematic history and if I’m being completely honest, it definitely earns that title.

Immediately, the film starts off incredibly strong with the chilling rightful introduction of the main event, Thanos. Gone are the days of post credit setups or small cameos, here we are placed face to face with him alongside his team who are not to be messed with. Thanos as a villain is truly an achievement for the film. You would think that him being a purely CGI creation would make him feel weightless and absent but that’s far from the case. Josh Brolin gives a hauntingly calculated performance that was beautifully motion captured as real emotions were seen, and true terror was felt whenever he was on screen. The MCU has always faced criticism about its villains but recently they have been nailing it in that department especially with Thanos. When people say that Infinity War is a Thanos movie instead of an Avengers one, it’s a valid statement to say. This is ultimately Thanos’ story and the Avengers are simply background characters. Some could even look at them as the real antagonists of the story as Thanos’ actions may be grim but once you deconstruct his motivations, they actually present a proper argument to a certain extent.

A massive cast is something that’s unavoidable with this being a culmination of 10 years’ worth of movies. At times, the film, struggles with the weight it has to carry as it tries to give each character their own individual adventures that all come down to stopping Thanos. Despite this, it doesn’t feel overly bloated. Each of the heroes get a decent amount of screen time. Some may shine more than others, but this can easily be forgiven given that this is technically a two-part storyline and the film was already nearly three hours long.

Considering the run time, the film is still a rollercoaster ride that rarely lets you take a breather. Just from the very first shot all the way to the last you will be left speechless and in pure state of either awe or shock. If in previous MCU movies, the stakes were rarely felt and a sense of danger was minimal, Infinity War turns this over your head and whacks you with it continuously. I wouldn’t say that there were certain throwaway scenes that could’ve been left on the cutting room floor but there were definitely some moments where I was more invested in than others. This can mainly be due to personal attachments to certain characters or just a simple desire to get back to the action. Character moments between our heroes are highly entertaining with the filmmakers and writers taking advantage of each of their quirks and antics that play off of each other. But what’s more impressive is that in its core, the identity of its characters remains intact. When the Guardians are on screen, it feels like a Guardians movie and so on.

But it’s also worth noting that some characters may not act the way we were accustomed to them in their solo movies. This should be expected given the difference of directors and writers and visions towards what and who they are. None were too different to the point where it’s a complete 180 of a character trait but just subtle enough to be noticed a bit or can be argued as part of their arc.

The action sequences in Infinity War are spectacle in its purest form. The Russo brother’s first two films in the MCU, The Winter Soldier and Civil War both contained amazing action scenes but most of them would regularly use quick jump cuts and an overly reliance on shaky and handheld camera work. Infinity War is arguably their first “fantastical” movie as their previous projects in the Captain America franchise were mostly grounded in reality. Thankfully they improved their craft in this one utilizing mostly wide shots and steady cams. The fight choreography and the breathtaking visual effects that supplement them invoke an epic feeling that is so much more emphasized with the familiar iconic score of the Avengers theme. One moment in particular near the climax had all these elements come together to create one bombastic moment that had the entire theater screaming in delight.

On the topic of the Avengers theme, Alan Silvestri’s score for this film also deserves much praise for what it accomplished. Although it should be expected given that the Avengers score is one of the most recognizable themes today, Silvestri’s new pieces in this film are as memorable and impactful as the scene themselves. The action sequences are injected with auditory adrenaline rush coupled with the masterful sound design and mixing but even the slower, more emotionally driven moments in the film contain some of the best scores to come out of the MCU.

All in all, it really was incredible to witness the development of the MCU franchise from its humble beginnings with Iron Man all the way down to Infinity War. All the stories the directors have told and all the elements they had to set up all coming into fruition in this one epic cinematic event. The Russo brothers deserve all the praise they could get for accomplishing this monumental task. Many have tried and failed to launch a cinematic universe such as the DCEU or Universal Studio’s Dark Universe, but it’s with the MCU that truly believes in its own vision and in the stories they tell.

All the beats in Infinity War hit when they need to. Wonder and spectacle alongside tension and emotion jell together for one massive sweep that generally satisfies majority of the hype that developed over the years. A global cinematic event that deserves to be seen and a proper payoff to all those years of excellence. Infinity War is definitely up there with the best of the MCU and it cements itself as one we would be talking about years down the line. The future of the franchise looks bright and with the continuation of the storyline scheduled to release next year, it’s only a matter of time till we see our favorite heroes assemble once again.

Photo sources: 1 2 3 4 5 6

[driftinglightofthewoods]

Quick Thinking || Drabble

-shrugs excessively-

I have no excuse.

tagging @legolasgoldy because lbr these drabbles only make sense to you

All in all, it was a usual night. Pietro rarely slept anyway, sitting still was hard enough on its own, laying still for the same eight hours of sleep everyone else needed was something he couldn’t accomplish every night.

So, instead, he was tossing a ball up at the ceiling, trying to keep himself occupied as music trickled through the headset he had on. However, something was disrupting the flow of the music with the rhythm of the ball hitting the ceiling. He sat up straight, looking to the bed on the other side of the room with curious intent.

He had been sharing the room with the new student for a couple of weeks now, slowly getting to know Eredhon; a task more easily said than done as the latest edition to the school student body was a rather closed off and shy individual. But Pietro considered the small talk they had had at least some sort of progress.

The other seemed to be peacefully asleep, so Pietro was about to return to his ball tossing when the heap of blankets made a rather jumpy move. He raised an eyebrow, taking of the headphones to hang them around his neck.

He couldn’t hear much being at his side of the room, but the short and almost raspy breaths of air he did hear had him convinced the other was having nightmares. Well, that wasn’t really uncommon either; unfortunately Eredhon seemed to suffer a lot from nightmares. However, Pietro couldn’t recall a time during the few weeks where Eredhon had been tossing and turning as badly as he did now. He wondered if he should go over and wake the other teen up, but somewhere in his thought process Eredhon suddenly sat up. Pietro jumped a little, still not sure if he should approach the other.

“Eredhon?”

No response, as the teen’s long black hair obscured his face like a veil; a sight that almost made Pietro think Eredhon would be a good extra for a horror movie in such a fashion. Was he still asleep?

“Are you alright?”

He was met with nothing but silence, making Pietro shiver for a moment. Was it a common occurrence for people to just randomly sit up in bed and not make noise? Wait- Eredhon was making noise; the sound of someone drawing in a breath after they had just been crying, but that wasn’t what was making Pietro worried; the fact that the windows trembled with anticipation as the other mutant breathed in.

It was a split second to anyone else, but Pietro could clearly look Eredhon in the eyes as the teen drew back, his hair no longer obscuring his face; a hazed over, dark gaze where shy, grey eyes used to be. Pietro gulped, quickly putting his headphones back over his ears as something deep within him told him that whatever was going to happen wasn’t going to be pleasant.

And it wasn’t.

The harrowing, icy shriek that came out of the other boy seemed never ending and constant in pitch; vibrating the windows and mirrors in the room so much that Pietro could only worry about them shattering and either harming himself or Eredhon. It was only when he felt the vibration in the very foundation of the building that Pietro actually felt afraid. “Eredhon!” he yelled, trying to get over the sound of the shrieking

“Wake up! You’re going to bring the entire building down! Wake up!”

Of course, with such ruckus and chaos everyone within the building was rudely awoken from their sleep. Younger students were quickly ushered out of the building by older ones, while Charles and Hank tried to get to the source as quickly as possible; the professor immediately reached out to the conscious mind in the room.

Pietro, what is going on?

It’s Eredhon. His nightmares are doing this, I can’t wake him up!

Get out of there. Hank and I will solve this.

I’m sorry, professor. I can’t let you in here.

“He’s blocking the door,” Charles sighed, unsure of what Quicksilver was even planning on doing locking himself in with an agitated mutant’s powers going haywire. Super speed was hardly even going to help him deal with the vocal enhancement of Eredhon being set off like this.

Well, yes, Pietro was aware of that… after he had shoved the dresser and his bed against the door and was now trying to convince his panicking brain to think of something before either the teachers broke in, or the place came down: whichever would come first.

He turned to Eredhon, who still seemed to be completely engulfed in whatever dream was so bad that it caused all of this; and then Pietro paused for a moment. Were those tears? Yes.. yes they were. He felt a sigh escaping his lips, a sudden sense of sorrow creeping up on him. If anything, Eredhon was clearly just scared. Was there really nothing he could do about this?

“Pietro, open this door!”

He considered listening to Hank for only a second.

When he got no reply from banging his fist on the door or shouting to be let in, Hank had no other choice but to take matters into his own hands. If they were going to keep the building in one piece, they had to get in that room. So he ripped and tore away at the door; completely ignoring Charles calling his name several times until he had found a way to barge in.

It was only when he did that he noticed the effects had died down, and everything quickly went quiet. He never took his eyes of the scene in front of him, not even when Charles joined his side.

On the bed where the chaos had all started sat Quicksilver, arms firmly wrapped around the other mutant. He kept him close, keeping Eredhons head lightly against his chest as the teen finally seemed to have woken from his nightmares. The only sounds still heard were those of small sobs, and gentle hushes of reassurance.

[hallietrot-blog]

About

edited 08/05/18

Hallie trot is 19 years old, but looks to be about 16. She has a twin brother who looks at least 21, but ironically she is the older twin. In the original universe they come from, after a (radioactive? toxic waste? I don't quite recall) disaster, many of the residents of this town gained powers THROUGH DANCE. Hallie and Horatio were born after this disaster, but received the powers of ~*time*~. Hallies works similarly to Quicksilver, in that it looks like she has super speed, but she actually is slowing time around her (she can speed it up too but how useful is that besides for long, boring conversations?) After an horrific accident trying to protect her brother, she had been outcasted and joined the towns group of bandit(o)s. Incredibly sweet and kind, constantly pulling out whatever you need from her seemingly magical bag (how does it all fit in there? Ramona Flowers, is that you?). Her specialty, like many Banditos, is to make deliveries no matter who they’re from/for, or what they are. 

BORDERLANDS AU:

            Time frame: has no knowledge about any events occurring after she left, such as Jack’s death, or the fall of Hyperion.

            Hallie’s parents met on Artemis, her mother’s home planet, and whether they fell in love or it was out of them both being from high standing, they got together and moved to Demophon, her father’s home planet and had twins. He worked closely with Hyperion, having a sort of high position there that Hallie never understood, and so Hallie and her twin Horatio were sent to Opportunity. Hallie quickly grew to hate it there, hate everything about Hyperion and Handsome Jack, seeing through the bullshit, and in a grand heist, stole nearly 12 million smack-a-roon-ees (exact amount unknown, though a quick estimate gives $10 million in cash and $1.5 million in tech and weaponry), along with some guns and Hyperion technology. She is obviously a wanted criminal, traveling across Pandora dodging the Hyperion goons they send after her. She carries a Lady First pistol, Interfacer shotgun, and Fremington’s Edge sniper rifle, (as of 08/03/18 enhanced accuracy and elementals added tobedecidedlaterwheniweightheprosandconsshhhhhh) though she mainly uses the pistol, keeping the Interfacer as an intimidation factor mostly, and Fremington to scope (GET IT) out what’s ahead of her. She rides around on a motorbike. She’s dedicated to helping Pandorans in need, often doing work for free and actually giving money away. It’s a mystery how much of the money she actually has left, but it seems that after her recent surfacing after hiding for so long she’s doing her best to just get rid of it. She has no interest in the cash she stole, besides improving life on Pandora for everyone. She’s happy living in a broken down shack, so long as she can make others happy.

FC: Emily Bador (but like, younger?)

Pinterest Board

Tropes:

These go for Hallie in general but I typed them out as Borderlands specific just because that’s the only RP-verse I’ve been in with her so far so why not elaborate in detail?

Big Eater: Self-explanatory, I don’t even feel the need to put a TV Trope quote here. Hallie can eat A LOT. It makes a lot more sense in her original verse but she does do a a lot of physical labor for a 19-year-old girl. She clearly manages to work it off at 5′7″ and 122 lbs.

Cute and Psycho: I feel like psycho is a little extreme but Hallie can go from adorable and sweet to vaguely threatening if the situation takes a turn. Her kindness is no act, and she is still fairly naive, but she’s not nearly as stupid as she sometimes acts, and is willing to defend herself if need be.

Deliberately Cute Child: “This is a kid who has all the stereotypically adorable childlike mannerisms: ..Puppy-Dog Eyes, and so on. Really, though, they're just faking it all; they've figured out it's a good way to get what they want. Sometimes characters like this are Really 700 Years Old... [Hallie is 19!!!] On the other hand, they might just be kids who've figured out their elders' emotional cheat codes.” -TV Tropes. I mean, Hallie is still pretty young and child-like, so it can go both ways.

False Innocence Trick: I probably am not using this completely right, but Hallie’s go-to. While good-hearted, she often pretends to be much more innocent than she actually is in hopes others underestimate her, and to gain sympathy. Even Hallie herself has a bit of a hard time knowing the line between the act and her true self sometimes. Will rework this one later

Killer Rabbit: As young and cute as she looks, if you try attacking her, she WILL fight back as mentioned above. She tells everyone she knows nothing about guns but the year she spent hidden she sure learned an awful lot. May or may not have prior knowledge/training in pistols on Helios, unclear. She’s no sharpshooter but I wouldn’t recommend taking your chances, she had to have taken out the Hyperion goons sent after her somehow, am I right? Will also rework this one later

Little Miss Con Artist: Played straight, see the above tropes (besides Big Eater lol). She’ll bump into you with an “Oops, sorry, I’m such a klutz!” and when you check for your wallet later, it’s gone. “Aww, look at sweet little Sally. So adorable, so innocent......wait, where's my wallet? This is when a little girl takes advantage of the perception that Children Are Innocent to play a bunch of adults for suckers. Sometimes this character will work in partnership with an adult, usually her father, but as often as not she's the real brains of the outfit.” - TV Tropes

Manic Pixie Dream Girl: “She's stunningly attractive, Energetic, high on life, full of wacky quirks and idiosyncrasies (generally including childlike playfulness)” -TV Tropes. I understand how complicated this term is so I’m going to do my best job to explain this simply: I would not necessarily call Hallie a Manic Pixie Dream Girl. but she has the personality, traits, and quirks of one. Her goal in life is to simply enjoy it, and allow others to enjoy it with her. She is not and has not been in a relationship, but is open to one. I’m even okay if it starts as a typical MPDG relationship SO LONG as it develops into something more/deeper.

Mysterious Past: “Often a Former Teen Rebel's old rebellion will be part of their mysterious past. Any dark deeds done in this period are part of a Dark and Troubled Past.” -TV Tropes. Just read the above About please don’t make me type the same stuff over and over again. Born on Helios, hated what Hyperion stood for so she left but not before taking some of their shit. 

Older Than They Look: “Sometimes characters don't look their age. Whether it was a deliberate artistic choice on the behalf of the creator (usually to make the character more attractive or to legally fulfill a fetish) or something much deeper and linked to their characterization and the plot, this character will be older than they look.”  -TV Tropes. Looks about 16, is 19.

Sweet Tooth: About as self-explanatory as Big Eater. Hallie’s favorite foods include suckers, which she always carries on her, and breakfast foods.

The Fake Cutie: Not really though. Not necessarily totally fake, but she plays it ‘Up to 11′ if we’re gonna keep using Trope Terms. Plays up her youthful appearance, through you typically won’t find her in childish clothing. “This cutie act is actually camouflage to hide her intelligence, [or] her true self... Sometimes she knows full well how shaken up her behavior makes her foes, and takes great joy in seeing them squirm. She tends to be very manipulative...” -TV Tropes. Will rework this later

[filmeditingunit21]

A1: Types & Purposes of Editing for Film & Television:

Types: 

Continuity Editing: 

Continuity Editing is the main style of commercial cinema where they use a logical, continuous narrative, it is basically shots that are related trying to make the audience think that the shots were filmed as if the scene happened in a sequence. A good example of continuity editing is an action performed on screen, this could be someone throwing a ball, the scene could start off with a shot of someone throwing a ball, the next shot could then be a close up of the ball in the air and another could be a POV shot from the person who is going to catch the ball, by editing like this the narrative has structure and the shot sequence flows seamlessly into each other. 

Non-Continuity Editing: 

Non-Continuity editing as you would gather is the complete opposite of continuity editing and it does not offer a logical continuous narrative. This type of editing breaks the rules of the linear path and moves in different directions. As well as this, non-continuity editing can impact an audience, it can change their mind on characters or change the atmosphere of a scene, for example the audience may like a character at first but with some non-continuity editing a flashback could be put in to show that liked character commiting murder and the audience may now not like that character at all, therefore this type of editing plays a big role in how things are percieved in a film. A good example of this is in the American Tv series Breaking Bad which follows the life of a teacher called Walter White and throughout the show we see not only how he changes from the point we first meet him but how much he’s changed since his past. This is shown through the use of flashbacks showing Walter White before he was a chemistry teacher and so it allows for the audience to understand Walter better and feel more attached to the character.

Purpose of Editing: 

Manipulate Time: 

Time manipulation in film is always best done in the editing after the film is made, whether this is slow motion or shots that have been sped up. By manipulating time a director can tell a story better or show scenes better e.g. in more detail etc. Additionally time manipulation builds tension and suspense for the audience to empathise with the character(s). 

Slow motion- slow motion is used to see a shot in more detail, the scene is slowed down so that the audience can properly see what the director wants them to see and the meaning behind it. For example if a fight scene was shown at full speed then the audience would not see it as well as they would in slow motion, however the director would usually have a reason for showing a fight scene at normal speed than in slow motion. At normal speed the director could be trying to say that the scene needs to be fast to show how quick one person was beaten in a fight, whereas if it is done in slow motion then the director could be wanting to emphasize on the skill in the fight from both people or persons in the fight showing more emotion as well as showing the characters fighting ability in more detail. Often in action scenes slow motion is used to aestheticize the violence, to make it more operatic or balletic, a good example of this is the film ‘300’. In fantasy or sci-fi it can show a character’s superhuman powers and their ability to manipulate time, a good example of this would be Quicksilver in the kitchen scene in ‘X-men Days of Future Past’. Or it can either be used literally, to show the different layers of time (e.g. Inception). It can also be used to get inside the head of a lead protagonist and show the emotions they are feeling. 

Shots that have been sped up- directors would use this type of effect not to just get past things quickly but to create excitement in a scene and to create an effect of power. For example in a fight scene we could see one person sped up beating up another person but so quickly that it shows they are incredibly fast and powerful. As well as this like slow motion in fantasy/sci-fi films it can be used to show a character's abilities. For example in Sam Raimi’s Spider-Man 2 during the train scene, spider-mans ‘spidey sense’ is shown by his point of view of a sped up shot down the rest of the train track to see the end where the train will crash. 

Overall time manipulation helps a director portray/tell a scene better and helps in highlighting and hiding information in a scene. Of the two types of time manipulation I would say the slow motion effect is more effective than a sped up shot as the director can use it to show more meaning in a scene and highlight aspects of a scene that are not usually viewable. 

Flashbacks & Flashforwards: 

Flashbacks and flashforwards are used to either show something in the past or something that is going to take place in the future. 

Flashbacks can be used for many things, they can be used for more background on a certain character or on a place/location. Or they can be used to show what life was like before a disaster etc. Flashbacks can be shown in many different ways, commonly used ways to portray that a flashback is happening is with a cross dissolve, however in some films flashbacks are announced with literal flashes and a compilation of shots put together in a jarring way, a good example of this would be the Bourne Identity where Jason Bourne is trying to remember his identity. Quite a lot of films don’t tell the audience when a flashback is happening and let them work it out for themselves, however even though a flashback may not be obvious it is not only seen in an edit after filming, flashbacks can also be seen by seeing a character with a different haircut for looking younger or even wearing clothes of a different time. However there are many ways to also notice a flashback, there is the testimonial/confessional, the conversational, the object triggered, the thought triggered and the filmmaker intended flashbacks. 

Furthermore flashforwards are the same concept as a flashback, however instead of going back in time it goes forward to show the future of the narrative/many futures of the narrative. Flashforwards are very rarely used in common narrative because it is almost impossible to use them, however they can be used well in fantasy/sci-fi films. For example in Twilight Breaking Dawn Part 2 there is a scene where a vampire named Alice shows another vampire what will happen in the future if they all fight and we get a flashforward here showing her abilities as well as being able to show the fight scene but it does not actually take place. Overall in my opinion flashforwards are very hard to use compared to flashbacks and I believe that a director can tell more to an audience through a flashback than a flashforward. As well as this a flashforward could also potentially ruin a story before it is over, however if used well then a flashforward could also be potentially good for character development. A great example of this is in ‘A Christmas Carol’, where Scrooge sees his death, which led to his change in personality and fate. 

Control Perception of Space: 

Controlling the perception of space is key in creating an audience's reaction and controlling their behaviour towards certain characters. This lets two separate clips seem like they are together, allowing the audience to think that there is a seamless narrative. A good example of this would be the use of shot reverse shot between two characters.

Controlling Rhythm: 

To make a film look completely seamless and flow extremely well then the rhythm needs to be perfect. In most films the average shot is 4-6 seconds and so once the editor has established the average of the duration of the shot then they can decide whether to speed up or slow down the duration. A fast paced duration usually means that there is tension within the scene, for example in action films fight scenes will have many different cuts to show the speed of the fight and everything that is going on. Slow paced editing however would mean that the scene is calm, an example of this would be less cuts in a shot reverse shot scene of two people having a conversation. Controlling a rhythm in a film is trying to edit it so it builds up, for example in an action film at the beginning of the film you would have slow pace editing between shots which could be considered the ‘calm before the storm’. Then as the build up to the fight occurs editing between shots will increase as the films tension is also increasing. Then finally when it comes to the actual fight the shots will become faster and more sharp to emphasize everything around them is happening quickly. After the fight the scene will then go back to slow paced editing where shots are not changed as quickly due to the fact the fight has ended. A good example where all of this editing can be seen is from the film Psycho.

Overall rhythm in film is very important, if not handled correctly then the film will not look right and the audience will pick up on this. The pace of a film is extremely important, if it is too long then people will get bored of watching, if it is too quick then people will not know what is going on. Rhythm can provide suspense, surprise, drama and a whole array of different emotions, therefore making it probably the most important part of editing.

Functions of Editing: 

Creating the Narrative: 

Creating a narrative can be done in many different ways, a good way of furthering the narrative is by using flashbacks. Flashbacks can help the audience understand a character better, as they can see how they’ve changed over time, whether better or for worse. From an editing point of view, the editing itself needs to be motivated so that it suspends the audience disbelief when watching a media product. For example if a character wants to get into a room badly and then finally proceeds to get in the editor could make it so that the audience only gets the shot of the character's reaction as he/she sees the room. By doing this the editor has gripped the audience's attention as they now also want to see what is in the room, this is called motivated editing. 

The editor is doing this so that the audience is more involved with the film and it helps to keep the film interesting and surprising. 

Development of Drama: 

An editor can develop drama by cutting to reaction shots of characters as well as long cuts that can be used to develop tension and create a sense of ever closing danger. 

Creating Continuity between shots: 

As said before, continuity editing is making a sequence of shots look seamless one after the other, however there are actual rules in creating continuity between editing shots. A scene would usually start off with an establishing shot, this could be of a city to set the scene, the next shot then needs to be in what looks like an apartment within the city so that it looks seamless. Then the camera would follow the actions of the character, to do this the camera would follow the character as they are moving. 

If another place/location is coming next into the film then something to let the audience know will be needed. Things like sound/transitions help with this or in a lot of films nowadays to show a new location. It is another establishing shot with writing in the bottom left of the corner to tell the audience where the scene is now set. This is done so that the narrative can be carried over to another place smoothly. 

Additionally during films time is not as it would be otherwise it would take a long time to watch films, for example if a films narrative consisted over 2 years then it would be impossible to film if there was no time frames. This is why a film needs to have good continuity editing to make it look like a day has gone by and another has started, for example the sun going up and then coming down in a film shows the audience that a new day has started, however a sped up shot showing the sun go up and down many times as well as seeing the environment change could suggest that a lot of time has passed by and this helps the audience understand this. Another way of going through time in film can be just telling the audience, e.g. 5 years later…

Providing and withholding information/creating an audience reaction: 

A director will work closely with the editor to make sure that the correct information is shown and which is withheld, this is to ensure that the film is kept interesting and gripping for the audience, it also can help with explaining the narratives. This can be done in many different ways, for example the director might let the audience know something before the main protagonist does so that we know what is going to happen to them if they do something that they shouldn’t/should do and so this can keep the audience interested to see what decision the protagonist makes. However the director could also choose to withhold information to the audience and so whatever the protagonist chooses to do it will surprise the audience. 

If done correctly then a film will keep the audience gripped from the beginning until the end, as well as keeping the audience well entertained due to them thinking of what could happen next and what they knew was going to happen next. Overall this type of technique is very important as it keeps a film interesting and helps to have not a good narrative but a great narrative. The option to withhold information has the ability of changing the reaction of the audience, it can create suspense or surprise and a different attitude towards characters and how they view them overall. As well as this the option to feed the audience with little bit of information allows them to try and figure out what is going to happen which can be used well with withholding information as if the audience thinks they know what is going to happen but something else does then they are surprised as well as wanting to know the information that has been withheld from them which will then be shown for them to decide how they feel about it. 

Creating meaning:

Creating meaning can be done in various ways, whether it be done through camera work, sound or both together, meaning is created. Editing plays a big part in how meaning is created and how it makes the audience feel. Juxtaposition in films creates meaning, this is a film editing technique of combining two or more shots to raise a state of mind or idea, if two unrelated images are shown after the other, meaning is created and the audience works out for itself what it means. Meaning all depends on the editing of shots which is explained well by the ‘Kuleshov Effect’. 

Sound can also have an enormous impact on meaning as it can make people feel a certain way and when combined with a series of meaningful shots it can make an audience feel a range of different emotions.

[cowperviolet]

All the flirty proofreading...

David: ‘Now, I have a rough draft of the confession scene - if you’d like to take a look...’

Shiera: ‘You’ve hated me - you said so -‘

Brynden: ‘Aye, I did! For the quicksilver quickness of your mind,

For beauty surely born of fever dreams,

Your winsome ways, our father’s high regard,

And for your arrow-flight above the world,

Where I must crawl like creature of the night.

But even as these fed the flames of hate,

They made me yearn for you with greater heat,

That shall go out when Fourteen Flames flare up,

And Old Valyrian gardens bloom again.

*pause*

Far to the east, among the great grass sea,

Dothraki crones predict the lives of kings.

To part the veil of future, so they say,

One must consume a still-warm heart of horse.

Now, had you wanted mine for such a need,

I would have surely cut it out myself,

And served it up to you with Arbor Gold’.

Shiera: ‘I know a better fare for my mouth’. *kisses him*

David *blushing, looking up from the draft*: ‘...Now, I know it’s only the first draft, and I recognize it being too dramatic, and I should definitely tone in down in the edits...’

Me a year ago: Like many Victorian novels, David Copperfield is certainly ripe for some interesting canon divergences, albeit one has to be careful with them.

Me now: ‘When Lady Agnes Lannister of Casterly Rock is made the Mistress of Whisperers to protect her now-royal sister Cersei, she is widely praised for her calm and efficiency. However, now she has to contend with the many schemes of the lowborn Master of Coin, Uriah Heep...’

@heep-of-infamy