#stanely snyder

[itsokaytobegaydontbesad]

I just love their family 😩😩😩

[ezart-dumb]

In process...

[khepiari]

StanXeno: Them

[ultimate-mpreg-lover]

Wingfeild's monster

Hehehhe

It's just a sketch rn

[belldandye-blog]

Samozřejmě, že je to převrat

Ignorujte očividné a ztratíte svou republiku

napsal Timothy Snyder

přeložil Jiří Zlatuška

Představte si, že by to probíhalo takto.

Deset Tesla Cybertrucků, natřených maskovacími barvami s obrovským X na střeše, hlučně projíždí Washingtonem, D.C. Pneumatiky skřípou. Z aut vyskakuje několik desítek mladých mužů oblečených do brnění „Devil’s Champion“ v červené a černé barvě. Po provedení nacistických pozdravů popadnou zbraně a vběhnou do jedné vládní budovy za druhou, vykřikujíc hesla jako „veškerá moc Nejvyššímu Vůdci Skibidi Hitlerovi“.

Historicky tak převraty vypadaly. Centrum moci bylo fyzickým místem. Obsazením budovy a vyhnáním úřadujících představitelů bylo možné si nárokovat kontrolu. Kdyby tedy ozbrojená skupina mužů s podivnými symboly vtrhla do vládních budov, Američané by to jasně rozpoznali jako pokus o převrat.

A takový pokus o převrat by selhal.

Teď si ale představte, že by se situace odehrála jinak.

Několik desítek mladých mužů by obcházelo vládní úřady, oblečení v civilu a vyzbrojení pouze USB disky. Pomocí technického žargonu a vágních odkazů na „rozkazy shora“ by získali přístup k základním počítačovým systémům federální vlády. Jakmile by to dokázali, umožnili by svému Nejvyššímu Vůdci přístup k citlivým informacím a k moci nad všemi vládními platbami.

Takový převrat se ve skutečnosti právě odehrává. A pokud si to neuvědomíme, může uspět.

Moc je dnes digitální

Ve třetím desetiletí 21. století je moc spíše digitální než fyzická. Budovy a lidé jsou zde proto, aby chránili fungování počítačů, a tedy fungování celé vlády – v našem případě (v zásadě) demokratické vlády, která je organizována a omezena principem individuálních práv.

Současné kroky Elona Muska a jeho příznivců jsou převratem, protože lidé, kteří si uzurpují moc, k ní nemají žádné právo. Elon Musk nebyl zvolen do žádné funkce a neexistuje žádný úřad, který by mu dával pravomoc dělat to, co dělá. Je to všechno nezákonné. A jde o převrat i v zamýšlených důsledcích: o rozbití demokratického systému a porušování lidských práv.

Tím, že Musk získal data o nás všech, pošlapal jakoukoli představu o soukromí a důstojnosti, stejně jako explicitní i implicitní dohody, které máme s naší vládou, když platíme daně nebo studentské půjčky. Držení těchto dat umožňuje vydírání a další zločiny.

Pokud Musk získá schopnost zastavit platby z Ministerstva financí, demokracie se stane bezvýznamnou. Volíme si zástupce v Kongresu, kteří přijímají zákony určující, jak se budou utrácet naše daně. Pokud Musk bude moci tento proces zastavit na úrovni plateb, může učinit zákony bezvýznamnými. A to znamená, že Kongres bude bezvýznamný, naše hlasy budou bezvýznamné, stejně jako naše občanství.

Obrana proti převratu

Odpor proti převratu znamená obranu lidského proti digitálnímu a demokratického proti oligarchickému. Pokud Musk ovládá tyto digitální systémy, republikánští volení představitelé budou stejně bezmocní jako ti demokraté. Instituce, které sami pomáhali vytvářet, mohou být také „smazány“, jak Musk říká.

Dokonce i prezident Trump bude nakonec jen figurkou v Muskových rukou. Nemůže nic dělat bez přístupu k počítačům federální vlády. Samozřejmě, že mu to nikdo nevysvětlí – ani jemu, ani jeho příznivcům.

Probíhá převrat – proti Američanům jako nositelům lidských práv a důstojnosti, a proti Američanům jako občanům demokratické republiky. Každá hodina, během níž tento fakt neznáme, zvyšuje pravděpodobnost jeho úspěchu.

Tento text šířím s přesvědčením, že s tímto účelem byl přímo sepsán a přeložen.

[stonesparrow]

chapter 220

THIS BITCH

[toaster-do0dle]

[charmspoint]

You're Senku and you're acearo AS FUCK and you are in your lab, with your mentor Xeno who was a supervillan but dw he got better, so you're in your lab, trying to save the world no biggie, and in walks Stanely fuckin Snyder, obviously having NO business there and he locks eyes with Xeno and man your ass is ace as fuck you never thought about how ppl having sex would look but you're PRETTY sure its that and they just stare at each other for like a full minute and stanley waggs his eyebrows and xeno blushes and you want to go chat up tsukasa on that whole killing you thing and you get it you get it you have a boyfriend too and sometimes you like to kiss that boyfriend but good god couldnt they have scheduald this for like a saturday

[endlessfangirlao3]

Swayed the two as they fell asleep

Relationships: Stanley Snyder/Dr. Xeno  

Characters: Stanley Snyder, Dr. Xeno, Luna, Charlotte

Additional tags: Late at Night, Sleepy Cuddles, Cuddling & Snuggling, Pre-Canon, Established Relationship, Married Couple, Literal Sleeping Together, Hammocks, Fluff, Romantic Fluff, StanXeno week, Day 7, StanXeno Week 2021 (Dr. STONE)

Summary:  “Well then a gift smartass,” Stan rolled his eyes. “Now come on,” Stan took Xeno’s wist and started to pull him through the corn to the river. “hey - aye Stanely,” Xeno used his free arm to block the corn from hitting him on the face. “Come on slowpoke,” Stan continued to tease.

[shysheeperz]

Stanely Snyder in Ch. 157:

[ezart-dumb]

And it's... Finished!

[usoppsweave]

mister stanely snyder was lookin extra scrumptious in today’s new dr. stone chapter

[ljones41]

"The Sokovia Accords: A Narrative Blunder"

"THE SOKOVIA ACCORDS: A NARRATIVE BLUNDER" Three years ago, the Marvel Cinematic Universe (MCU), along with Marvel Films and the Disney Studios, introduced to the world the thirteenth entry of the movie franchise, "CAPTAIN AMERICA: CIVIL WAR". Although the movie is officially regarded as a Captain America solo film, many moviegoers and critics tend to view it as an unofficial Avengers film. The film also introduced a new story arc to the franchise called the Sokovia Accords.

In reality, the Sokovia Accords is supposed to be a cinematic version of the Marvel Comics legislative law called the Mutant Registration Act and was the main focus behind the famous 2006-2007 seven-issue story arc known as "Civil War". In this story, the U.S. government passed a Superhero Registration Act, ostensibly designed to have super powered individuals act under official regulation, somewhat akin to law enforcement. Those superheroes opposed to the act, led by Captain America, found themselves in conflict with those like Iron Man and Ms. Marvel who supported the act. Spider-Man found himself caught in the middle and the X-Men took a neutral stance. About a decade later, the MCU released "CAPTAIN AMERICA: CIVIL WAR" and introduced the world to the Sokovia Accords. For a while, I had wondered why Kevin Feige had allowed this story arc to be introduced in the middle of the franchise's on-going Infinity Stones arc. Then I had stumbled across an ARTICLE in which directors Anthony and Joe Russo had claimed the plot for the third Captain America movie was changed to compete against the DCEU's 2016 movie, "BATMAN V. SUPERMAN: DAWN OF JUSTICE". In this film, the U.S. government and the United Nations created the Sokovia Accords to regulate the actions of the Avengers and other enhanced beings in the wake of a deadly incident in Lagos, Nigeria; after Captain America and his team prevented a group of HYDRA terrorists from stealing biological weapons. Some of the Avengers - including Iron Man, War Machine, Black Panther and the Black Widow - supported the Accords for their own personal reasons. And some of them - the Falcon, Scarlet Witch and Captain America - refused to sign it. This schism between the Avengers, along with a bombing incident at the document's ratification in Vienna, widened the schism between the former teammates. Especially when Captain America's former best friend, Bucky Barnes aka the Winter Soldier, became the number one suspect behind the bombing. "CAPTAIN AMERICA: CIVIL WAR" managed to successfully compete against "BATMAN V. SUPERMAN: DAWN OF JUSTICE". The MCU proved to be more financially successful. And it managed to acquire critical acclaim from most film critics, unlike the DCEU movie, which had received a good deal of negative review. And yet . . . the movie had failed to succeed with me. I found this surprising back in 2016, considering that I was more of a MCU fan than one of the D.C. Comics franchise. At least before I saw "BATMAN V. SUPERMAN: DAWN OF JUSTICE". Whereas I found myself harboring a low opinion of "CIVIL WAR", I became a fervent fan of the Zack Snyder film. And over the next three years, I have found it increasingly difficult to maintain my high opinion of the MCU. And a major factor of my burgeoning disappointment with the franchise proved to be the Sokovia Accords.

Ever since 2016, I have harbored many misgivings about the Sokovia Accords arc. My first misgiving proved to be its portrayal in "CAPTAIN AMERICA: CIVIL WAR". I had assumed that the document would be the main factor to divide the Avengers. Instead, screenwriters Christopher Markus and Stephen McFeely included another subplot regarding the hunt for Bucky Barnes to divide the Avengers even further - especially Captain America and Iron Man - in the most contrived manner. One of the first advocates of the Sokovia Accords was King T'Chaka of Wakanda (father of the current Black Panther). Why? When the Avengers had prevented Brock Rumlow and other HYDRA operatives from stealing from that biological weapons lab in Nigeria, Scarlet Witch had used her telekinesis to divert the explosion from Rumlow's suicide bomb to another building that contained several Wakandan humanitarian workers. The problem with is scenario is that the 2018 movie, "BLACK PANTHER" made it clear that Wakanda was an isolationist country around the time of "CIVIL WAR" that did NOT involve itself in the affairs of other countries - including those on the African continent. Great. "BLACK PANTHER" managed to contradict certain plot points of "CIVIL WAR" and no one realized this. More importantly, King T'Chaka no longer had a reason to be an advocate of the Sokovia Accords. And the mistakes kept on going.

A major blooper regarding the Sokovia Accords had manifested in the 2018 movie, "ANT-MAN & THE WASP". In this film, Scott Lang aka Ant-Man found himself near the end of his house arrest, which manifested from his involvement with Captain America in "CIVIL WAR" and his violation of the Sokovia Accords. While incarcerated in the Raft (U.S. underwater prison for enhanced beings), Scott had mentioned Dr. Hank Pym, the first Ant-Man and creator of the Ant-Man suit. After being rescued from the Raft by Captain America; both Ant-Man and Clint Burton aka Hawkeye made a deal with the Federal courts and settled for two years of house arrest for violating the Accords. Both Hank Pym and his daughter Hope van Dyne became Federal fugitives because Hank had failed to register the Ant-Man suit. This proved to be problematic in so many ways. One, the Accords had not been ratified by the United Nations around the time of Scott's arrest, due to the bombing in Vienna. Two, Hank had first created the Ant-Man suit back in the 1980s and had been unaware of Scott’s use of the suit during the Avengers' battle at the airport in Berlin. After being freed by Steve, Scott had shrunken the suit and mailed it to his daughter Cassie, while declaring that it had been destroyed. If the suit was officially considered destroyed, why was Scott arrested anyway without the crucial evidence any prosecutor would need to convict him? Why were Hank and Hope declared as fugitives for failing to register a suit that officially no longer existed? Why did they become fugitives in the first place? Scott had used the Ant-Man suit without Hank's permission, something that he could or may have easily pointed out. The latter had created the suit some thirty years ago. And the Federal authorities remained unaware of Hank's creation of the Wasp suit and Hope's use of it. And she had played no role in the creation of the Ant-Man suit. Also, the writers did not need the Sokovia Accords as a reason for Scott to face conviction and house arrest. He had violated his parole when he left the United States to help Captain America, the Falcon, the Winter Soldier and others to deal with the potential threat of other HYDRA-created "Winter Soldiers". 

Ever since I first saw "CAPTAIN AMERICA: CIVIL WAR", I found myself wondering about Thaddeus Ross' role in this story arc. By the time of the 2016 movie, he was no longer a general in the U.S. Army. He had become the new Secretary of State. It was Ross who had delivered the news of the Sokovia Accords to the Avengers. In his argument, he had pointed out the collateral damage caused - in his eyes and the eyes of others - by the Avengers. I found this idea ridiculous . . . to a certain extent. Asgardian Loki and a Chitauri army were mainly responsible for the damage inflicted upon downtown Manhattan in 2012's "THE AVENGERS". Malekith and the Dark Elves were responsible for the damage inflicted upon Greenwich, England in 2013's "THOR: THE DARK ELVES". The Royal Air Force had contributed to the damage . . . along with Thor. Obadiah Stane and his armored suit was responsible for the damage inflicted in downtown Los Angeles in 2008's "IRON MAN". As for the events in "THE AVENGERS: AGE OF ULTRON" . . . only two Avengers were responsible, Tony Stark (Iron Man) and Dr. Bruce Banner (the Hulk). They were the ones who had created the artificial intelligence (A.I.) known Ultron. The other Avengers were forced to help them clean up their mess. I noticed that no one had bothered to point this out. I also noticed that Ross had failed to bring up the Harlem battle between the Hulk and Abomination (Emil Blonsky) in 2008's "THE INCREDIBLE HULK". It seemed only natural that he would avoid the topic, considering that he played a major role in the creation of both the Hulk and Abomination. Also, the U.S. Army had managed to inflict a good deal of damage upon Harlem, while battling Abomination. I found it odd that neither Tony Stark and Natasha Romanoff, who both knew about Ross' role in the event, had said a word. Then again, I found it odd that Ross had become President Matthew Ellis's new Secretary of State in the first place. Why on earth did President Ellis select Ross to be his Secretary of State? Why did he think that a narrow-minded, uber-aggressive personality like Ross’ would be the right man for that particular position? Why did the MCU writers? 

There is another aspect of the MCU's portrayal of the Sokovia Accords that I found mind boggling is that it was barely mentioned in the franchise's films between "CAPTAIN AMERICA: CIVIL WAR" and "THE AVENGERS: INFINITY WAR". I could understand that the document was not mentioned in films like "GUARDIANS OF THE GALAXY, VOL. 2" and "THOR: RAGNAROK". Both were set on worlds other than Earth. Well, Manhattan appeared briefly in the third film, but not long enough for the topic of the Accords to be brought up. However, I found it odd that Sokovia Accords were never mentioned in films like "DOCTOR STRANGE", "SPIDER-MAN: HOMECOMING" and "BLACK PANTHER", especially since these films were set on Earth. Considering that King T'Chaka's role in the creation of the Sokovia Accords had inadvertently led to his death, I found it odd that the document was never brought up in the 2018 movie. Did Wakanda drop its advocacy of the document, considering that the new King T'Challa gave refuge to Bucky Barnes? If not, why? 

 Even most of the MCU television shows had failed to mention the Sokovia Accords. In fact, I can only mention one that did - "AGENTS OF S.H.I.E.L.D." - and one that vaguely referenced the document - "JESSICA JONES". Most or all of the characters in Season Four of "AGENTS OF S.H.I.E.L.D.", including then former Director Philip J. Coulson, seemed to support the document. And I found this disappointing. Coulson and his team were willing to protect Inhumans and other enhanced people from xenophobic bigots like the organization called the Watchdogs. Season Four began with Inhuman Daisy Johnson aka Quake being on the run for her vigilante activities after leaving S.H.I.E.L.D. Seven episodes later, then S.H.I.E.L.D. Director Jeffrey Mace had cleared her name of past crimes . . . after she had agreed to sign the Sokovia Accords and re-join the agency. Everyone seemed fine with that, including Coulson. I found that disturbing. Season Two of the Marvel Netflix series, "JESSICA JONES", the Raft was mentioned as a possible destination for the title character's mother, another enhanced being who was proving to be dangerous to New York City's citizens and her adoptive sister, a talk-show host-turned dangerous vigilante. And yet . . . not one character managed to express disapproval of the Accords or that damn Raft. The Marvel Netflix franchise had featured three attorneys as major characters - Matt Murdock aka Daredevil, Franklin "Foggy" Nelson and Jeri Hogarth. and not one of them had discussed the legal ramifications of the Accords. 

Ironically, only one person had ended up questioning the Sokovia Accords after "CAPTAIN AMERICA: CIVIL WAR". That person was Colonel James "Rhodey" Rhodes, USAF aka War Machine. What I find disturbing about the Marvel Cinematic Universe is that only one person has expressed disapproval of the Sokovia Accords since "CIVIL WAR". And that was James “Rhodey” Rhodes aka War Machine in "THE AVENGERS: INFINITY WAR". Yes, he had supported the Sokovia Accords in "CIVIL WAR". I did not find that surprising, since he was an Air Force officer. But nearly two years later, he had rejected the Accords when he had refused to obey Ross' order to arrest Captain America, the Falcon, Black Widow, Scarlet Witch, Vision and the Hulk following their return to the Avengers headquarters in "THE AVENGERS: INFINITY WAR". It took six films after "CIVIL WAR" for a MCU protagonist to either express disapproval of the Sokovia Accords or refuse to adhere to it. Yet, at the same time, Rhodey never really went into details over his eventual rejection of the document.

 Why? Why did it take the MCU so long to find characters others than Captain America or the Falcon to express disapproval of the Accords? Why was the MCU so reluctant explore the legal ramifications of this document, especially since the franchise had went out of its way to introduce it in the first place? As several articles, including THIS ONE, have made clear - the Sokovia Accords is a violation of a citizen's right. It is a violation of the U.S. Constitution. Period. Any attorney, civil rights activist or civil rights organization could have easily pointed this out in any of the other Phase Three movies or MCU television shows. McFeely, Markus and other screenwriters could have easily pointed the unconstitutional aspect of the Sokovia Accords in "CIVIL WAR", "AGENTS OF S.H.I.E.L.D.", "JESSICA JONES", "INFINITY WAR" or any other MCU production set on Earth. Either McFeely, Markus and these other writers were idiots or for some reason, Kevin Feige had lost interest in exploring the consequences of the Accords. Perhaps Feige simply wanted to use the Accords as a plot device to battle "BATMAN V. SUPERMAN: DAWN OF JUSTICE" at the box office. 

There is another aspect of the Sokovia Accords that many do not seem aware of or willing to discuss. The Sokovia Accords should not have been presented as a law in the MCU. Why? Because an accord is an agreement, not a law. Those enhanced beings who did not sign the Accord should NOT have been held accountable for using their powers, unless the latter were used for the usual crimes – robbery, burglary, kidnapping, murder, etc. Now, many would dismiss this criticism, claiming that "CAPTAIN AMERICA: CIVIL WAR" was a movie set in the world of comic books. Well, so were other similar documents. The Marvel Comics series, "Civil War" had the Mutant Registration Act. The document that affected enhanced beings and costumed vigilantes in Alan Moore's comic novel, "Watchmen" and Zack Snyder's 2009 movie adaptation of it was called the Keene Act. And "act" is a law. Mark Millar, Alan Moore and Zack Snyder had managed to get it right. Why had Christopher Markus and Stephen McFeely failed to do so? The problem with this is that if an enhanced being does not sign this accord, agreement or treaty; then their actions should not be dictated by it. The Sokovia Accords is an agreement, not a decree or a law. If an enhanced or non-enhanced vigilante, who did not sign the accord, practices vigilantism, then that individual should be asked to cease such activity or face imprisonment for practicing vigilantism. To me, a vigilante is like a person pursuing a criminal or going into a foreign country to find a criminal without contacting the police or government agency. Nothing more, nothing less. Which is why I find it odd that in "SPIDER-MAN: FAR FROM HOME", Spider-man aka Peter Parker was never pursued by the police for his vigilante activities. Had he signed the Sokovia Accords and agree to cooperate with law enforcement? Do the Accords still exist by this latest MCU entry? If not, why is Spider-man practicing vigilantism without law enforcement breathing down his back? In the end, I get the feeling that Kevin Feige and the MCU seem undecided on what to do with the Sokovia Accords arc. Worse, the franchise seems incapable of utilizing this story arc with any real competency. How can it if its writers do not know the difference between an accord and a law? But the more I think about the Sokovia Accords, the more I cannot help but feel that its creation was one of the biggest mistakes made by the Marvel Cinematic Universe.

[screenwritinggym]

Iron Man Beat Sheet

Written by: Mark Fergus & Hawk Ostby and Art Marcum & Matt Holloway Directed by: Jon Favreau

Genre: Superhero

How does Iron Man hit Blake Snyder’s story beats? Here is the Save the Cat!® beat sheet for the film:

Opening Image: In a barren Middle-Eastern desert, a convoy of military vehicles passes through, symbolizing war and security through force.

Set-Up: Tony Stark (Robert Downey Jr.) sits with the soldiers, his presence intimidating. He takes a picture with one of them, using humor to break the tension in a save the cat moment showing that underneath his stuck-up persona, he’s a likeable person. Seconds later, the convoy is hit with a car bomb, and as Tony dives for cover, he sees a rocket with his company’s name on it. He is hit in the chest with shrapnel and kidnapped by terrorists, the six things that need fixing beginning to reveal themselves. In his thesis world, Tony has everything he thinks he wants.

At an awards banquet 36 hours earlier, a video introduction describes Tony as a genius, his technology changing the world while ensuring freedom and protecting American interests. As the world benefits from his power, Tony spends his time gambling and socializing, relying on his business partner Obadiah Stane (Jeff Bridges) to accept the award on his behalf. In his thesis world, Tony is a weapons manufacturer who gets rich off of his inventions.

Theme Stated: Reporter Christine Everhart (Leslie Bibb) confronts him about war profiteering, mentioning that while others view him as the daVinci of our time, Tony’s other nickname is the Merchant of Death. The thematic premise centers on Tony Stark’s legacy: does he have more to offer than creating weapons? What will his life ultimately mean?

B Story: Tony’s assistant, Pepper Potts (Gwyneth Paltrow), is the only stable relationship he has in his life, and she will ultimately guide him in understanding his identity.

Set-Up: James “Rhodey” Rhodes (Terrence Howard) waits for Tony at the airport, frustrated at Tony’s lack of appearance at the awards ceremony. “You don’t respect yourself, so I know you don’t respect me,” he says, adding that Tony is incapable of being responsible. In a case of Stasis = Death, if Tony doesn’t show responsibility, his work will fall into the wrong hands. In the Middle East, Tony gives a demonstration of his new Jericho missile that uses repulsor technology.

Catalyst: Tony wakes up in a cave after the car bomb, finding his chest wired to a car battery, an electromagnet keeping shrapnel from entering his heart. Terrorists carrying Stark Industries guns enter and call him a mass murderer, echoing the theme. They order him to build them some Jericho missiles. During the Debate, Tony decides what his next invention will be… and it will blow them away!

Debate: Tony is taken through the terrorist camp, seeing a cache of weapons with his name on them. Tony meets Yinsen (Shaun Toub), another scientist, who tells him, “That was your legacy, Stark,” and then proceeds to ask him what he will do about it. Tony pretends to build the missile, but instead works on a new idea, a suit powered by his arc reactor technology. Can it work? He is given a deadline and continues to work on the idea, hoping it will help them escape. Suiting up in the Mark I armor, Tony crosses the threshold during the Break Into Two.

Break into Two: Realizing Tony is up to something, they rush to stop him while he suits up.

Fun and Games: In his Mark I Iron Man suit, Tony fights his way out of the cave as Yinsen is killed. In his last words, Yinsen tells him, “Don’t waste your life,” another callback to the theme. After being rescued and taken back home, Tony holds a press conference. Speaking to the reporters, Tony notes that he has more to offer the world than blowing things up and announces that he is shutting down the weapons division. In his upside-down antithesis world, Tony will discover what it is like when a weapons manufacturer stops making weapons and becomes one himself. Testing out the repulsors, just part of the Fun and Games of building the suit!

After Pepper helps him remove the original electromagnet from his chest, replacing it with upgraded arc reactor technology, he begins work on his Mark II suit. As the terrorists discover the Mark I suit pieces in the desert and attempt to assemble them, Tony learns from Stane that the board wants to get rid of him, and they are only interested in his arc reactor. Tony refuses to share it, and is successful in testing the flight repulsors on the Mark II.

Midpoint: Tony “goes public” by taking the Mark II out for a test flight, a false victory for the time being. Afterward, A and B Stories cross as Pepper gives Tony a present: she had kept the original and encased it in glass with the inscription, “Proof that Tony Stark has a heart.” Could the reporter’s words be false after all? Will his legacy be more than a weapons manufacturer?

Bad Guys Close In: The stakes raise as Tony doesn’t want the company to be taken from him, but how can a weapons company earn money without selling weapons? Tony’s shift in conscience has become his curse. As the terrorists reassemble the Mark I, Tony begins working on the Mark III. His internal bad guys manifest as he dances with Pepper at a party; he was always a playboy bachelor, but can he change? Taking out the bad guys in Gulmira, Tony refuses to let his weapons fall into the wrong hands during the Bad Guys Close In beat.

Soon, Tony learns that his company has been double-dealing under the table with the bad guys in the town of Gulmira. Stane reveals himself as Tony’s true nemesis, declaring that he was the one who filed the injunction against Tony to have him removed from the company. Determined to leave a positive legacy, Tony takes his Mark III suit to Gulmira and defeats the terrorists, destroying the weapons cache. Stane visits the terrorists who kidnapped Tony and takes the suit pieces, planning to build his own prototype.

All Is Lost: Using an experimental weapon, Stane paralyzes Tony and steals the arc reactor from his chest. Before leaving, Stane reveals that he was the one who ordered the hit on Tony. Accusing Tony of being selfish, he says, “This is your legacy… a new generation of weapons with this at their heart.” The whiff of death is evident as Stane mentions killing Pepper, and Tony lies dying without the arc reactor to protect his heart. Obadiah Stane is a bigger, badder bad guy with his Iron Monger suit in the Dark Night of the Soul.

Dark Night of the Soul: Clinging to his last ounce of life, Tony crawls to the lab and finds the old arc reactor that Pepper had given him as “proof” that he has a heart.

Break into Three: A and B Stories meet as Tony suits up, knowing the legacy he must leave, while Stane powers up his prototype. In the Finale, Iron Man meets his match in the Iron Monger.

Finale: In his synthesis world, Tony must stop the weapons his company created, and he sets out to stop Stane. Pepper arrives with agents from S.H.I.E.L.D. Tony fights Stane, who is in the Iron Monger suit, which gives him an advantage of power. Tony has Pepper prepare to destroy the arc reactor, which will also incapacitate Stane. In a high tower surprise, Stane confronts Tony on the roof, and Tony falls through the glass above the arc reactor. “Trying to rid the world of weapons, you gave it the best one ever. And now I’m gonna kill you with it,” Stane tells him. Though his life is at risk, Tony digs, deep down, telling Pepper to blow up the reactor. He would rather die than allow his legacy to be one of death and destruction. As Pepper destroys the arc reactor, Stane is killed. Tony’s own device in his chest stops but soon flickers back to life, powering on and reviving him.

Final Image: Standing before reporters at a press conference, Tony finally reveals that he’s Iron Man. He is no longer the Merchant of Death, but has created a new legacy for himself.

The end of 1402 words

——————————————————————————————-

La COPIE -

17.28pm

Written by: Mark Fergus & Hawk Ostby and Art Marcum & Matt Holloway

Directed by: Jon Favreau

Genre: Superhero

How does Iron Man hit Blake Snyder’s story beats? Here is the Save the Cat beat sheet for the film:

Opening Image: In a barren Middle-Eastern desert, a convoy of military vehicles passes through, symbolizing war and security through force.

Set-Up: Tony Stark (Robert Downey Jr.) sits with the soldiers, his presence intimidating. He takes a picture with one of them, using humor to break the tension in a save the cat moment showing that underneath his stuck-up persona, he’s a likeable person. Seconds later, the convoy is hit with a car bomb, and Tony dives for cover,    he sees a rocket with his company’s name on it. He is hit in the chest with shrapnel and kidnapped by terrorists, the six things that need fixing beginning to reveal themselves.

In his thesis world, Tony has everything he thinks he wants.

At an awards banquet 36 hours earlier, a video introduction describes Tony as a genius, his technology changing the world while ensuring freedom and protecting American interests. As the world benefits from his power, Tony spends his time gambling and socializing, relying on his buisness partner Obadiah Stane (Jeff Bridges) to accept the award on his behalf. In his thesis world, Tony is a weapons manufacturer who gets rich off of his inventions.

Theme Stated: Reporter Christine Everhart (Leslie Bibb) confronts him about war profiteering, mentioning that while others view him as the daVinci of our time, Tony’s other nickname is the Merchant of death. The thematic premise centers on Tony Stark’s legacy: does he have more to offer than creating weapons? What will his life ultimately mean?

B Story: Tony’s assistant, Pepper Potts (Gwyneth Paltrow), is the only stable relationship he has in his life, and she will ultimately guide him in understanding his identity.

Set-Up: James “Rhodey” Rhodes (Terrence Howard) waits for Tony at the airport, frustrated at Tony’s lack of appearance at the awards ceremony. “You don’t respect yourself, so I know you don’t respect me,” he says, adding that Tony is incapable of being responsible. In a case of Stasis = Death, if Tony doesn’t show responsibility, his work will fall into the wrong hands. In the Middle East, Tony gives a demonstration of his new Jericho missile that uses repulsor technology.

Catalyst: Tony wakes up in a cave after the car bomb, finding his chest wired to a car battery, an electromagnet keeping shrapnel from entering his heart. Terrorists carrying Stark Industries guns enter and call him a mass murderer, echoing the theme. They order him to build them some Jericho missiles.

During the Debate, Tony decides what his next invention will be... and it will blow them away!

Debate: Tony is taken through the terrorist camp, seeing a cache of weapons with his name on them. Tony meets Yinsen (Shaun Toub), another scientist, who tells him, “That was your legacy, Stark,” and then proceeds to ask him what he will do about it. Tony pretends to build the missile, but instead works on a new idea, a suit powered by his arc reactor technology. Can it work? He is given a deadline and continues to work on the idea, hoping it will help them escape.

Suiting up in the Mark I armor, Tony crosses the threshold during the Break Into Two.

Break Into Two: Realizing Tony is up to something, they rush to stop him while he suits up.

Fun and Games: In his Mark I Iron Man suit, Tony fights his way out of the cave as Yinsen is killed. In his last words, Yinsen tells him, “Don’t waste your life,” another callback to the theme. After being rescued and taken back home, Tony holds a press conference. Speaking to the reporters, Tony notes that he has more to offer the world than blowing things up and announces that he is shutting down the weapons division. In his upside-down antithesis world, Tony will discover what it is like when a weapons manufacturer stops making weapons and becomes one himself.

Testing out the repulsors, just part of the Fun and Games of building the suit!

After Pepper helps him remove the original electromagnet from his chest, replacing it with upgraded arc reactor technology, he begins work on his Mark II suit. As the terrorists discover the Mark I suit pieces in the desert and attempt to assemble them, Tony learns from Stane that the board wants to get rid of him, and they are only interested in his arc reactor. Tony refuses to shave it, and is successful in testing the flight repulsors on the Mark II.

Midpoint: Tony “goes public” by taking the Mark II out for a test flight, a false victory for the time being. Afterward, A and B Stories cross as Pepper gives Tony a present: she had kept the original and encased it in glass with the inscription, “Proof that Tony Stark has a heart.” Could the reporter’s words be false after all? Will his legacy be more than a weapons manufacturer?

Bad Guys Close In: The stakes raise as Tony doesn’t want the company to be taken from him, but how can a weapons company earn money without selling weapons? Tony’s shift in conscience has become his curse. As the terrorists reassemble the Mark I, Tony begins working on the Mark III. His internal bad guys manifest as he dances with Pepper at a party; he was always a playboy bachelor, but can he change?

Taking out the bad guys in Gulmira, Tony refuses to let his weapons fall into the wrong hands during the Bad Guys Close In beat.

17.28pm until 18.15pm

15.20pm

Soon, Tony learns that his company has been double-dealing under the table with the bad guys in the town of Gulmira. Stane reveals himself as Tony’s true nemesis, declaring that he was the one who filed the injunction against Tony to have him removed from the company. Determined to leave a positive legacy, Tony takes his Mark III suit to Gulmira and defeats the terrorists, destroying the weapons cache. Stane visits the terrorists who kidnapped Tony and takes the suit pieces, planning to build his own prototype.

All Is Lost: Using an experimental weapon, Stane paralyzes Tony and steals the arc reactor from his chest. Before leaving, Stane reveals that he was the one who ordered the hit on Tony. Accusing Tony of being selfish, he says, “This is your legacy… a new generation of weapons with this at their heart.” The whiff of death is evident as Stane mentions killing Pepper, and Tony lies dying without the arc reactor to protect his heart. Obadiah Stane is a bigger, badder bad guy with his Iron Monger suit in the Dark Night of the Soul.

Dark Night of the Soul: Clinging to his last ounce of life, Tony crawls to the lab and finds the old arc reactor that Pepper had given him as “proof” that he has a heart.

Break into Three: A and B Stories meet as Tony suits up, knowing the legacy he must leave, while Stane powers up his prototype. In the Finale, Iron Man meets his match in the Iron Monger.

Finale: In his synthesis world, Tony must stop the weapons his company created, and he sets out to stop Stane. Pepper arrives with agents from S.H.I.E.L.D. Tony fights Stane, who is in the Iron Monger suit, which gives him an advantage of power. Tony has Pepper prepare to destroy the arc reactor, which will also incapacitate Stane. In a high tower surprise, Stane confronts Tony on the roof, and Tony falls through the glass above the arc reactor. “Trying to rid the world of weapons, you gave it the best one ever. And now I’m gonna kill you with it,” Stane tells him. Though his life is at risk, Tony digs, deep down, telling Pepper to blow up the reactor. He would rather die than allow his legacy to be one of death and destruction. As Pepper destroys the arc reactor, Stane is killed. Tony’s own device in his chest stops but soon flickers back to life, powering on and reviving him.

Final Image: Standing before reporters at a press conference, Tony finally reveals that he’s Iron Man. He is no longer the Merchant of Death, but has created a new legacy for himself.

The END. I copied exactly 1402 words. From 15.20pm to 15.50pm.

[totesmccoats]

Saga #48

We catch up with Ghus, Squire, Upsher, and Doff as they starve on Quietus, waiting for the protagonists to return with supplies. Things are desperate enough for Upsher to consider eating Friendo, and so Ghus decides to take Squire hunting for a Dreadnaught – an invisible apex-predator that only Squire can see; well, he can see it’s innards.

Ghus, with his trusty “chopper,” leads Squire, armed with a bow, on his first hunt into the woods; and Squire asks him about his connection to Friendo and if he’s ever had to kill a person before. But, before things can get too deep, the duo are attacked by the Dreadnaught, which is only seen by Squire as a brain and eyes on top a pile of guts and veins. The creature breaks Ghus’ chopper, meaning Squire has to make the kill-shot. He looks into the Dreadnaught’s eyes…and he can’t do it.

As the two go home the next morning, empty handed, they notice smoke from their camp, and are in for quite a surprise.

I think this might be the first time that BKV and Staples end the arc with a palette cleanser, or at least not, you know, Kalima. Nobody dies; there are no sudden cliffhangers; everything is just kinda, nice. And Staples killed it with the Dreadnaught design, a pile of innards ambling around like some sort of gorilla is creepy as heck. It also appears that there’s been another brief time-skip in this issue, so next arc should fill us in on that. But we know of one very important development – fidget spinners exist in Saga now.

  Amazing Spider-Man #790

Peter and Harry have gone around the world, liquidating Parker Industry assets and apologizing to everyone the closing of the company hurts. They finish Pete’s apology tour by selling their most prized asset, the Baxter Building. But, tired of all the crap he’s getting as Peter, he decides to escape for a while as Spider-Man, taking pictures with his once-again fans, playing skip-rope with some girls, helping little old ladies with groceries, that sorta thing.

But, he’s got to bite this bullet eventually. Unfortunately, Pete’s not the only one mad he has to sell the Baxter Building. Johnny Storm is steamed about his old home going up for sale. And Pete, tired of not being cut any slack, boils over and decides that if Johnny wants a fight, he’s got one.Additionally, Clayton Cole – Clash – wants ownership of all of his work he did for PI, and is willing to steal it back. And his henchmen have plans of their own.

Christos Gage knocks out another issue as the series’ pinch-script writer, filling this book with sharp quips and just enough dialogue to keep the issue moving at a great pace, including the top-half of a spread long montage of Spidey goofing off. Immonen, Gracia, and von Grawbadger continue their run as one of the best art teams on superhero books today, with a distinct cinematic approach; and von Grawbadger in particular does some spectacular work with the Human Torch and how he acts as essentially a second sun, making everything around him seem that much blacker in comparison.

  Black Panther #166

Klaw has found a way to enhance his abilities by using Reverbium, and plans to ascend to godhood through Vibranium. He reveals himself as the voice in the ear of Wakanda’s previous threats over the run of the series so far, uniting Stane, Faustus, and Zenzi under his cause; and convincing the people of Azania that he is their new god.

The motivation behind Klaw’s latest efforts: the memory of his sister, who was lobotomized after having been beaten by their father and because she heard voices – voices that Klaw had always believed were real as well.

I got a really strong B:TAS Mr. Freeze sense from this issue, most likely because it’s the story of a scientist who was irreversibly transformed into a non-human by the product of their own research, and is motivated by the loss of a woman they loved. And being that Klaw is made up of semi-solid-sonics, it would even make sense that his voice would have the same reverb effect as Mr. Freeze. Well, the issue was fun to read with that voice in my head, in any case.

Unfortunately, the art in this issue just doesn’t stand out, mostly because so much of it takes place in gray hallways in Alaska. Klaw is still just a fun character to look at, because frankly he looks ridiculous; one of the worst-aged silver age character designs in my opinion, with his dumb satellite dish hand and featureless red and purple mannequin body.

  Batgirl #16

In flashback, Barbara and Dick drop in on some hackers that Ainsley used to work with, who tell them that they kicked her out of their group for designing nanobot-based drugs for the Mad Hatter. They find Ainsley shortly after and tail her to what ends up being an addicts-anonymous meeting, where they find out that she didn’t know she was designing drugs, and is a recovering addict herself. And after learning all this heavy information, Babs and Dick release some of their own emotional tension.

In the present, Batgirl and Nightwing follow the trail of bodies to a rehab clinic that Ainsley once checked into, but find it already under attack by the Red Queen’s tripped-out henchmen. Luckily, Babs remembers a way to hack the nano-drugs into making their victims docile. And afterwards, digging through the hospital records, they make three unfortunate discoveries: 1. Ainsley died of an overdose, homeless and alone; 2. She has a sister, now with the proper motivation and tools to become the Red Queen; and 3. They just let her slip through their fingers.

As with the earlier issues in the arc, the main draw for me is seeing the evolution in Dick and Barbara’s relationship, both as crimefighters, and as a couple. While there are a couple of quick fight scenes in the issue, Dick/Babs get a lot more mileage in their cases by simply sitting down with people and talking to them. Also by breaking HIPAA and digging through medical records, but hey – who hasn’t done that once or twice?

Wildgoose does a lot with smaller details in their pencils; things like younger Barbara kicking her legs as she sits with Dick on the edge of a building, or the anime-girl posters in the hackers’ apartment. And I’m really enjoying Lopes’ colors on this book, giving everything the impression of softer lighting – moreso in the flashbacks of course, giving a more washed-out effect to those scenes – while still saturating the primary and secondary reds, blues, purples and greens in the duo’s costumes enough to make them pop.

  Wonder Woman #33

Whoever it was that came up with Kid-Darkseid, Johns, Snyder, or Robinson; give them a medal. Kid-Darkseid is hilarious and I love him. I hope he doesn’t grow up too fast – they always do though, don’t they?

This issue is entirely from Grail’s perspective, as she goes around the world, killing the the Greek Gods to provide the energy to grow her baby Darkseid big and strong. But a mother worries: will he be evil enough? Feared enough? That’s not a joke, that’s in Grail’s narration in the book, and it’s darkly hilarious that even when you’re trying to raise the worst kid in the multiverse, you have parental fears that you’re gonna somehow screw up. Kinda reminds me of raising dark chao in SA2.

It’s also interesting for this story to fill in what exactly all these demi-gods have been doing with their immortality on Earth, which is overall, not much. Perseus became a Wall Street bro; others became librarians, fishermen, bears…like, just normal bears. Wonder Woman is the only one who it seems decided to do something good with her powers; likely because she was raised by the Amazons with a strong sense of moral justice.

  Nightwing: The New Order #3

Kate Kane gives orders to the Crusaders not to engage with the captured Dick Grayson in the slightest. One of them disobeys, asking if he’d at least like a glass of water, and Dick takes his opening to escape capture and begin looking for Jake. He goes to one of his oldest allies, Tim Drake, who hacks into the government files to find that they’re bringing Jake to a stasis facility in Central City. But before he heads there, Dick goes to Gotham to gear up. Thankfully, he doesn’t have to break into the Bat-cave, with it having been turned into a Batman museum shortly after Bruce died; but there are still sub-basements that only members of the family have access too. He grabs his old Nightwing gear and rides to Central City before being stopped by one old friend, and saved by a couple more. Congratulations. If you placed your bets on this story going Minority Report, collect your no-prize up front. Come to think of it, old-Dick even kinda looks like a taller Tom Cruise. The issue has the same pacing as that style of action movie, too; cutting from location to location; moving from action beat to exposition beat and ending on an action beat. The story has seemed to stray from the initial “Nightwing, but if fascist” angle, but that may be for the best. And it’s still there in softer strokes. The Bat-Cave museum, for one, is a genius bit of world-building; but smaller even, is that Tim reminds Dick that he was right to set the world on this path, despite what’s happening to his son. The desire to preserve order, any order, is a powerful one, despite the harm it could bring to even family members. The same applies to Kate’s reaction to Alfred’s death. It’s a personal loss, but not worth rocking the boat over. Plus a lighter touch really is just more fun, especially with a character like Nightwing, who was never as dark as other members of the Bat-family. McCarthy’s layouts continue to be awesome at conveying movement across the page. He uses non-traditional panel layouts, non-rectangular shapes, and overlappingoverlapping to match an action director’s camera motions: pans, zooms, cuts, etc.There are almost no gutters in the issue, as panels bleed into the next, making the issue feel fast and kinetickinetic.

Comic Reviews for 10/25/17 Saga #48 We catch up with Ghus, Squire, Upsher, and Doff as they starve on Quietus, waiting for the protagonists to return with supplies.

[toaster-do0dle]

4 Apps of the Apocalypse (iPad)

So I was curious about which programs for the iPad Pro had a better drawing experience/outcome. I'm curious to see which one you guys like the best, and would love to hear your feedback! (Also, this is fanart of the lovely Stanley Snyder from Dr. Stone 🚬)

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Procreate: Definitely the most user-friendly of the bunch. I do notice the range of pressure sensitivity is not great when working with thinner lines. If you want thinner lines you can adjust it manually to guarantee them be thin. (But I also have a bit of a heavy hand)

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Autodesk Sketchbook: Definitely not as user-friendly as Procreate, but it gets the job done. The pressure sensitivity is not great but it at least has some.

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Adobe Fresco: I'm not going to lie I actually really like this program. I was able to get a wide range of thick and thin lines with one brush. Wish it was easier to use though, a bit clunky. Otherwise, it's not bad and I feel the final result was the best. But the program does need some tinkering to reach it's full potential.

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Adobe Photoshop: To be honest, the app really sucks. I'm not a big fan of using Photoshop to draw in the first place, but the app needs the most work. It also has an odd lag to it whenever I make quick marks. Not a fan, but maybe it'll improve in time.