#these are characters from different universes

[angstandhappiness]

Interesting

Hello, hope you're somewhat well. I was wondering if you could possibly explain what the whole deal with bismuth and rose was. To explain, I am confused on why exactly bismuth was wrong with her idea about killing the the diamonds and rose's later response. I remember reading somewhere that the reason that bismuth was wrong with her plans was because a) the diamonds are just too powerful and b) it wouldn't really fix/help anything because the system would still be in place (you'd just have dead dictators). Is that correct? And so why did rose later on do somewhat of what bismuth wanted if she (assuming here) knew it wouldn't work? Pink would be dead, but the system not at all dismantled. Please explain as if you were speaking to a really dumb person (me)

Thanks for this question. I know it's been sitting for a while in the inbox but I didn't forget, I just think that I should leave this macerate... because? that's a complicated question??? you're not dumb at all.

I think that you're conflating perspectives here: what the story is trying to tell, morally, with how the characters feel and do and where they morally position themselves regardless of the story. The first corresponds with your first question: why Bismuth's plan was wrong (in the sense that it was flawed, not necessarily inmoral--though it is). And the second question corresponds with what pertains the characters inside the narrative.

Objectively, Bismuth's plan was not going to be succesful, and it would've been a mistake in the future. We know this because... Rose went in with the idea, she carried it out. She killed Pink Diamond and it changed nothing about the situation. Homeworld's status quo, its hierarchy and its system, remained unchanged, but moreso it created an earthquake, a trauma, on the landscape that reverberated back on the crystal gems.

I want to say that this is normal. It's a plan that is blotchy, messy and runs on a very emotionally charged motivation. Bismuth was right on feeling this way, these emotions are admirable and also very valid. But having the right feelings does not mean that things are going to go the way you expect and the way you want to.

Let's look at what the story says about this: Steven Universe is a medium that sits on the belief that justice must be restorative in order to be justice. Punishment, vengeance, other contemptious actions are always unwarranted under this principle, because they're not considered useful to actually amend the hurtful situation and are in fact almost always counter productive to mitigating the injustice. Hurts keeps going because we keep hurting each other back.

There are several examples were this statement particularly stands out in the show, most notably Steven in Homeworld Bound when he shows resentment towards the Diamonds, perceiving injustice for the trauma they directly caused on him and feeling vengeful at this injustice. This is portrayed as wrong. It's okay to have feelings on the matter but if you want to kill someone that is actually already trying to fix their wrongdoings, the story says, you're the one that is going too far and the one that needs help.

Bismuth is another example because she also has resentment towards the Diamonds (for a completely good reason!) and wants to revenge her friends and free everyone by getting rid of the only thing that seems to be perpetuating that. While the way Rose acted is unfair and kind of cruel? , Bismuth's plan is never warranted by the story because it collides with this principle of restorative justice.

Parenthesis, part of the reason Bismuth hates the Diamonds so much is that she's been swallowing everything Rose had been saying about them. Rose comes from a place of self hate and she's particularly harsh on Pink Diamond when she talks about them with the CGs. We could talk about how she uses this to cope with her own inner critic and to find what feels to her like an honest response to her inexcusable behavior, but maybe not here.

Moving on to why Rose follows through despite disagreeing with that plan... I think she doesn't, necessarily, disagree on the plan of Killing Pink Diamond. I think that's a possibility although we cannot know for sure. What she's definitely against is the weapon. She doesn't think it's right. And I think it makes perfect sense when you think about her background and her feelings on the matter of destruction: she has the core belief that her nature is inherently destructive and she's deeply ashamed of it, she wishes to make it disappear, to not reproduce that destructive nature ever again.

There is some complex trauma around it that gets triggered when Bismuth shows her the breaking point. She had swore to never hurt anyone ever again but here it is the most Crystal Gem of all telling her that she created a weapon of (at the time) irreversible destruction... As irreversible as Volley's scar. How is she not going to feel responsible for this, after all she created the Crystal Gems, and how is she not going to feel contempt at someone who wants and seeks to do something like this to someone else?

Who says they wouldn't use this weapon against any other gems too? I don't know, I think Rose simply didn't want to get more gems hurt so horribly. Which is not incompatible with killing "herself".

One thing is that Rose is not aware of the impact this action will have when she decides to go through with it. She's under the impression that she's utterly irrelevant and that no one on Homeworld will miss her if she were to be gone (and I don't think she can truly believe it even after that, since she does it a second time).

I think that the major catalyst to this decision for sure was what Blue told her in Can't Go Back. Immediately, she believes the words, fixates on them. Earth will be a colony for as long as she's there to rule. And materializes the idea in her mind. For as long as she's there. If she's not Pink Diamond anymore, if she gives up her status and kills this part of herself, Earth will be free and the war will end. And everyone will be free. She will be free.

With this comes the second and last realization, Rose’s goals killing Pink Diamond were never about dismantling the system. Not because she's conservative, that'd be absurd, it's just that she simply does not believe that she's capable of that at all (out of feelings of powerlessness). She thinks reedeeming the system is impossible, and therefore the only solution is to escape the system and create a new solar punk anarchist utopia outside of it.

[tossawary]

Historical dramas keep on not giving their leads hats, because something something modern beauty standards and distractingly ahistorical hairstyles, and I'm finding it increasingly annoying.

Like, there's the historical accuracy / faithfulness angle, of course. Personally, I think it's more fun to be immersed in an entirely different time and place, even if that means fashion that looks a little weird to audiences now. Hat styles can make interesting statements in a story about culture and class and personality. And there's also the in-universe practicality angle. Hats serve important purposes such as protection for hair and from the sun, and it sometimes breaks my suspension of disbelief to see characters climbing windy hillsides without getting repeatedly smacked in the face by their loose hair and so on.

But, something that's been bugging me most of all lately, is that some of these fits just look BAD without a hat or some other headwear or a complicated hairstyle. I can forgive some degree of historical inaccuracy or impracticality if the outfit fucks, but some of these hatless fits just do not fuck, sometimes specifically BECAUSE they are missing the matching headwear. The character's head looks too small when bare, especially when their hair is relatively plain, when paired with some enormous, ornate dress. The overall silhouette sucks. The coordination / balance of the character design looks broken.

It's especially egregious when there are background characters / extras who ARE allowed to wear hats and other headwear and have elaborate hairstyles. I might not even know what historical accuracy is in this context, fantasy dramas especially are not always going to have anything to be strictly faithful to, but it's increasingly disappointing when Background Extra #7 looks like a coordinated fashion icon here and your lead just looks inappropriately underdressed and that's not meant to be intentional.

[s0ckh3adstudios]

I REALLY need to stop drawing for now because doing so is inconvenient and uncomfortable but I really wanted to get some stuff out for this AU because I have MANY ideas for it- So!!!!! Here's my take on an ISAT roleswap!!

This is Time Spent Among Stars (TSAS)! I've been brainstorming a lot for it during the past couple of days. If you know me, you know how I go about swap AU's. I try to make things as logical and faithful to both the characters and the universe and the original story as a whole.

When it comes to a roleswap for ISAT, I find it to be a very particular task. This is because ISAT happens for very specific reasons that all stem from Siffrin and the current circumstances he's in. So, go for a roleswap where the circumstances are a bit different. But I also don't want to retread on the story ISAT already told. By that I mean, for example, Twinkle is NOT Bonnie. I wonder who they could be? Alongside this is the fact that is not neccessarily a story about Bonnie needing to learn to talk about feelings or whatever with the fact that they want to stay with the party longer. That is NOT their issue to tackle, that is Siffrin's.

There's also the whole star theme. I always kind of dislike when swap AU's still include star theming and a star Loop equivalent because stars are SIFFRIN'S THING. Now you may be confused. because. hey Sock. you did that with this AU? YES. YES I DID. BUT I FOUND A WAY TO STILL CONNECT IT BACK TO BONNIE REASONABLY AND GAVE THIS AU A REASON TO STILL HAVE ITS CONNECTION TO STARS AND THE COUNTRY AND WHATNOT. GUYS I GOT IT UNDER CONTROL. AND THERE IS A REASON TWINKLE IS A STAR CHARACTER.

That's not enough preamble though- I'll put this under the cut, here's my more specific thoughts on some things and the swaps!

Bonnie is the Traveler (The Runaway)

A little kid living on the streets of Bambouche. They had washed up on shore in another town where they were tossed around foster families. They eventually ran away as none of these homes felt like theirs. They didn’t have many memories and didn’t want their memories to be with these people. Similarly to canon, after Bambouche was frozen by the curse, Bonnie ran and ran and ran from the town to the brink of exhaustion before being found by the party. When Bonnie was younger, Petronille ran away from home with them. They came from an abusive home. The night was stormy and yet Nille decided to escape by boat. They got close to country which was actively being forgotten. Nille fell from the boat, injured, but young Bonnie was fine and their boat wasn’t close enough to join. They would float back to Vaugarde with tampered memories.

Isabeau is the Housemaiden (The Missionary)

When he first went to his local House of Change, he was so inspired and interested in it all that he decided to stay and join the House. He does a lot of mission work, going around Vaugarde to teach the Change belief and whatnot.

Mirabelle is the Fighter (The Warrior)

She felt betrayed and confused and broken after Euphrasie betrayed everyone and did this to Vaugarde. She questioned everything. But she knew there was no time for that. She had to save her country. She felt obligated. She was still blessed by Euphrasie, an action done in the hope that Mirabelle would stay with her and watch the worlds perfection be frozen in time. She reufsed. She became more of a fighter after leaving on her journey, growing much more stressed and a little more on edge. She often doesn’t know her strength.

Siffrin is the Researcher (The Archivist) 

He made a different choice. Instead of letting their hazy baggage hold them back, they wanted answers. If they could never fit in here, he would figure out where he came from and why. He’s spent much of his new life in Vaugarde researching both Vaugarde itself and the mysterious tale of the country he believes they come from. They’re a little quieter and more stern and factual here, but they’re still loveable punny Sif.

Odile is the Chef (The Kid)

A talented chef who takes “too many cooks in the kitchen” to heart and often flew solo. Here she’s more interested in the recipes and food culture of Vaugarde. Instead of a familytale, she’s looking for something else- A book that is like a familytale but for family recipes. Recipes for meals or baked goods can tell you a lot about a family and their history. It’s unique to them. You can tell a lot from them by them if you know how to look. She never had these sorts of meals or recipe books back home. Not one genre of food she could resonate with personally because of her divide between Ka Bue and Vaugarde.

Euphrasie as the King (The Housemaiden}

Claude, her dearest, was killed in an accident regarding one of her creations. It broke her. It got Euphrasie rethinking everything. She didn’t want things to change anymore. She loved how things were. She didn’t want Mirabelle to change, she was happy. She didn’t want Rorey to change, he was doing so much better than when she first met him. She broke down. She wanted the entirety of Vaugarde to stay in this same peaceful happy moment. Not to mention now understanding the terror of the idea of losing her country like Rorey (The King) did.

A lot of other details are relatively the same because these are still the same characters, they’ve just gone through some different circumstances that put them in different roles. Mirabelle is still “the chosen one” and gathers the party. Isabeau is still second to be recruited. Siffrin still doesn’t talk about his feelings (but will have a friend quest where Bonnie helps them with that). Odile, like how she wouldn’t say what she was researching, now won’t tell them what kind of chef she is. Bonnie still isn’t allowed to fight. Etc etc etc.

A lot of these are still concepts and are subject to change but I would love to answer questions and doodle some more when I'm not tired LMAO. Merry Christmas Eve, may Time Spent Among Stars woe be upon ye!

[peacefulmultishipper]

It’s strange to watch the writers make two characters who are fathers that both suffer from mental illness (Depression) and unconditionally love their daughter but did neglect them and were involved in a failed marriage…in two different shows but take place in the same universe.

It’s like…pick your flavour of neglectful Dad.

I know they’re very different personalities wise and we don’t have the full context what went down between Luci and Lilith to cause separation but from how the writers handled the mess that is the loveless marriage of Stoella, pretty convinced that it’s going to be revealed that Lilith emotional abused Luci for decades but he‘s in complete denial because he loves her so much to overshadow whatever his sins to her are (Probably involving Eve) because of male favoritism.

[maxdibert]

What a coincidence that this is a fandom “for everyone,” but only as long as the characters are rich and attractive. What a coincidence that the only canonically poor character, the one canonically outside of hegemonic beauty standards, the one canonically outside traditional concepts of masculinity (and who is mistreated in the narrative precisely because of his appearance and mannerisms that don’t align with traditional gender norms), and the one canonically socially marginalized, is the only one you continue to marginalize and mistreat. The only one you don’t punkwash like the other psychopaths you’ve turned into queer icons, even though they’re canonically ten times worse than Snape. But of course, Snape doesn’t count, because Snape was ugly and poor. What a coincidence.

It’s also quite the coincidence that you claim to be inclusive, yet the characters you defend are canonically hegemonic in every sense—privileged, wealthy, and above the socioeconomic average. What a coincidence that in your pinkwashed utopia of wannabes who’ve never actively fought for anything in their lives, making a character gay is all it takes to feel like the revolution is complete. Sorry, but no. You can’t sell the idea that you’re opposing Rowling when you’re pinkwashing the very characters she already glorified because she favored them. Do you think Rowling cares if James Potter is trans in your trashy fic? J.K. Rowling would love that you’re reinforcing her narrative that rich, attractive boys are good, and poor, ugly boys are bad, because that’s something she reproduces throughout her entire saga.

I don’t care where you were born or if you were bullied because that clearly didn’t teach you anything. It didn’t teach you class consciousness, nor did it help you understand how social dynamics work, inequality, or how power mechanisms operate between people from different socioeconomic backgrounds. It also didn’t help you understand that defending rich, aristocratic, abusive kids who harass and torment working-class, underprivileged kids isn’t the peak of the pinkwashed revolution you’ve built in your head just because you label them as gay or trans. That’s not how it works, my friend. You can’t fix everything by slapping a rainbow flag on it. Classism still exists within the LGBTQ+ community, just as abusive behavior and social inequalities do.

So excuse me if I don’t care about your ad hominem fallacy, but clearly, you didn’t get much out of university if your reading comprehension is abysmal and you’re utterly clueless when it comes to political and social culture. So take yourself and your TERF rhetoric elsewhere because the only one speaking like a classist TERF defending bourgeois interests with an elite-bootlicking mentality is you. The only one instrumentalizing an important movement like the LGBTQ+ cause (just as TERFs instrumentalize feminism) to justify your reactionary thoughts, internalized discrimination, and need to trample those in disadvantaged positions is also you.

Though, given your history, maybe the problem you have with Snape is that he reminds you, and other Marauders fans, that in real life, you wouldn’t have been the popular kids. You would’ve been the ones marginalized by people like James and Sirius, who would have made your life miserable. And that’s too unbearable because you want to feel like the protagonists, but you never would’ve been. You never would’ve belonged to the hegemonic, cool kids who ruled the school. In fact, kids like Sirius and James would’ve laughed at you. So instead, you turn them into pinkwashed icons, alter their personalities to your liking, and turn the one true character who fits your idea of a non-hegemonic person into a supervillain because that way, you can fantasize about being the popular ones. Accepting Severus breaks your narrative. In the end, all of this boils down to unresolved self-esteem issues.

I have no problem seeing this kind of stuff, nor do I block tags. If you don’t like being hit with a dose of reality and still think it’s a good idea to keep making a fool of yourself because you have zero arguments or basis to defend your point without coming across as a classist jerk, that’s your problem. Honestly, I couldn’t care less because I’ve said many times that I love debating, and frankly, you’re not going to change my opinion. It’s not for nothing that I pay my rent and bills working as a criminal lawyer and helping people in the process of social reintegration, only for some random person who thinks the revolution is about turning fictional rich bully kids into queer icons to come and try to lecture me about anything. Go on, get lost. Kisses.

okay, hold my drink *hands u cursed ancient goblet full of mead* i gotta talk my shit for a second.

ive been seeing a lot of severus snape love recently. and this is fine, obviously, y'all can love whomever you want. but. i need to rant or i will explode. if we're talking about canon. severus snape spends his adult years, seven books of it in fact, abusing children. and his excuse for this is the girl he loved (tho not enough not to join a group actively trying to exterminate her) fell for the hot jock instead of him (a tragedy indeed, i weep 4 him, i really do). and also she died, which, admittedly is very sad.

it is simply crazy 2 me 2 look at that and think *romance* or *genuine care and affection*. LIKE. fo real. snape calls her a slur in public, apologizes in private, hangs out with dudes who commit hate crimes against her friends (CANONICALLY, she says "you've been hanging out with that douchebag Mulciber, how could you do that after what he did to Mary???" this is not a direct quote but like, it's close enough). lame. loser behaviour.

"Oh but what about regulus" i can hear you say "he loves James potter but snape doesn't love lily???" well. idk. maybe. bit different tho, innit? due to james not being the demographic regulus is attacking (which doesn't make regulus a better person but does make the dynamic between him and james different). ALSO. Regulus chooses to turn against voldemort without hope for anything in return. snape doesn't seem to give a shit about voldemort, he's just sad he's not gonna get to bang lily evans. he switches sides for that reason alone. also doesn't care about what happens to her husband or her son which like. considering lily would be pretty fucking destroyed if they died. once again points to my whole, he doesn't really give a shit about her, theory. lame. loser. behaviour.

also. im sorry. I"M SORRY. but what snape does to neville? to hermione? to harry? gross. a grown ass man out here telling an eleven year old neville he's worthless or hermione she's ugly and annoying. or spilling harry's potion and refusing to grade him for it???????????????

reg and draco are children when we see them at peak suckage and therefore they feel like they can be redeemed much more compellingly (CAN be, not SHOULD be, not HAVE to be, just narratively i think they are easier to turn into interesting, sympathetic characters). but snape? snape grows up into a garbage adult. like he doesn't get better. and again, the only real excuse we're given is his obsession with lily. not very demure. not very cutesy.

ALSO. yall remember that time he got a destitute, struggling Remus Lupin fired from the best job he ever had just because he felt like it? remember that time snape weaponized Remus's lycanthropy and people's prejudice against him just cause. like. literally just cause??? his ego was bruised after the shrieking shack incident so he was like "get wrecked Lupin I'm going to tell everyone your secret so you will be forced back out onto the streets" DO YALL REMEMBER THAT BITCH ASS MOVE????????? THAT HE DID AS A FULL ADULT.

IN CONCLUSION, this is silly and, of course, like i said at the start, everyone can have their own thoughts and feelings about characters, but i simply needed to interject here on behalf of snape haters everywhere because i feel like so much of snape's shitty behaviour as an adult during a time when he was really under no duress and was very safe and cozy, is ignored. and my hater heart just cannot let that stand.

[hhughes]

❝ 𝐒𝐖𝐄𝐄𝐓 𝐀𝐒 𝐒𝐔𝐆𝐀𝐑 ❜❜

𝓐bout ; some canon things in the “JWBCTY” universe. these headcanons touch on little characteristics about luke’s!bsf!reader , canon things about her relationships with people you’ll often see featured in blurbs or just canon events that happen within this AU.

𝓹𝓪𝓲𝓻𝓲𝓷𝓰 ; luke’s!bsf!reader x quinn hughes 𝓬𝓸𝓷𝓽𝓮𝓷𝓽 ; headcanons. sfw. like one use of y/n , beware lol. 𝔁𝓸 𝓬𝓪𝓶𝓲 ; these are little things I envision about luke’s!bsf!reader and the universe this is set in while I’m writing. she’s very much set up to be an OC but all of my writing will be done in reader!insert format and therefore she’s not completely an original character and can be read as reader insert. as I said before this au is set up differently than my previous ones, and you as the reader are “playing” the character. these little things are not completely set in stone and just like you are imagining that you’re luke’s best friend while reading, you can imagine that any of the following things are true and canon in this little universe. that being said, it's very much a take what you want and leave what you don’t type of situation because many of these details won’t be heavily present in the writing, unless you as the reader request and ask for it to be. this is meant to give you some freedom in how you want things to go down , but still leaves room for requesting specific things if you want to. if you have any questions about the formatting of this au or any thoughts at all, don’t hesitate to drop by the inbox. this is a growing list so be sure to add to it if you’d like by sending stuff in <33

꒰੭ Y/N L/N (reader / you) ᭪

also known as . . . quinn’s angel, sweet girl and sweetheart. luke’s very best friend in the whole wide world (don’t tell duker). jack’s little sister (that he never asked for but has always wanted). trevor’s partner in crime. (feel free to use any of the nicknames mentioned when requesting so you don’t have to say [luke’s!bsf!reader] each time , unless you prefer that <3)

is the same age as luke. there’s a bit of an age gap between you and quinn.

majoring in chemical engineering at the university of michigan. graduating june ‘25.

has a sweet tooth. the guys all carry around a stock of candy and sweet treats when they know they’re gonna be in your presence because they know you love to snack on them.

very bubbly and happy. you love to see the best in people and try to find the positive in every situation.

you like reading. something you and your hughes boys have in common , although your taste in books might be a little different. >_<

as a result of your sweet tooth , you’re an avid baker. you love baking and the guys both love and hate it because they can never say no to one of your baked goods.

you don’t have a big family so you always enjoy being included in hughes family events

you’re a bit introverted and a bit extroverted and often switch between the two depending on how you feel on the day.

you’re very stubborn and like to do things by yourself and in the way you wanna do them. you’re not someone that likes to accept help from others, but you are someone who loves helping others. ( this frustrates quinn to no end )

little quirks/habits include . . . cracking your knuckles when nervous (something you picked up from luke), blowing your hair out of your face, biting your lip when you’re deep in thought.

you’re giggly/clingy/overly affectionate when drunk. constantly telling everyone how much you adore them and how much they mean to you.

꒰੭ you and luke ᭪

you and luke are the definition of platonic soulmates. from the moment you met as kids, throughout your awkward tween years and angsty teen phases, to going to umich together, you have seen each other at the lowest of lows and highest of highs and still decided to stick it out. no one knows you better than him and vice versa.

luke is very protective over you. even his own brothers have gotten a punch or two when they’ve said something to you that luke didn’t like. he also kind of inserts himself in your love life but it’s more a ‘you’re my best friend and I want what’s best for you’ rather than ‘i’m secretly in love with you’

he’s very oblivious to the feelings you have for quinn, and even more oblivious to the way his older brother has eyes for you.

both of you are very good listeners and you often have movie nights where you just rant to each other about whatever is happening in your lives. those movie nights turn into long face times when luke goes to the nhl.

because luke knows you so well , it becomes harder and harder to keep your feelings for his oldest brother a secret, especially when you and quinn start sneaking around behind his back :\

꒰੭ you and jack ᭪

you and jack have a very open and honest friendship. it’s very no-filter and both of you have no issue giving it to the other one straight.

unlike your and luke’s friendship where you’ll rant about your issues and you and luke will discuss and come up with solutions together , you and jack just call each other out on your bullshit, and tell each other to get it together.

jack also sees right through you and quinn and has no problem teasing both of you about it. he’ll constantly make comments that has you burning your face in a pillow out of embarrassment, quinn giving him death glares and luke just crinkling his nose in confusion.

jack is more your big brother than he is a friend. and he has no problem giving you the tough brother love as we’ve established. but he really does adore you like his little sister and he always has your back whenever you need it.

you and jack are kind of a handful together. you’re similar in a lot of ways and that means you have a lot of fun together. you’re the kind of duo who will playfully sabotage one another just bc you’re both extremely competitive.

while jack doesn’t have the same over protective streak that luke has, he does keep an eye on things when it comes to you. while luke is ‘don’t do this, it’s a bad idea and it’s gonna blow up in your face’ type of protective, jack is the ‘do what you’re gonna do, i’ll be there if something goes wrong’ although he’s not gonna be happy about it.

jack always introduces you as his little sister, never offering an explanation when people look at him in confusion because to him, that’s simply just what you are.

꒰੭ you and trevor ᭪

you and trevor really are partners in crime and you get up to the silliest things together. could be spontaneous water balloon fights at the lake house or him telling the people at the movie theatre that you’re pregnant cause he wants to sneak snacks in, you’re just always in on a joke together. trevor knows no matter what insane plan he’s cooking, he can convince you to join him, and he loves that about you.

you and trevor do this thing ; secret for a secret. he gives you a secret and you give him one and you’re both not allowed to bring it up again unless the other person wants to talk about it. he was the first one you told about your crush on quinn.

you and trevor constantly play wingman and woman for each other whenever you guys go out to bars.

much like jack, trevor doesn’t have much of a filter, and he’s not afraid to tell you when you’re being ridiculous about something

both of you are the life of the party and wherever you do, everyone else knows it’s gonna be a good time. (you, trevor and jack together? who needs anyone else)

trevor is so good at seemingly not caring what other people think and he definitely passes that on to friends closest to him. (you/jack) he builds your confidences soo much.

you’re one of few people trevor knows he can 100% be himself; and you won’t judge him for it.

the best therapy with trevor isn’t talking—it’s just being with him. his presence is just infectious. whether it’s playing video games, watching movies for hours, or simply throwing paper airplanes around the living room, trevor has this way of distracting you from your worries without even trying. he’s the kind of friend who just gets it and lets you be

trevor is also a shameless flirt and can’t help but harmlessly flirt with you every now and then. hey! you can’t blame him, you’re funny, smart, freaking gorgeous, if the guy thought for one second you were actually interested, and he was the kinda guy who could commit, he’d go for it ^_^

꒰੭ you and quinn ᭪

even before the two of you got together a lot of your interactions were filled with small little touches. a hand on the waist as he moves past you, a hand on your thigh as he leans over you on the boat to do something. small touches that would leave a thousand butterflies in your stomach; and quinn’s palms clammy

you’ve always had a bit of a childhood crush on quinn, and that crush only grew as he moved away and you went to michigan a few years later. your childhood crush transforming into more serious feelings with every summer he comes home

whenever quinn feels jealous/upset about seeing you with other guys , he always chalks it up to feeling overprotective because you’re luke’s bestfriend but deep down he knows it’s more than that.

and everyone knows that you’re close to the hughes family but whenever someone asks quinn what you are to him he can’t really seem to find the words. it’s always some version of “she’s special to my family” or “my little brothers best friend”. either way it’s never “she’s this to me” and that’s lead you to believe that you really are nothing more than his little brother’s best friend to quinn even if that’s not really how he feels about you

after the two of you get together, everyone sees that you’re perfect for one another and can’t imagine either of you with anyone else

both of you are so supportive of each other. you never miss the opportunity to celebrate each other no matter how small the success. whether it’s you finishing a big project at work, or quinn scoring a goal, you just love seeing each other succeed.

you guys are so the “I can do it” and “I know you can, but I want to couple”

while you and quinn might not seem as close as the other guys, you guys did still grow up together and you have your own little friendship and rituals. you and quinn will send each other ten photos at the end of every week to catch each other up on what you did that week. and sometimes neither of you respond or text about anything else. it’ll just be those ten pictures, but neither of you have ever skipped a week since it started.

quinn is just as protective of you as luke and jack, if not more so. (definitely more so)

everyone always teases quinn about you. telling him how you have a crush on him. and you’re his little soft spot, but he always just brushes it off, even if he knows there’s some truth to it.

whenever quinn is having a rough week, he’ll call you just to hear your voice. and he’ll automatically feel better. and whenever you do the same, he always has flowers and desert delivered afterwards.

note: just a little reminder again that you take what you want from this, and leave what you don’t. it’s not gonna play a huge role in the au and you can read all writing pieces as independent little stand alone pieces. this is just to add enrichment to the plot, or characters and dynamics if you wish to <33

[silvermoon424]

Puella Magi Madoka Magica 🤝 The Hunger Games

Being revolutionary series that kicked off an entire genre (PMMM inspired the dark/edgy magical girl genre; The Hunger Games inspired the YA dystopia genre) and fully understood the assignment of said genre, only for their successors to fail to do the same.

Like, PMMM may have put a sinister twist on the magical girl genre, but magical girl shows have always had dark elements and PMMM doesn't stray too far from those roots. And in the end, it affirms the core messages of the magical girl genre: that hope can change the universe, love is the strongest power we have, and that we can all make a difference. Meanwhile the majority of PMMM clones are just edgy for the sake of being edgy and don't uphold the same messages PMMM did.

Likewise, the Hunger Games crafted an amazing, believable dystopia that holds a mirror up to modern American culture. Class, poverty, and state-sponsored violence are huge themes, and the series explores the socioeconomic, political, and psychological concepts of war/dystopia/classism/etc in a very mature way. Meanwhile, at the height of the YA dystopian genre, a lot of books had devolved into premises like "what if eating food was obsolete and illegal?" and "what if the main character had more than one personality trait?"

[burning2know]

That's a cool budding idea. But the analysis is missing how these themes actually related to solas' memories.

It's one thing for characters to comment on the murals, it's another thing for the text to say something of substance about both the mural And the character in psrallel. That takes real craft, and frankly, I'm not sure if the writing team had Time to make that happen given the development process. For example, if the writing wanted to lean into those parallels, the companion round table discussions after viewing each memory could have benefitted from a little more compassion and less single note "this is solas's fault". If the text actually successfully rallied around these themes, it would not be buried under the general moral condemnation/condescension for Solas. The companions commentary did not "relate to solas and disagree with him in interesting ways". In other words, it would have been really frickin cool if the game actually did what op claimed it did.

The actual commentary on Solas in the text is shallow and vague, that's why people can pull on all these parallels and say all these things about it (although this is the first step to textual analysis). The text hardly says anything on its own.

An exercise: You can easily argue that each companion mirrors DA2 actually. Varric and Bellara with the brother that chose badly; Emmrich and Merrill with the special interest that people feel is offputting; Harding and Anders about righting an injustice; Neve and Aveline with the cops in the city theme; Lucanis and Fenris about walking out of the shadows of abuse; Davrin and Sebastian battle between heritage vs what you chose to devote your life to. Taash and the Hawke sibling about emerging from the box of what your family thinks you should be. Rook and Hawke about coming up in society as a nobody.

It's one thing to draw these parallels, it's an entirely different thing to examine the extent to which it was in the text and how well it was executed. And that's the rest of the analysis. Noticing connections is only step one in an analysis.

In past games, Solas is such a complex character, there are so many different ways to interpret him. A lot of people (in universe and across the 4th wall) project themselves onto him (and he makes it easy by mirroring). It's his tragedy that he is forced to resign to that fate and his "real character" remains obscured by those projections and judgments.

I do Not write video game analysis. However, one thing that I loved about Veilguard that I hadn’t seen people talking about, is that all the companions personal quests mirror Solas’s regrets.

Like Taash is struggling with their mom and identity and what to choose to be in their future. Do they be what someone else wants them to or make their own identity?

Emmrich is trying to deal with a fear of death and if sacrificing the things he loves is worth is for a better future. What’s the cost of never having to experience your greatest figure worth to you?

Davrin’s trying to figure out how to live when he’s always expected he would die. The duty he’s pledged himself to vs following his own nature. Should you sacrifice your life for the duty and happiness of others?

Bellara’s both dealing with the regret of not doing enough to prevent her brothers death, but also trying to decide if progress is worth the price it came at. How do you forgive yourself for your sins and carve a new path forward?

Neve is trying to be a good person in a system literally built for people like her while she has immense amounts of privilege. Do people need someone who will do anything for them? Or do they need a hero to look up to?

Lucanis is figuring out how to deal with the betrayal of someone who you not only trusted, but was your family. The closest person to you. At what point is family who hurt you no longer worth your forgiveness?

Harding is trying to both honor but let go of the trauma and create a future in light of that hurt. How do you create a future despite the trauma of your past?

And Rook! Rook’s entire thing is that they’re self-isolating. They never talk to any of their companions about their stress… except they do talk to Solas, the Inquisitor, and Varric, people who all have power or they see as their leader. They’re actively trying to withdraw from their community and take on whatever mistakes the team makes and whatever consequences will arise from the conclusions of the companions missions.

And this is all wildly clever thing because it creates a really effective way of commenting on Solas and his issues. This is not to say that they were crafted solely to comment on Solas, or to be pale imitations, but by making them have similar regrets and problems to him, it provides this really fantastic bit in the narrative, especially during the team meetups to discuss the murals, where they’re really able to both relate to, or disagree with Solas in some interesting ways because of their issues. It also makes the story much tighter than it would be otherwise, because nothing in this story doesn’t serve this very character-driven narrative about the choices, guilt, and fear and how that hampers or helps your decision making. And I really like it! You can see it in their dialogue around the murals too. Taash for instance specifically talks about the regret of not being able to tell someone you love stuff because you waited too long and now they’re dead. 10/10 bit of character introspection.

[eurydicees]

oh dont apologise i loved your essay 😭 and i 100% agree with everything. Theres such a innate theme of choices and consequences in wicked the musical and its so fascinating to me how choices made by all the characters have such profound consequences at the end. And fiyero’s choices are no different in the way they alter the trajectory of multiple characters.

He is really the only one i can think of who sacrifices everything for elphaba and does it all willingly. How do you like elphaba and then dislike the one character who was ready to give up his whole life and everything that came with it for her 😭

Twitter is very binary in that regard honestly, and its such a shame that they miss out on some pretty interesting character analysis about their favourite characters bc they decide to be so rigid and weird about other characters who had an impact on their faves. Couldnt be me lol, making multiple threads about a character you hate. I also think something else is at play here but dont wanna say it publicly lol but given your other responses i think you’d probably agree.

And yes totally agree about dividing the film in two parts - i can only hope the film watchers stick around for part 2 and see fiyero’s whole arc

thanks for the ask! also i wrote another fiyero ted talk. if i were like charles dickens or whoever and i was getting paid by the word to write about fiyero, i could be so goddamn rich btw.

anyways, choices and consequences!!!!! like that's the whole thing!!!!!!! and the way our choices affect and change other people!!!! fiyero isn't an exception to any of that!!!!

you're so right that fiyero is truly the one who makes the ultimate sacrifices for elphaba. like glinda loves elphaba, she absolutely does. but she isn't able to take on the work and life that elphaba chooses in defying gravity.

when it comes to the things that are most important to her, glinda prioritizes comfort and reputation over, like, morality and principle. and the thing about glinda is that she actively makes this choice. she chooses not to go with elphaba. she wants elphaba to succeed, but she's not brave enough to join her. in order for glinda to find the bravery to take up the work elphaba starts, she has to lose everything that actually matters. and she has to be complicit in her own losing of those things.

fiyero loves elphaba to the point of sacrificing all of those things that glinda can't resist. the day with the lion cub, and elphaba's general influence on him, changes fiyero profoundly in a similar way that she affects glinda, but fiyero finds the bravery to act on all of that. the difference is that he doesn't get the choice to go with her until mid-act 2 after wonderful.

in thank goodness, there's that one exchange between fiyero and glinda where they say smth like "you just can't resist all of this" "well who could?" "you know who could, and who has." and he's talking about elphaba, he's talking about how she had all the love she ever wanted at the tip of her fingers when she met the wizard, and she chose to let it go because she saw the ugly parts of the wizard's world. and this exchange is so clearly boiling it down to "elphaba resisted the temptation of being universally/publically loved and glinda did not." which tbh is something so in character for a person who has never had that, and a person who has always had that and thus doesn't want to leave it behind.

ok i was going somewhere with this but i don't remember where. just. fiyero isn't a perfect character. and for SURE the choice to erase gelphie's romantic subtext from the book when adapting it for broadway was an act of homophobia. but if we're just looking at musical canon, fiyero is brave enough to give up everything first to save elphaba, then to go with her, and then to protect her. and so-called elphaba stans don't think that's good enough. which is CRAZY to me.

also like. he's literally not the comphet love interest. sorry you didn't mention that but i keep seeing people throw those words around and like that's not what's happening here guys. elphaba loves him. she sings a whole song about it. multiple, even.

comphet implies that she mistakenly thinks she loves him because society has molded her into believing that's how she should be (fyi if anyone's experiencing that, it's glinda but i digress). elphaba, who notably has never been able to comply to the mold society makes for women, because she's never been pretty white woman enough to be afforded a place in that society? you mean that elphaba?

guys elphaba just...loves him. that's all there is to it. she loves him when she realizes he's more than he thinks he is, more than the airs he puts off. she loves him when she feared he might have changed, she loves him when he proves he did change--for the better. she loves him when he sticks by her, when he chooses her. she loves him when he's a fucking SCARECROW. ("go ahead, touch, i don't mind" "you're still beautiful" lives in my head rent fucking free).

when she has her breakthrough "okay. fuck this world that has never been good to me, if you want me to be wicked, i'll be wicked" moment, it's because she loses fiyero. she gets betrayed by nessa, and she fails dillamond, and she loses fiyero--and it's then that she loses sight of what good she had begun fighting for. it's a love for fiyero that drives most of no good deed (broadway songs of all time btw). like sorry but you dont sing someone's name like that if you don't love them. that's just musical theatre rules. trust me i was a theatre major.

anyways. sorry for that detour. back to the point. twitter treats everything as so black and white which is crazy because this is a revisionist musical about how evil isn't black and white. like?????? whatever. imagine being so bitter about a character you dislike that you want to change fundamental pieces of your favorite character so that he isn't relevant.

look. gelphie is great doomed yuri and i support that so hard. but dont try to tell me fiyero isn't deeply important to elphaba and to understanding elphaba's character. tbh the love triangle here isn't fiyero choosing between glinda and elphaba. it's more like elphaba choosing between glinda and fiyero and what either of them represent to her (glinda and working within the system, or fiyero, and abandoning it).

and hot take maybe but like ultimately--as someone who has never been conventionally accepted, as someone who has been hunted down to be murdered, as someone who has been the victim of a smear campaign and propaganda against her character/intentions, all of which was in part driven by glinda--she was always going to choose fiyero.

i respect gelphie shippers, i do. in another world, maybe one without the wizard, they could've been so happy together. i'm with y'all. but given canon, even if all others fall, i will be the last fiyero defender standing. god i hope movie-only fans watch part 2 and at least learn to RESPECT him. at the bare minimum. please. please. please.

[vo-kopen]

You know what makes little sense? I love the idea of alternate universes, so I have a real fondness for the what if comics. I also have yet to read a single what if I liked, or even read a synopsis of one I liked. Same with the marvel tv show, I only watched the first three episodes of season one because I didn’t care about the other premises, and the first two did not click, while the third was good but was resolved poorly later in the season. (Where the frick did the Chitauri come from? Loki’s occupation force was made of Asgardians) There are a few from season two I meant to see, such as the 80s Avengers team, but I just haven’t been able to bring myself to watch it. And the what if novels that came out recently just don’t grab me.

The classic what if that came closest to clicking with me is the one where Steve Rogets was unfrozen decades later and in the meantime the fifties Cap pushed America further into authoritarianism. It’s well done and very relevant, but it’s a struggle to read because of how dark and “real” it is. It’s just “oof.”

It’s just funny that I like the genre and the concept of what if, but don’t actually like any of the specific ones. The recent mini series were particularly unappealing to me, the first was just “what if some decades old marvel arcs went in a darker direction,” so it’s not exactly relevant to me as a reader who started in the 2010s, and based on the issue I read the scenarios are just overwhelmingly grim. Meanwhile the second most recent mini was just “what if *popular marvel superhero* became Venom instead of Brock,” and the third is coming out now and my suspicions is it’s just “what if Galactus made *popular marvel superhero* his Herald.” Those last two minis feel especially lacking in depth. Their premise is just “what if big IP was a different IP.” And maybe I am unfair, I didn’t read either mini, but the core concept utterly failed to grab me.

Again, I think what ifs are interested, but like no canon ones interest me. Maybe it’s because I started out reading Avengers Academy, I now get drawn to “unimportant” characters, and they aren’t the ones who get to star in what ifs.

And then you get the Spiderverse and Venomverse anthologies which sometimes have actually compelling premises (makes sense, anthologies are always going to have some hits) but they only are setups to big events where the multiverses is threatened and those new versions of characters are almost guaranteed to get murdered. It’s like, I just want a fun little what if anthology where the fate of reality is not at stake, and instead the books discuss “what if this character’s life went differently?”

Like “what if Finesse, Mettle, and Haxmat did sacrifice themselves to take out two of the Worthy,” or “what if Laura and Jeanne’s falling out got more violent?” Again with the Avengers Academy

Anyway it’s just funny that I allegedly like what ifs, but I only like them in theory not in practice.

@thefingerfuckingfemalefury @nitpickrider @majingojira @akirakan how about y’all? Read any what ifs that clicked with you?

[ilikekidsshows]

I've seen people said Adrien doesn't have motivation to be a hero but Marinette does, which is weird because I feel like it's Marinette who doesn't have a motivation to be hero beyond "people listen to Ladybug". Her lack of motivation is what confused me because as a protagonist, she's inevitably become a role model for the young audience and I find nothing about her is likeable, even more so after she become a guardian. It's as if being a guardian inflate her ego and she forgot that everyone else is a human with feelings, not just a pawn or a doll for her to play and ordered around.

Recently I found out a website that contain the concept plot and it confused me more because I feel like concept Marinette is a more grounded character than she is in the show.

Marinette's goal isn't just to be Adrien/Felix's girlfriend but she also need to collect the kwamis that she accidentally releases and she become a guardian not because of luck or favoritism like how it is in the show, it's because her grandfather is the guardian. Adrien/Felix doesn't even become Chat Noir because he's chosen by the guardian, it's Plagg who chose him. It's actually much better than the whole "I choose you but also I'm not going to do anything with you" that Fu pulls in the show.

i don't understand why the higher up/the sponsor reject this plot because I think this much better than whatever we have now. If they have a problem with Chat Noir being an anti-hero, then why do they accept Marinette being written like one while also hailing her as a hero?

---

“Adrien isn't motivated to be a hero” he actually likes being a hero, unlike our role model protagonist, who’d rather do anything than be Ladybug even when she's being lauded for her heroic deeds. Is this based on Adrien trying to quit when Fu or Marinette is making his job needlessly more difficult to do? Because, like, that's the only thing that he seems to dislike about being a hero, which, like, makes Marinette an even worse hero. She’s so bad at her job, she makes otherwise eager heroes lose their motivation.

I’m gonna be very honest here; Marinette becoming Ladybug because she accidentally released a bunch of magical creatures and Adrien/Félix being more of an anti-hero rival than a full-on ally would have been copied straight from Cardcaptor Sakura’s starting setup. Like, I’m not surprised that even the rejected ideas for Miraculous are copied from other properties, but it just proves that regardless of any other variables, Astruc’s creation was always going to be highly derivative. Regardless, I do feel that Fu being her grandfather instead of a stranger would have gone a long way in justifying Marinette’s special treatment both in-universe and to the audience, but that’s probably why it was rejected.

Like, we can mock the fact that Marinette isn’t actually within spitting distance of being a “normal girl with a normal life” all we like, but that doesn’t change the fact that, from a purely on-paper angle, she is pretty average. She’s a middle-schooler with pretty average hobbies who deals with normal teen problems like bullies and a crush on a boy she doesn’t know how to deal with. There’s a reason it’s the opening line for the show’s opening. It's marketable. A special chosen one from the start wouldn’t have been as marketable in the same way. Especially when we take into account how hypersensitive Astruc is to Marinette being less liked than he’d want. He’d do whatever he can think of to make sure Marinette isn’t immediately judged a “Mary Sue”.

The thing with executives is that they don't watch the shows they fund. They read the pitch, synopses, and maybe the scripts if they can find the time. And even then, they might not want to put in the money to get a script revised even if they paid enough attention to tell it was dogshit. They wouldn't be interested as long as the different Miraculous bedsheets and shampoos keep selling and as long as the show isn’t too gay to sell to other countries. Like, the show bible that Gloob leaked? The one full of inaccuracies because it was outdated? That was what the executives were most likely given when the retool went into development. In addition, corporate oversight on the show has actually decreased the longer it’s gone on, because the show’s proven itself to be a success. I’m pretty sure the higher-ups were not asked: “hey, is it okay if we make Marinette an entitled jerk who gets validated at every turn while she starts treating people worse and worse?” I’m pretty sure no one okayed Marinette’s “villain arc”, it was just allowed to pass because it didn’t make the show less marketable.

That’s the thing with any property that becomes “too big to fail”. Less oversight means less quality control. It’s like one anonymous Gamefreak employee said about making Pokémon games: “It’ll sell anyway, so it doesn’t matter if it’s bad.”

[pleasantly-painful-fiction]

Most of my whumpees are either Japanese, unspecified, or not human. Two are white & French. Not sure how the younger one would identify though. Most of them live in alternate universes or a fantasy world, and some of them live in societies or time periods where skin color doesn't have much effect on a person's experiences, so it's not worth mentioning.

My favorite OC whumpee isn't human, but I still identify him as Japanese. His human parts look Japanese.

All my whumpees are male because I guess I just prefer to keep my fictional characters removed from myself in that way. But gender in their society isn't always viewed the same way or have a significant effect on one's life experiences. For some of the non-human characters, their species only has one gender/sex, or there's almost no physical or mental difference between the genders/sexes. I don't know. I like to create worlds and societies where skin color (for humans), sexuality, and gender aren't a big focus... or just keep it out of the story, so it's not always specified. Only side characters ever end up being straight though... oop?

honestly there needs to be more diversity in whump

mainly because i'm sick of hearing about people's cis white male whumpees HAVE SOME ORIGINALITY

when all your whumpees look the same its rly hard for me to care about any of them

if you have a main whumpee who isn't a cis white male pleaaase comment or reblog with some infodumping bc i'd love to hear about them!

[ironunderstands]

I don’t think we talk enough about how tragic of a character March 7th is

I think her rather cheerful demeanor has unconsciously shifted people away from realizing just how well, sad her situation is. She was found in a chunk of mysterious ice floating way out in the vacuum of space with no explanation for how or why she was out there. March had no possessions, no memories, not even a damn NAME to know herself by, to the point where she decided to refer to herself using the date she was found: March 7th.

And yeah, she’s begun to forge an identity for herself following her rescue, but just imagine not knowing who you are, you who were, and having the literal universe itself (or more accurately, the memokeepers) going “No no, you can’t know about your past, it’s that bad!” which only leaves you with more questions than answers.

How can she not lie awake at night thinking of who she might have been? Was her past tragic? Evil? Delightful? Meaningless? Who did she leave behind? What did she leave behind? How bad was it to the point where March shouldn’t know about it for her own good? These are all horrifying questions she must be asking herself, and yet March has quite literally been denied all of their answers. At least the Trailblazer and Dan Heng have the comfort of knowing who they were in their pasts, even if those people were not the best, because then at least they can process it.

However, March has nothing TO process, just a whole lot of questions and not a single answer, and it must be terrifying not knowing who you are, and I don’t just mean on a spiritual level. What if March gets sick from some mundane thing which the crew never could have predicted because her biology simply doesn’t match any recorded species? What if she unlocks a new power and/or accidentally becomes a danger to herself and others, with simply no way to predict that? March has so many weaknesses and strengths she doesn’t know about simply because she doesn’t know anything at all about herself.

Like yeah the six-phased ice is fun and pretty looking, but if you think about it for more than a second, it gets kinda creepy. A substance unmatched in the universe that March can just produce at will? What is it? Where does it come from? How does it work? How can SHE control it? Why can she control it? How come it doesn’t exist elsewhere? Why was she encased in it? Did March freeze herself, because to me that’s what it looks like, or maybe her long exposure to the ice gave her some sort of control over it? Who knows? I don’t, and March certainly doesn’t.

As for the day she does find out, will she be disappointed? Will we as an audience be disappointed? Are the 26 something backstories she came up with for herself better or more interesting than the actual truth? Is it better for HSR to never tell us, to have this gaping mystery stuck in the game that they refuse to solve, knowing that whatever they fill that void with will never be enough to satiate its viewers? Keeping HSR’s theme of accepting one’s past and moving forward despite everything, would it be better to simply not explain who March was?

We learned who Dan Heng was, the TB will learn who they were, so what about March? What if they truly never answer that question? I doubt it will happen, but I think it would be so much more interesting if her past was really kept a mystery. That no matter who March was in her past life, she can be happy in this one and become the person she wants to in spite of that. She made her own name, made her own family, made her own identity and skills and friends and personality, and no matter how different she was before being frozen in the ice, March has who she is now and that’s what she’ll stick with, because it belongs to her more than that nebulous past ever did.

All that to say, hoyoverse, please do not drop the ball on March 7th, although I have long since lost faith in you not to do so

[seikkoi]

ᴡɪᴛʜᴇʀ | j.barnes x f!reader

READ ON AO3

Your words hang in the air like laundry on a rainy day–pointless and unchanging in purpose. The empty space dares him to say something back, but the more time passes, the less sure he seems. His mouth opens and closes, jaw tense and fighting against something inside.

“I can’t be what you need.”

content/warnings: 18+ minors do not interact. post-snap au, secondary character death, implied/referenced abortion, survivor's guilt, grief, ptsd, etc., explicit mentions of alcohol, angst, hurt with absolutely no comfort, no y/n usage word count: 5.1k

“James–” you try to call out, and the syllables die in your throat.

He pauses at the threshold, shoulders slump. 

“I can’t,” he mutters under his breath, more to himself than to you.

The walls thunder when the door slams behind him, leaving a silence empty enough to hear your own pulse. It’s quick, adrenaline still rushing and heat still dancing on your tongue. Even though you feel defeated in your own right. You thought you would have so much more to say, so much more anger to let out. Insults and frustrations you’ve buried over months. But your admission had sliced deep enough, and Bucky was clearly uninterested in staying for round two. 

It wasn’t meant to end like this, you weren’t supposed to tell him like this. You had anxiously prepared for this conversation, waiting for a night he was sober enough to remember you existed. He’d call over and over from midnight to two in the morning, breaking your will with every ring until you answered and save him from whatever hole he was drowning in. Or, he’d show up and plead for you through the door. You obliged him every time, saying it was for your neighbors peace and not your own. But that was a lie, it was for you–each time. 

You couldn’t stand leaving him alone and broken, and he needed that. He needed someone to care. Something solid, safe. You were a journalist–not risking your life everyday and grounded enough to understand why he still did. 

Yeah, he wasn’t the Winter Soldier anymore, but that wasn’t stopping him. He wanted to pay the world back. Do anything to make all the terror worth it. It didn’t matter that the toll could never be paid in full, that the universe never asked for retribution. He didn’t think he deserved to have anything else. 

In the beginning, after HYDRA fell, it gave him purpose. He started to feel normal. Steve pulled him back into the world a year ago when all he wanted to do was hide away. He thought he could, thought he was ready. It felt good to save people instead of harm. To have children reach for him in safety. He listened to Sam and attended the veteran’s meetings. He didn’t need to share for everyone to know who he was–the sight of the brooding, gloved man in the corner with dark eyes told enough on its own. He soaked in the stories of others, taking solace in knowing no one experience was unique. 

He started going out, living. Steve and Sam drag him to the gym a few times a week, which inevitably spirals into the gym and lunch afterwards. On Sam’s birthday, he guilts Bucky and Steve into ‘just one shot’, which, of course, inevitably spirals into several shots and a few beers.

Bucky won’t say it then, but it’s the most normal he’s felt since 1945. He watches Steve make a passionate argument for English beers (to Sam’s dismay), and swears he watched him make the same argument 50 years ago in a bar two boroughs over. 

He had gained the courage to venture the city on his lonesome. It was overwhelming and exhilarating. Streets he thought he knew like the back of his hand had completely transformed, and totems he thought would be long forgotten stood the test of time. 

He winds up back in Brooklyn, strolling the outskirts of his old neighborhood. He didn’t dare pass the frontier, not yet. Still, it felt good to be this close. The streets were different now—sleeker, polished, bustling with a new generation of dreamers—but their roots carried the scent of home. The barbershop he used to frequent is now home to an upscale coffee shop. The old brick facade is now limestone white, and he honestly might prefer it that way. 

He had another few blocks of reminiscing to do, but the door swings open as a young couple emerges in high spirits, carrying a very enticing croissant and a mouth watering smell to match.

He doesn’t catch you on the other side of the glass–looking away from your laptop to catch some leather-bound brood get seduced by a pastry. You chuckle as the choice seems to take him very little time to make, stopping just long enough to watch the couple walk by and catch the door behind them. 

He seems innocent enough despite the heavy coat and deep scowl. You can’t help turning slightly in your barstool to watch him, sticking out from the new age pop music and neon lights. You have to hide in your book when he heads for the empty seat next to you. 

“Did no one ever tell you staring was impolite?” 

You stammered an apology as he laughed and asked what you were reading. After you ramble for a minute too long, he pledges to give it a try and let you know what he thinks. 

“Same time next week?” he smiles, knocking against the counter and leaving as quickly as he entered, treat in hand. 

You didn’t want to take what he said seriously. Obviously, it was polite sarcasm. He didn’t mean it. You weren’t getting dressed and heading back to the cafe the following week because you expected him to be there or anything. No, no. You had an article to finish and that was your spot anyway. If he’s there again, it’s not because of you, it’s because of the croissant, obviously.

But he is there. Not only is he there, he’s got the book you recommended in hand. He waves the spine enthusiastically across the room when you take your place at the counter, and you try not to smile too hard. 

You didn’t think it’d spiral into anything. You hadn’t meant to ask him for his number the next week, it just sort of stumbled out–under the guise of talking about the book, of course. 

Instead, you two talk about anything but that. At first, Bucky’s shy to admit he didn’t quite get some of the references, and you happily spend a half an hour explaining Blade Runner. He begs you not to call him James out of embarrassment, and you do it anyway (eventually, it turns into a well-liked habit). You tell him about the time you tripped crossing the graduation stage, and he laughs as if he was seeing it live. 

For weeks you find yourself glued to your phone well into the early morning hours, swapping high school stories and food criticisms with such ease that you forget your giggling with one of the world’s deadliest assassins. You avoid bringing it up–you were a journalist, you read the papers. You didn’t need him to relive that to you. Especially when you were both too busy falling hard, and fast. Phone calls turn into dinners that turn into him spending the night in your bed. 

Before you know it, you’re spending your Sundays watching him completely fail a pancake flip in your kitchen. There’s warmth in the air, in your ribs. Settled and comforting in a way you never knew you needed. And then he presents his blob shaped creation like a true work of art and you realize you don't want that feeling to go anywhere. 

He brought that into your life, swelling and warm with every terrible pancake flip, soft smile, or kiss to your cheek.

And Bucky was better for it. To know he could love, to be loved in return. It grounded him more than any ghost walks through the old neighborhood ever would. This, what he had with you, it was here now. 

Maybe the fight could truly be over. Maybe he was finally safe. 

And then, Thanos happens.

It is the worst month of your life. You go from slow dancing in the living room, leaning against him and taking in the calm of his heartbeat, to watching the news in horror as Thanos’ army came to Earth. Scotland, New York, Wakanda. Footage of smoke rising in great plumes, painting the skyline with streaks of ash and chaos. Alien ships hover like vultures, dropping black-armored creatures into the streets below. And somewhere in that chaos was Bucky.

Or so you had hoped. Girlfriends weren’t high on the SHIELD update chain, and his location was confidential regardless. So, for 28 days, all you could do was watch the chaos unfold from the other side of the screen. On day twenty-nine, you woke up to find that half the world had vanished without a trace. You call Sam over and over, praying that he was okay, that Bucky was okay. 

No one answers, and for another three days you sit alone in your apartment swallowed whole by grief. Friends, family, the blonde barista at the coffee shop, and the man you barely got to love. 

A knock at the door pulls you from your stupor, eyes raw and cheeks red. And when the door swings open, your world tilts again. 

“Hey, doll.”

He says it so casually, like he’d just step out for an afternoon, not over a month. There’s a cascade of bruises on his face, a pristine bandage wrapped around his arm, but he’s there. Alive. Flesh and Bone.

You don’t think, you leap. Your arms tangle around his shoulders, squeezing until you’re shaking. He grunts softly in surprise, but his arms wrap around you tightly, steadying you like he always does.

You sob before you can even speak, your cries muffled against his chest. His metal hand runs gently along your back.

You hoped–assumed all would return to normal now. The life you were starting didn’t need to be on hold a second longer. The world would take time to heal, sure, but for now you could go back to late night slow dances and burnt Sunday pancakes. 

But then, you hear about Sam.

He didn’t make it.

Neither did countless others Bucky had dared to call family the last few years. You listen in stunned silence as Bucky tells you, the weight of the losses hanging heavy in the air between you. His voice cracks when he mentions Steve, though he doesn’t say much else. You don’t press—what more could you possibly ask?

For a while, both of you stay shadows of yourselves, and you imagined a great deal of others followed suit. Work didn’t go anywhere–being exponentially difficult if anything. Constant reporting of the aftermath, the testimonies. You don’t admit it and you don’t quit, but you start to hate it. You run out of words to describe what happened and no one can make up their minds for quite a while. The editor-in-chief gives you sympathetic nods for every late article, but you know you’re hanging on by a thread.

At night, Bucky holds you a little too tight, and you let him.

You catch him staring out the window in the early morning. Sharp lines draw on his face and you wonder if what you write is nearly half as bad as what he’s seen. It’s the only time you wonder what he’s done, what any of this has truly been like for him.

Truthfully, it’s hell. 

For weeks now he’d pulled countless mangled bodies from rubble, killed heartless scavengers who wouldn’t put the damn gun down, and watched the world he started to love again fall apart. And the rebuilding effort was estimated to take years. He didn’t have years of this in him. 

And who's to say Thanos was done? He had the stone, all the power in the universe to squander them at a moment's notice. Two of the strongest people he knew, gone with a single snap. 

“Why wasn’t it me?” he thinks, staring down an empty glass. 

The compound was eerily empty, with Stark still M.I.A and everyone else busy putting out fires at all corners of the globe. Pepper couldn’t stand the silence and left for her parents’ house in Boston. Bucky doesn’t even know what he’s doing here. He should be out there like everyone else–helping more, looking Tony, or supporting you. But it’s 2 am and he’s stuck, unable to face anyone and unable to cry. 

The fight would never be over. And he would never be able to keep anyone safe.

So he pulls away. Like night and day you go from two ghostly shadows, dancing in charred grief to nuclear reactions, ready to set the other off at a moment's notice. He can't cope and you can hardly move on, but you are moving. You push Bucky to do the same and it never ends well. It’s easier for you, and you know that. You’re constantly reminded of the devastation behind the thin veil of pictures and text. There is no separation for Bucky. Every cry, every hint of death and absence, floods his senses until it’s all his brain can compute.

The world is gone.

In a flash of anger, he throws the bottle against the refrigerator and takes pride in the shatter. F.R.I.D.A.Y is smart enough not to offer assistance. 

Peace was at his fingertips. He felt it. He missed it. Watching Steve and Sam argue about the most trivial topics. Listening to you ramble at 3 am about bad romance novels. Seeing actual joy in strangers on the street. Being in the world when it felt whole again.

Now, he can’t look at you without thinking of loss. The folly of love. Pain would always lurk on the horizon. He could try over and over to rebuild. It didn’t matter and it never would. The universe was a cruel bitch–and nowhere knew through him by the looks of it. Every night he goes to sleep with a heavy ache in his heart. A miasma that sits on his chest and stares at him through his dreams. In the morning, it follows him from place to place. Watching, waiting to swallow him whole.

When Bucky comes to you later that evening reeking of sorrow, you have a look that he can’t place. He thinks you can see it, the dread stalking him. The emptiness. He can’t take it and leaves as soon as he arrives. With each passing day, he pulls away more, and more and more. It’s better to lose you this way. 

It doesn’t stop you from calling and sometimes he answers. Some days he shows up and holds you like nothing ever happened. He loses his grief in the soft corners of your body, and you let him. It helps you too. You find yourself all the same, soaking in his weight against the mattress. It’s hopeful, the way he touches you. Delicate, precise–not in pleasure but in preservation. He breaks you apart until you’re left to just the finest parts. Thinking of nothing but him, wanting nothing but him. Hungry teeth mark the soft flesh at your pulse, the skin on your inner thigh. All to catalogue the noises you make, to feel your nails dig into his shoulders. He does this for his own memory, savouring as much of you as you can before you’re gone for good.  He knows it’s inevitable. 

It’s always been inevitable.

In the morning, it’s lost all over again when he disappears, leaving the scent of mulberry and whiskey behind. 

Carol finds Nebula and Tony in cold space. Battered, starving, and a moment away from slow death. Bucky had a dust of hope left that the genius had one more trick up his sleeve. A month passes while he recovers, then weeks. After a year Pepper and Tony find a quaint cabin up north to forget. Or maybe to start over? Bucky can’t tell and he gets too mad at his absence to care. Tony Stark got to stop being Iron Man and all James wishes for is to stop being Bucky.

The time between his late-night visits as the miasma greedily feeds. The loneliness and old memories stops either of you from saying what needs to be said. It’s harder and harder for him to face you. Each time Bucky leaves you craving what you had before, while still giving you hope it might come back.

He stops coming to the cafe altogether. Stopped calling. The man who once lit up your entire world now burned through whiskey like it was water, each sip drowning him a little further

The day you find out, it’s bittersweet, and you dared to hope again. You picture, even if just for a second, a bright future. Burnt pancakes with an extra plate, soft laughter from the dinner table as you and Bucky waltz around the kitchen–you picture it all in such a sharp flash. A reason for both of you to hope again. It’s vivid and near disorienting. You sit against the bathroom wall staring at the pink double lines. 

Out of instinct and burning joy, you called Bucky, heart racing and a smile creeping onto your face. 

It rings once. Twice. Three Times. And then voicemail. 

And then you remember who Bucky is, or rather who he’s becoming.

And your heart sinks.

For two days you cry and wait. That he’d call back, that this time he had a reason. That the universe wasn’t giving you an enormous final sign. 

Each day blurs into the next  and you’re forced to face the music. The future you pictured, it would never be reality. In reality, things continued to deteriorate. Just as Bucky realized anything could take you away from him, you realized he was already gone. Sure, he survived the snap, but he wasn’t living. He perished just the same. You were left with a man hollow from far more than just grief. And a man who could never be a father. That peaceful future could never exist because this world would never give you peace. 

Children weren’t a part of your life plan. You couldn’t do it on your own and you knew that. You weren’t sure you could do it under any circumstances. But you certainly couldn’t in this world. Not now. 

So you made a choice, alone. You called Bucky again before making the appointment, to no answer. You couldn’t bring yourself to tell a friend, sunken by anger and sadness you can’t. You go alone, drive home alone, and cry alone for two weeks. 

You start to think this time he’s never coming back. Your decision feels justified, righteous, and forty times worse. The bed sheets maintain a perfect shape for you to hide in. Not from Bucky. No, you wish he’d seek you out. At your absolute worst and wanting him the most. Even though you knew you should hate him, cast him aside in your mind. 

But you just can’t. Call it loneliness or stupidity–it didn’t matter. You keep a sliver of hope that he waltzes right back into your life, this time as himself, whole. Unbroken and ready to belt Frank Sinatra down the empty streets as he walks you home. You could loop his arms in his again and lean steady on his weight once more. 

Maybe you got desperate for it. While the weeks stretched into another month, and you had to keep living. People seemed to fill the gaps others left behind. Deadlines came back, along with birthdays, sports tournaments, and holidays. There was always an air of despair to everything, though. Tributes and memorials were constant, and the topic never truly left public discussion. It simply changed from a thing that was happening, to a thing that had happened. 

You met new people, a lot, in fact. A few even ask you out. Each time you turn them down, lying about you weren’t ready for dating yet or that work was too hectic. Truthfully, the thought of being with anyone else felt like an act of betrayal. Logically, after twenty seven days (because yes, you were counting) of missed calls and ignored texts, one might assume any romantic relationship did, or should come to end. But not you, not with Bucky. 

You didn’t want anyone else. But he wasn’t here. 

On day thirty four, a heavy knock wakes you around midnight. You’re half-asleep, shivering in your night-gown and wishing you wore something warmer to bed when you answer. 

Bucky slouches against the door frame, clothes wrinkled and eyes glinting. He looks at you for a second, just long enough for you to see the anguish stalking him, before he crosses into your apartment–taking your face between his palms and kissing you.

You don’t think, only react. You never do on these nights, the nights he bothers to remember you and you’re desperate enough to let him in. You react to the liquor-stained tongue dancing in your mouth, his hands finding your hips and pushing yours against the wall. You wrap your arms around his shoulders, and when his hands paw at the silk of your nightgown, you untie it for him. 

You don’t think as tears flood the back of your eyes, just as desperate as you are for release. It’s love, anger, need, and grief in their most convoluted form–working together and fogging your mind. 

You don’t think when he lifts you around his waist, tongue still searching for peace behind your lips. It’s been long, too long for both of you. Too many nights and days spent praying he’d come back to you. He lays you down on your bed, trailing down your body and leaving you breathless. You can hardly see him in the dark room. A shadow, lighting your nerves on fire without a single word. 

Some shifts. Perhaps it comes from the way he pauses at your hip. Fleeting and haunting. Recoiling as if the bone will break skin to seek him out. Livid that he would dare to take more than he deserves.

You don't think, and misread his hesitation as a chance to take control. Flip the script. Leave him a wanting mess. You don’t want to give yourself any time in reality. You want to pretend this is one of your first times. Before the world bowed under its own weight. Before you Bucky became your curse.  And thinking is antithetical to whatever currently happens between you two in these four walls. 

Your hands graze the lines of his jaw in the dark, finding full hairs where your mind remembers itchy stubble. Too much time has passed. You don’t think, pulling him back towards you and capturing his lips, trying to mimic the hungry passion he showed you at the door. 

He doesn’t show you any return and you would think to stop, but you aren’t there yet. You try harder, until his arms braces your forearm. The cold metal grounds you and forces you to find his eyes in the shadows. 

“This is wrong, I shouldn’t be here.” he whispers, almost like he’s speaking to himself.  You hold his gaze briefly before it darts to the floor. 

Your heart sinks like a stone. Your ribcage wants to tighten around it. 

You tighten your nightgown instead. 

“Don’t,” you plead, but Bucky was already pulling away, fingers curling into fists at his sides. 

“I mean it.” he took another step back, and the stone reaches your stomach. “I can’t keep doing this.”

“Can’t?” you shot up, more sharp and cutting than you thought. “What the hell does that mean, James? You can’t? After everything–” 

He knows you're using his birth name out of anger, but even then he relishes in the way it sounds on your tongue. 

He still doesn’t bear to look at you, shoulders slumping. “I shouldn’t have come here, I should’ve known better.”

The laugh that breaks out of you isn’t a laugh at all. It was something jagged and bitter. You leave your bed to face him, refusing to let him ignore the hurt he’s causing.

“You should’ve known better? Now what, you disappear again and call it noble this time?”

“I’m trying to do what’s best for you! I’m trying to protect you!” he snapped, loud enough to echo. 

“Protect me from what? From you?” you repeat, incredulous. The words taste sour. 

“Yes!” he burst out, voice high and raw. “You don’t need this–you don’t need me.”

Breaths can barely leave your throat. You think this is what people always meant when they said they were ‘seeing red’. You want to ask if he thinks you needed him after losing half of everyone you cared about, too. After eight hours a day writing about tragedies that somehow felt two feet in front of you despite happening thousands of miles away.

“I can’t believe I thought you could ever be a father–that we might have a family.” It’s an admission you mean to keep in your head, but it spills out in a tangled mess with your tears before you can realize what you’re saying. 

Bucky snaps his head up. His jaw clenches, and for a moment, it looks like he’s going to argue. But the weight of your words seems to register. He doesn’t say anything, and the silence is suffocating. You feel the space between you both stretching, threatening to snap. He finally meets your eyes, and the vulnerability there almost breaks you again.

“What are you talking about?” He knows the answer to his own question. But he wants to be wrong. He prays to be wrong.

“I was pregnant and you couldn’t even pick up the phone.” you grit, trying not to yell, cry, or some combination of both. You fail, and your sparse tears turn into full streams. “I didn’t know what to do–I was alone.”

“When were you going to tell me?” His tone is low, in a confused attempt to process, but all you hear is blame. 

“I tried! For weeks! I couldn’t just wait on the sidelines for you to love me again, I couldn’t do this without you and you weren’t here!” 

“You don’t understand,” he mutters, his voice cracking under your anger. 

“Then help me understand!” you plead, stepping closer, your heart pounding against your ribs. “Help me understand why I had to make that choice alone.”

“I’ve lost everything,” he says, his voice barely above a whisper. “Everything I’ve ever cared about. And I can’t—I won’t—put you in that same category.”

You stare at him, your chest tightening with both frustration and heartache. “So, what, you just decide to give up? Walk away and lose me anyway?” 

“That’s not what this is–I’m not giving up,” he insists, though there's a lack of conviction in his voice. 

“Bullshit, you’re just a coward–you’re giving up because it’s easy and staying here and making things work is harder.”

Bucky froze, his jaw tightening as your words settled between them like a storm cloud. His voice was low, measured, but laced with contempt.

“Don’t give me that crap, There’s nothing easy about letting you go.”

“You don’t get to talk to me about giving up, Bucky. Not when you’re the one walking away. Not again.”

“You think I’m just cutting myself off from everything, throwing my entire life away, throwing you away, leaving every last thing I know and care about behind, because I want the easy life?” He stepped closer, his eyes blazing. 

“It was never that easy for me to do this—with you, with anyone! It was so much easier for me to go on thinking there was something I could do to make a real difference, but I know now—” His voice cracked slightly, and he ran a hand through his hair. 

“I know now there’s nothing I can do. The only path everything leads to is everything being ripped away from me.”

You shook your head, voice sharp. “That’s a lie, and you know it.”

“If I could do something to be at peace,” he continued, his voice still rising, “then I’d do it. I swear to you that I would. But it’s all just... waiting to slip through my fingers, leaving nothing behind.”

“That’s not true!” you snapped, your fists clenching. “You’re the one letting it all slip away, Bucky. Not fate, not some unstoppable force—you.”

“Bullshit!” His words were a snarl now, his hands clenched at his sides as though he didn’t know where else to put the anger. “What do you know? What the hell do you actually know about me, huh?”

Her lips parted, but he didn’t wait for an answer. “Nothing! I’ll tell you what kind of man I really am.” His voice softened, the anger bleeding into something more resigned. “I had nothing when I started, and I’ll have nothing when this nightmare finally ends. And I’m not wasting your life too.”

“You don’t get to decide that for me!” you shouted, stepping forward. “You don’t get to play martyr and act like I’m just collateral damage in whatever war you’re fighting with yourself. I’m here. I’ve always been here.”

“You know I’m right,” he bit out, his voice suddenly colder, quieter. “You knew it when you decided to end it–and I don’t blame you.”

There isn’t any air left in the room.

“I’m an empty shell. There’s nothing inside me at all. I know there isn’t. Guess that’s obvious. Anybody could see that. Before Steve got me, before I met you...” Bucky laughed bitterly, shaking his head.

You don’t know what to say. You don’t know how to fix this. You want to start over.

“Do you have any idea what I did with my life? I hurt people, I terrorized people, that’s what. I’ve never done a single honorable thing.” He looked at you with glossy eyes.

“You don’t get to do that. You don’t get to decide that nothing good has ever come from you, just so you can justify giving up. You don’t get to rewrite everything, Bucky.” Your voice was barely above a whisper, trembling with frustration and hurt.

Your words hang in the air like laundry on a rainy day–pointless and unchanging in any purpose. The empty space dares him to say something back, but the more time passes, the less sure he seems. His mouth opens and closes, jaw tense and fighting against something inside.

“I can’t be what you need.”

It’s soft and final.

Before you can even process it, he turns sharply, heading out your bedroom and to the front door. Each thud of boots feels heavier, more deliberate. 

“James–” you try to call out, and the syllables die in your throat.

He pauses at the threshold, shoulders slump. 

“I can’t,” he mutters under his breath, more to himself than to you.

And then, without another word, the door slams behind him with a force that rattles your bones.

You stand there in the dark, the silence swallowing you whole. The words you want to say, the things you wish you could take back, settle into the pit of your stomach like stones.

But he's gone, turning into a ghost once more. And for the first time in a long while, you know he won’t be coming back to haunt you. 

[ comments & reblogs appreciated ♡ thx for reading ]

[j-w-blerd-bulletin-board]

Exploring the Differences Between 616 Black Panther and Ultimate Black Panther: A Great Entry for MCU Fans

For Marvel Cinematic Universe (MCU) fans who are just stepping into the world of Black Panther comics, exploring the distinctions between the 616 Black Panther and the Ultimate Universe Black Panther is an exciting journey. Not only does it deepen your understanding of T’Challa's legacy, but it also showcases the varied storytelling Marvel offers across its multiverses. With the upcoming Captain America and Black Panther: The King’s Bond game on the horizon, there’s no better time to dive into the lore and discover why both versions of Black Panther are must-reads.

Black Panther in Earth-616: The Traditional Monarch and Avenger

In the prime Marvel Universe (Earth-616), T’Challa is the quintessential Black Panther. He’s the king of Wakanda, a nation defined by its technological advancement and cultural richness. T’Challa’s character embodies a perfect blend of a monarch, scientist, and superhero. He’s a member of the Avengers, a tactical genius, and a protector of his people.

Key Attributes of 616 Black Panther:

The Heart-Shaped Herb: T’Challa’s enhanced abilities, including superhuman senses, strength, agility, and healing, come from the heart-shaped herb, a sacred Wakandan plant.

Diplomatic Leadership: T’Challa often finds himself balancing his duties as a global superhero with his responsibilities as Wakanda’s ruler.

Moral Compass: In many storylines, T’Challa’s decisions as a king highlight the conflict between personal values and national interests.

Notable comics like Black Panther by Christopher Priest and Black Panther: A Nation Under Our Feet by Ta-Nehisi Coates showcase his strategic mind, unyielding loyalty to Wakanda, and his struggle to protect his homeland from external and internal threats.

Ultimate Black Panther: A Darker Take on Wakanda's Protector

In the Maker’s Ultimate Universe, Black Panther’s story takes on a more grounded and grittier tone. Ultimate T’Challa is younger and less experienced, facing challenges that contrast sharply with his Earth-616 counterpart.

Key Attributes of Ultimate Black Panther:

A Warrior in Training: In this universe, T’Challa’s transformation into the Black Panther involves a far more brutal process. His training is harsher, and his journey to leadership is riddled with more sacrifices.

A Strained Alliance: Ultimate T’Challa’s relationship with the U.S. government and the superhero community is complicated. He’s more isolated, reflecting the darker tone of the Ultimate Universe.

Distinct Abilities: Ultimate T’Challa’s powers and physical enhancements are similar but less mystical, focusing more on raw survival and skill.

This iteration of Black Panther offers readers a fresh perspective, with a tone that complements the grittier style of comics like Ultimate Spider-Man and Ultimates.

Why MCU Fans Should Explore These Stories

For fans of Chadwick Boseman’s iconic portrayal of T’Challa in the MCU, delving into these alternate versions can enrich your appreciation of the character. While the MCU draws heavily from the 616 version, Ultimate Black Panther presents a darker, more vulnerable side that shows how diverse T’Challa's legacy can be.

Excitement for Captain America and Black Panther: The King’s Bond

Adding to the excitement is the upcoming Captain America and Black Panther: The King’s Bond game, which promises to deliver a story-driven adventure featuring two of Marvel’s most iconic heroes. Set during World War II, the game will explore the early dynamics between Wakanda and the rest of the world. This is a thrilling opportunity to witness a young T’Challa's legacy through the lens of history and heroism.

Conclusion: A Great Starting Point for Black Panther Fans

If you’re an MCU fan and want to expand your understanding of Black Panther, the 616 and Ultimate Universe versions offer two unique starting points. The traditional heroism and regal duties of 616 T’Challa contrast beautifully with the raw grit and vulnerability of Ultimate Black Panther, creating a well-rounded picture of why T’Challa is such an enduring character.

With The King’s Bond game on the horizon, there’s no better time to immerse yourself in Wakanda’s rich legacy and discover why Black Panther continues to inspire across mediums and universes.

Ultimate Black Panther (2024) #1 variant cover by Karen S. Darboe

[jenhoneys]

so so tired of the debate of "powder would have been better off with vi as a caregiver" "no silco was better for her" like, no no! any way it goes, ALL of them loose -- there is no winning in this situation especially for power. this is the point! they are lower class people fighting to survive within a system that hates them and the result of that is rage and fighting that means everyone experiences loss; there is no vi/silco is better for powder, they would have both been detrimental to her growing up because of the elements around them -- without their traumas, outside environment, etc, yes they would be better and loving, but the fact is that they are both incredibly complex characters that work through their issues in flawed ways.

you don't think vi would have tried to fight the enforcers/silco post-warehouse? by this time, she is a tween, she's just lost her family, and she is so extremely full of rage. killing is a cycle, and at this point, vi hasn't learnt to control her rage the way vander does -- both vi and vander are full of love and full of anger, but vander only realises it needs to stop when it hurts someone he loves/he hurts someone he loves. and even though she did hurt powder, because vi is so young, I don't think she'd learn that so quickly -- she's just a child, she isn't equipt to deal with caregiving 24/7, no matter how good she seems at it, she's not equipt to deal with powder's episodes (which I believe would still occur -- more on that later) alongside dealing with her own anger towards silco/sevika/enforcers. plus, she'd be forced to take the adult role in that relationship, more than she already did, and it would be detrimental to them both, especially after experiencing such a trauma.

speaking of, I also think people blaming silco fully for jinx's mental state is assigning him too much credit -- he very much feeds into it by encouraging her paranoia (though I don't believe he does it intentionally, because he doesn't seem to be aware of the voices or taking inventory/staying updated with them as he does other things), but he isn't the cause. she isn't depicted using shimmer, and the same animation effect is already used when she was younger, before she lost her family, the loss of her family (and the realisation that she did it) just worsens her condition.

and with silco, though he loves her more than anything, he is an enabler, and he is also riddled with his own trauma. he maps his trauma onto her, and she inherits a kind of pseudo generational trauam by default. he is paranoid of people, of trusting, of lies, because of how he was hurt by vander, and so jinx has the same mentality. he believes he only has jinx in the world, and so jinx believes the same. he is not equipt to deal with a child, either, and yet he does because she is a child of someone he loved -- and while he seems to have done a good job in the other universe, the main difference is that vander is there, and vander is forgiven. he has worked through his trauma, assumably, with another adult, and he hasn't given it to jinx. he also doesn't seem to be co-dependent with her, because he seems to have other people he trusts in his life (mostly, from the scene in 2×7, vander).