Summary: In which Pokémon Go is Steve’s ticket to spending more time with you.
Pairing: Steve x Reader
Word Count: 1,859
A/N: This one is for a true angel, @buckysberrie. Mar, you’re one of the sweetest people I’ve ever had the pleasure of talking to and I adore you with all my heart. Your comments on my fics never cease to make my day and I love being able to fangirl with you about all things One Direction-related. I hope you have an amazing birthday because that’s exactly what you deserve.
The super soldier curses under his breath, hating that you’ve spotted him. He had every intention of sulking all the way back to his room and maybe hiding out there until his training session with Nat. He didn’t want to stay here, where he would be forced to bear witness to something that made his chest ache. “Hey, Y/N.”
You smile at him for a few seconds, long enough to make his heart skip a beat, before diverting your attention back to your phone and the person sitting next to you. Sam.
The enticing scent of bacon and waffles lifted you from a peaceful slumber. With a stretch you rolled out of bed and rubbed the sleep from your eyes. The sound of a man’s cheerful humming made you swell with glee. There was only one other person with a key to your apartment and that was, “Genji!”
“Good morning my love. I have returned with breakfast! I hope you are hungry.” Genji brandished a tray of hash browns fresh from the oven.
“Oh my God, what are you wearing?” You erupted in laughter when you noticed his attire. He had borrowed your 1950s inspired black and white polka dot apron and was strutting around the kitchen like a domesticated housewife. “You look absolutely ravishing, darling.” He perked up, genuinely thrilled by your compliment.
“You really think so? I thought it made me look flat chested…” He frowned, looking down at his lack of breasts.
“Aren’t cyborg ninjas supposed to be streamlined?”
“Right as always!” A beep from the waffle iron signaled it was time to feast. The two of you tucked into a full course meal. In between bites you chatted about this and that. Genji told you all about his latest mission, you talked about the girls at work. It was a ritual you honored for its simplicity. With him being away as often as he was, you both agreed to dedicate free time to the relationship. Another of your favored activities was simply lying in bed together.
Genji understood the limitations of his omnic body and knew it was something alien to hold. Zenyatta suggested removing what armor he could. With Dr. Zeigler’s blessing, you’d become practiced at detaching the beige chassis that covered Genji’s stomach. His torso, neck, and head were the only human parts left of his former body. Out of those, only his belly and face could safely be exposed.
This portion of him had become particularly ticklish after the augments were installed; it was the last place he had any organic sensation. Of course what good was knowing someone’s tickle spot without exploiting it every once and awhile?
You waited until he’d nuzzled into your silken hair before slipping a hand down and teasing the sensitive skin. He squeaked out a startled sound and tried to wriggle away. This never lasted long but you loved it just the same.
Once he’d settled down the two of you connected on a more physical level, making sweet, slow, passionate love until late afternoon. In your post coital bliss he talked about all the placed you two should go.
“I would give anything for you to visit the Shambali temple in Nepal. Master Zenyatta has been eager to meet you.”
“We could always host him here. I know the apartment is small but I’m sure he wouldn’t mind. I still need to visit Lena in London. It’s been ages since we last talked.”
“My brother asks about you as well. We’ve been together for…. How long was it? 8 months?”
“Genji!” you laughed, “It’s been 3 damn years. Our anniversary was last month!”
“Oh that’s right. I got you confused with one of the other girls…” He chuckled and kissed you reassuringly. “Hanzo wants to know if I plan on marrying you.”
“Yeah well Hanzo can worry about his own love life. He’s like, 40, and still single.” Genji snickered at your playful jab.
“Does that mean you don’t want to marry me?”
“Oh Genji. I would marry you in an instant but… Overwatch needs you. The world needs you. I’m just one girl. How could I be so selfish?” This answer did not satisfy the cyborg but he bit his tongue for now.
As the perfect day came to an end a heavy melancholy set in. Each morning was a gamble. Genji could be summoned at a moment’s notice and there was nothing you could do. So to make the most of every night Genji tucked you in and told you a bedtime story. It was a childish practice but you wouldn’t give it up for the world. This night, however, held something special in store.
“Are you ready my beloved?” You nodded and curled up into his embrace. “Very well. Once upon a time there was a beautiful princess. She lived alone in an ivory tower with only one valiant knight to protect her. But the knight was also sworn to protect the people of her kingdom. Sometimes he had to travel far and wide to keep her enemies at bay and the princess was very lonely. The knight was often conflicted about how best to serve the princess and the kingdom. Should he continue to fight the warlords abroad or should he stand vigilant at the tower?” You looked up at him. His eyes glistened as the story went on.
“He knew a decision had to be made but feared making the wrong choice. If he abandoned the kingdom then many would die. But if he left the princess he’d be sacrificing the love of his life. The knight prayed for guidance every day, but his prayers went unanswered. He asked the lord that trained him but still had no way of knowing what to do. So he returned to ivory tower and laid down his sword before the princess.”
“Genji… What is this?” But he continued on.
“‘Princess,’ he cried, ‘Help me, for I am lost. I have sworn to protect the kingdom and I have sworn to protect you, but I am just one man. I cannot keep walking down this path but I fear my choice will have terrible consequences. I beg of you, please guide me. Tell me what to do.’”
He closed his eyes burrowed into your shoulder. You felt the hot tears on your skin. With a shaky voice you finished the story.
“The princess wept for her valiant knight. It pained her to see him so troubled. But the princess was as wise as she was beautiful and knew the answer to all of his problems. ‘Brave warrior. You have been a loyal and faithful servant to me and to my kingdom. For this I offer you absolution. I will take away all of your burdens. I will provide you the strength to carry on. I will heal you, protect you, give you shelter from the storm. For you I will do whatever it takes to make your dreams come true. But you must go on one final quest.”
Lucifer is one of those shows you can enjoy for its hidden depths. Overall the show comes across with simplicity. Nothing too mind bending, but the actors provide a layer of depth that you never really expected out of a show like this, and that is what I signed up for.
There is something genuinely fun and lighthearted about the show that really draws you in. Yes, there is drama, but in the end - it’s a show that allows you step away from reality and just relax. And the cast, totally gets that.
I believe the underlining layers of depth and story captivate unlike any other show. The writing is simply superb. The actors are brilliant in their performances. Not a single episode goes by where you aren’t dumbstruck with an outstanding performance from at least one cast member. The show is really under-rated when it comes to the acting skills of this cast.
And the best part? They understand when to take things seriously and when to let loose. There is genuine affection between all cast members, and they are gracious enough to share a little insight into their world. It only adds to the adorkable love we have for them.
I cannot wait until our May debut for the last portion of Season 2. They will no doubt leave us wanting more. So if you haven’t taken time out of your lives to watch this incredibly fun show. Do so. It will fill your heart with joy as much as it will leave you heartbroken in moments of time wondering of the future of these beautiful characters.
Last 5 Years!! Thoughts on gender bent/all female?
I really like this show! Almost more as a concept than as it actually functions onstage. I’ve only seen it live once and it was…pretty boring. But I love the soundtrack and I suspect strong actors would make it more interesting to watch, too (I certainly loved the movie). Its simplicity and tiny cast and compact plot make it perfect for experimentation, so I’ve given a spectrum slide of this one a LOT of thought…
I’ve actually pitched a production where the actors switch each night as to who is playing which character track (Jamie or Cathy/Charlie). This really lets audiences question what role gender plays in our interpretations of the situation and characters. To quote myself:
“If the roles in “The Last Five Years” were reversed, would we call Jamie a bitch for putting career before relationships instead of just ambitious and focused? Would the audience view a male-identifying Cathy as whipped and pathetic instead of loyal and strong to stick with her man through it all?”
And there is a sort of societal stigma that the man is “supposed” to be more successful and support the woman financially. Is it a threat to GB Cathy’s masculinity that his wife is more successful? And will we judge a powerful woman lusting after men and cheating on her husband more harshly than we judge Jamie in the original version?
Further, Jamie and Cathy are both very sterotypically gendered in the way that they argue and communicate, with Cathy being emotional and Jamie logical – almost to the point that Jamie at times seems to be almost gaslighting her. In the movie version (and likely some productions), there’s also a scene where he feels a little violent (in parts of “If I Didn’t Believe in You”). Reversing those roles would remove the social baggage and expectations attached to their discussions.
Maybe most importantly, I think the genderswapping would make us pause and really take a look at how unhealthy Cathy’s hero-worship/codependency is for the relationship and her own well-being…rather than audiences writing it off as typical woman-in-love stuff.
In my ideal dream production, there is a actor who plays Jamie, and an actor who plays Charlie, an actress who plays Jamie, and an actress who plays Cathy. Four in total. In an extended run, they rotate in and out of the roles so that there are nights with “original” casting, genderbent casting, a gay casting with two men, and a lesbian casting with two women. It’s the ultimate examination of gender politics and the interactions between couples. How do we view Jamie as a man cheating on a woman, a man cheating on a man, a woman cheating on a man, and a woman cheating on a woman? Do we, as an audience, look on those situations differently? Why? Who do we, as an audience, root for or identify with in all these different-yet-the-same stories? Why might it change as the gender identities do?
Why is star trek 9 your most disliked Trek? Like, it definitely wasn't good and had plenty of stupid (ie, freeze the moment bs), but I thought it was less offensive than say, turning a beloved black female starship officer into a bad sex joke. It was just space pacifists who could probably learn to share better and some really dumb villians.
Its message of “Rural simplicity” runs counter to what Star Trek says - that advancements in technology and science will ultimately lead to better people and a better world, one without wants and a great big universe to explore. The selfish space pacifists themselves piss me off, walking around with an air of moral superiority and smugness that is infuriating - hoarding a planet that could help billions of people for an advantage that is neither all that useful to them as space farmers nor is it conducive to a growing population (of which their 600 would have otherwise inbred themselves to extinction long ago).
And even if you don’t care for that, it’s just DUMB. Everything about it is DUMB - at least Star Trek 5 aspired to be ABOUT something, to try to explore issues of faith and misleading people with a spiritual message (it didn’t do it well, but at least it TRIED). Insurrection aspires to be nothing but a tale about crappy action scenes centered around a supposed moral dilemma that requires everyone to be stupid, with the largest being: “Why didn’t the Federation just ASK to have the planet?” with of course the answer being “Because if they said no, the people we’re supposed to be rooting for would look like dicks, and if they said yes there would be no movie.”
The villains are cardboard cutouts, the characters aren’t well-developed, and the movie runs counter to many of the messages of Star Trek. Even when it comes to forced relocation, it’s not equivalent at all - 9 times out of 10 in history, it’s motivated by greed, racism, and shortsightedness. This is motivated to prevent these people from dying from something that could help more people than these hippies could ever hope to create in however many more centuries this planet would keep them alive. Comparatively, there’s an episode of the Next Generation called “The Ensigns of Command,” where Data ALSO has to forcefully relocate people who don’t want to leave in order to save them from certain death, but he ends up demonstrating to them an important lesson: their houses? Their colony that they’re so proud of because they survived the otherwise deadly radiation on this planet and thrived? “This is just a thing. Things can be replaced. Lives cannot.”
Rest assured, I am not saying the other terrible films in Trek’s track record are not bad. But Insurrection makes me angrier than the rest.
…Although I freely admit I love the “A British Tar” scene.
That explanation about how your bot works is awesome, though I'm surprised at its simplicity. Have you considered categorizing names/phrases (even to a basic degree, like nouns or adjectives, though I imagine you could expand on that) and then write the prompts as (basically) Mad Libs? I figure that would be a relatively easy way to more consistently get generated results that make "sense", even if they're still outlandish and silly.
i have, and i have bots where i’ve gotten REAL complex on this stuff– @thinkpiecebot is a kludge-y behemoth of a project by now with like 50 variables and 100+ formulas– but this one isn’t really one of my big projects, and i like keeping it simple. plus, i like being able to explain the basics of it to people who are new to making stuff like it, so that it can teach that you don’t need to get really advanced to make something fun.
A/N; it’s currently just before midnight. I haven’t slept in apporoxemtly 3 days. This is the result of that. I know I will regret it lots. Soz for typos and bad grammar I wrote this on my phone in my notes.
Harry glanced down at his phone for what must be nearing the fifth time in the last twenty seconds. Dan said he’d call.
Dan /promised/ that he would call.
And he still hadn’t.
Jealousy runs through Harry as he remembers exactly where his boyfriend is at this moment. Or rather, /who/ he’s with.
Phil. Of course, dan would never cheat on Harry with his flat mate, but still, it didn’t seem fair that Phil was the one who got to spend all of his time with Dan. Not when Harry’s been working so hard that he’s so tired to the point where all he wants to do is /run/ right over to Dan’s new flat and lie in his boyfriends bed where it felt safe and warm and of course there was that added bonus of Dan, who would more often than not pull Harry against his back and run his hands lightly across Harry’s body.
God, that’s exactly what Harry needed.
But Dan wasn’t here. Not even close. He was still in /Florida/ with his friend’s family.
And fuck, it just wasn’t fair.
And now that his album’s out, dan was supposed to call. But he still hadn’t. Harry’s mind races and he swallows thickly. Fuck, he’s lonely. He doesn’t want to lose Dan. Not now, not ever. And yet, he feels like their relationship is fading away. He wants something more. Something concrete, with dan.
Harry presses his face into his pillow, feeling tears stinging his eyes. Everything’s simply /too much./
He’s wearing one of Dan’s old hoodies, which seems slightly pathetic but at this point he doesn’t give any shits. He’s fading in and out of sleep when his phone /finally/ rings, and he fumbles deftly with sleepy hands as he tries to answer it.
“Dan?” He murmurs, trying to mask the pain in his voice.
He hears a thin chuckle from the other end, “Hi baby.”
“I missed you.” Harry says, curing up a bit more in bed.
“I missed you too.” There’s a pause and then dan takes a deep breath. “I just finished listening to the album.” There’s a muffled sound that might be a badly-concealed sob and Harry wants nothing more than to fly to Florida right then and there.
“What did you think of it?” Harry asks, trying to keep his tone light.
“I-… um. It’s- it’s fucking beautiful.” Dan says.
“You think so?”
“Yeah. It’s amazing. Fuck, you’re amazing.” Dan’s a mess. Harry can hear him, trying so hard to keep his emotions in check, but it’s hard because he’s finally talking to Harry and fuck he’s missed this so much. They both have.
There’s a slight pause, then Harry says, “I love you.” And Dan says, “I love you, too.”
They talk for practically the whole night. But neither of them are tired in the slightest. It’s just good to hear the other’s voice again, especially after they haven’t seen each other in ages.
Harry wants to ask dan to move in with him. That’s all there is to it. He simply wants to be closer to his boyfriend. Closer to the love of his fucking /life./
But it’s hard to ask dan because dan already has what he wants, or at least, what Harry /thinks/ dan wants. A somewhat stable and enjoyable career. A best friend. Followers who like memes just as much as he does.
But Harry wants him here. In his bed with him, in the most innocent way possible. Just the simplicity of dans presence so that Harry doesn’t have to lonely anymore. Fuck, that’s all he wants. He really shouldn’t be thinking about this right now. Its getting him all chocked up and brings more and more tears to his eyes.
“You alright?” Dan’s voice is kept carefully soft and laced with concern.
“No, not really.” There’s no point in lying at this point, “I just miss you so much.”
Harry hears a sharp intake of breath.
“I miss you too.” There’s so much honesty in dans voice that Harry doesn’t even think about contradicting him.
“Come live with me?” It slips out before he can stop it. He claps a hand over his mouth, his brain screaming at him, telling him he shouldn’t have said what he just did. “Fuck- dan.. I- shit I didn’t-” Harry fumbles over words, trying to make a sentence work but his mouth was just not cooperating. Dan cuts him off though, “yes.” It’s barely a whisper.
“What?” Harry all but gasps.
“Yes I’ll move in with you.” Dan rushes on before Harry has a chance to speak again, “I mean I’ll have to tell phil and shit what are the followers going to say but it’ll be alright I can make it work fuck babe I just want to be with you so bad I’ll make it work I swear but it might take a bit of time-” dan rambles uselessly.
“I love you.” Harry says when Dan finally trails off.
Dan sighs happily and Harry can practically /hear/ the smile in his voice.
“I love you too.”
I was wondering if you had any tips on drawing mobians/sonic characters? I'm really bad at drawing faces, especially the eyes. if you have any tips thatd be great? if not thats fine too. i love ur art by the way, its super cute!
Thank you for the compliments! Also sorry! I’ve been on a weird hiatus when it comes to art, but I managed to actually churn something out! Sorry if it’s not super informative! I’ve never done tutorials or tips before! haha
1. Okay, so simplicity is key. Many head shapes, facial features, etc are purely shapes. So I start with a circle (like many) with some facial guidelines to show where I want the character to look.
2. I always start with the eyes. You don’t have to, but I do. Eyes are ovals and should be curved to give it a smooth look. (I have a very cartoon-y art style thanks to years of studying Tracy Yardley’s work) When you make the irises be sure not to have them too close together to avoid looking cross-eyed.
3. Now, this may look funny, because the snout isn’t perfectly touching where I’ve made the lines, but that’s fine! The lines are simply used to give me inspiration of where I want the character’s expression and direction to be. When drawing the snout imagine a bean, same for the nose.
4. Ears are always a little tricky for me. I like to make them close to the eyes so that he looks more animal-like. Simple triangle-shapes.
5. It may not seem super important, but the brows are very important! Brows help make the facial structure more ‘sturdy’ meaning it makes a great start and ending point for the spines. It’s also a great expression-amplifier.
6. Spines can be difficult, but the brows really do help find your starting point! The top spine is curved and curves downward. The second has a slightly different shape to give it more flair and style. and the third spine is similar but slightly skinnier. (That’s simply due to my style, it’s not something you HAVE to do.)
7. Now the mouth! I like to keep mouths at the side and not in the middle of the snout, unless I’m drawing Knuckles or someone with a bigger snout. The mouth (if its a smile) should be drawn in the groove of the snout. Mouths are tricky for me too, since I always want to experiment with expressions. I got a lot of my drawing quirks form Yardley’s drawings in the comics (his earlier work) so definitely check it out for more tips!
I was lucky enough to go see @hamiltonthemusical at the end of December. I don’t normally recommend selling body parts for cash in order to see a Broadway show, but in this case, hey……..you technically only need one kidney to survive. Seeing this show live is indescribable; it truly is a religious experience.
I, like most people at this point, have listened to the OBCR on repeat for months. I tend to be a very visual person and went into the show having mentally pictured how things would play out before my eyes as much as I could. I wanted to write down the specifics of what stood out to me, of what my mind now recalls when listening despite having well-left the theatre, little details included. Mostly so that I don’t forget, but also in case anyone else was interested as well.(Apologies for the length & gifs taken from all over; none are mine, I’m merely using to demonstrate what I’m talking about.)
1. “Alexander Hamilton”
The show starts and you can immediately see the brilliance of the set.
Look at that: that’s it; that’s your scenery for the whole show. No set changes, just the addition of props like tables or chairs or candles. And it works beautifully. The staircases allow for movement and the balcony allows for split-level action. The framework has intricacies and alcoves all over that the ensemble can easily slide into/against, letting them sing harmonies from the sidelines while not being a part of the action until needed. Plus, the “viewers of history” can literally look down upon it as it plays out. Also, the brick and woodwork really lend to the period visual. It is unbelievably effective in its seeming simplicity.
2. “Aaron Burr, Sir”
The guys literally carry the table in. Like, Laurens starts shouting, “Showtime! Showtime!” AS they’re carrying it in; it’s cute.
Oak’s the one drumming the
beat on the table when the trio starts their self-intros. And Lafayette
stands up from the table to do his and it’s fucking ADORABLE.
3. “My Shot”
Lin being Lin; Lin just doing what Lin was BORN to do: cause your soul to soar and take your breath away.
When Alex starts his, “oh, am I talking to loud?”
bit, everything stops, the color of the light on him changes, as if a
frozen aside, but really just a reflection of the last smidge of
reserved doubt he exhibits; everything resumes as soon as Laurens’
“let’s get this guy in front of a crowd!”
And the dancing! As if the beat wasn’t infectious enough, the dancing somehow makes it more so.
ensemble singing the last few verses together is just so powerful that
the energy sweeps the room. Especially when Alex steps off his (actual
soap) box and takes a few steps forward with the rest of the ensemble to
Lin…I don’t have words to describe Lin so I’m not even going to try. He’s just chock-full of such infectious energy and raw brilliance that’s it’s BLINDING to witness.
4. “The Story Of Tonight”
I’m gonna be the merciless asshole to point out that Laurens is the very 1st to “raise a glass to freedom”…and the only one to give his life for it of the four. HAHAHA, BYE, GUYS; IT’S BEEN REAL.
5. “The Schuyler Sisters”
Burr sidles into Eliza with his “I’m a trust fund, baby,”
absolutely violating her space as he hits on her. She doesn’t back
down when she fires back at him, instead stepping right into his space
and shoving against his chest.
6. “Farmer Refuted”
I love, love, love Lafayette during this. Mulligan wraps an arm around Alex’s shoulder, “tear this dude apart;” Lafayette says nothing, just silently pushes Alex forward a bit towards Seabury to spur him on. Burr then stops him, “let him be,”
and Alex listens. So Lafayette, still seemingly innocent and quiet as a mouse,
comes up behind Alex against and just gently pushes him forward by, like,
the small of his back. SUCH AN INSTIGATOR. (God, I love Lafayette.)
Seabury is giving his speech off a paper from atop a box. With, “if you repeat yourself again,” Alex has stepped ONTO the box with him and is behind his shoulder saying this IN HIS EAR.
7. “You’ll Be Back”
Yes, that walk is everything they
say it is. You know WHY it’s so funny? It’s not intrinsically in the
walk itself; it’s because the walk is so damn slow. The King enters from the
back wall of the stage and walks all the way across it to the front. His
pace never hastens, never changes, never wavers. You initially laugh
from the absurdity and then the laughter grows and grows the longer it
takes. The song doesn’t start until he’s in place and you bet your ASS
that bastard makes you wait for it. It’s hilarious.
“Why so sad?” *VISIBLE EXAGGERATED BOTTOM LIP POUT*
8. “Right Hand Man”
I know I read somewhere Daveed saying that it’s amazing, he no longer
pictures Washington as the ‘normal’ image of Washington: an older man
in that damn white wig. That Chris Jackson now IS his Washington and
Godddddd, do those words ring true. Common pictures of Washington now
just throw me off because I EXPECT Chris!Jackson!Washington.
It’s funny because I think the recording comes off easier on Burr
during this song. Just listening to voices, I took it as Washington was
eager and grateful for Burr’s possible advice. Yet seeing it play out,
it’s not that way at all. Burr just lets himself in to Washington’s
quarters and starts yammering. Washington seems far more irritated and
disinterested than anything else. It was clear that his “close the door on your way out” was purposely cutting Burr off and kicking him out.
“I need someone like you to lighten the load. So?”
Washington just holds out a quill to Alex; the ensemble starts the “My
Shot” refrain as Alex just stares at it before making his choice. I
really like that because as much as he wanted to fight, that writing
implement really WAS his weapon of choice…and that was when he chose it
above all else.
9. “A Winter’s Ball”
Just as amazing as one would hope. Ridiculous frat-boy dancing while talking about women. Lol.
“Martha Washington named her feral tomcat after him.”
Now, you gotta imagine that Narrator!Burr is at the front of the stage,
singing to the audience. Alex comes running up behind him, half leans
over Burr’s side, with his pointer finger out, to go, “that’s true!”
The sidestep-crabwalk-playa’ walk they do to “hey, hey, hey, hey” is absolutely amazing.
Really cool to watch the staging of
this because they have to pretend to go from the dance, to the Schuyler
house, to their wedding; it’s all done seamlessly. Don’t forget, there are no set changes, merely additions to set dressings. All the lit candles
for the wedding were beautiful. And yes, Hercules still comes out and
throws his THREE flower petals and it’s fantastic.
Also, PIPPA. Sweetness and light personified. I cannot express how perfectly cast she is. What a voice, what a talent.
I’m the type of person that has to imagine everything out whenever
reading or listening to something, so I already had most of the show
mapped out in my head, as I said above; obviously, sometimes I was right & sometimes I
was wrong and pleasantly surprised. But there were some moments that I sincerely
had no idea how they were going to stage, and the “rewind” portion of this song is one of them.
It was sincerely, unbelievably incredible. They, quite literally, rewind.
The second that beat starts, they all move backwards slowly, then with
increasing speed, from the wedding reception, through the wedding, to
their positions at the start of the dance. The show LITERALLY hitting a
rewind button. Spectacular.
Alex, in his first words to
Angelica, is EXTREMELY flirtatious. It was very clear that he had
definitely set out to win over the elder sister.
Angelica’s last verse before her wedding reception speech starts up again (“To the groom!”) is set up so beautifully.
She’s singing from the middle of the stage, Alex is in the
background, Eliza in the foreground, cornered into a diagonal. I can’t
remember if both are looking away from her, but I believe Alex has his
back towards as she sings (”at least I’ll keep his eyes in my life”). It’s haunting.
From there, they “fast-forward” back to their original positions at the
wedding reception at the start of the song. After Angelica’s speech,
the bride & groom walk off and she’s left there all alone singing
that she’ll never be satisfied. *SNIFF*
Also, Renee’s PIPES in this song, good GOD. She’s just SO fantastic: she can break your heart with the pain and longing gripping her face, yet belt your soul into Heaven.
12. “The Story of Tonight (Reprise)”
FRAT BOY DANCING; GOD BLESS THE FRAT BOY DANCING.
“You are the worst, Burr” is just as wonderful, even more so, in person, and remains one of the greatest things of all time.
When Laurens starts ribbing Burr, he flings an arm around Burr’s shoulder as he’s taunting him. LOL.
13. “Wait For It”
Just Leslie being Leslie, aka
psychotically brilliant. The calm, the slow build, the crescendos, the
fade out… Amazing. The ensemble hangs out in the shadows of the set and
sing the background harmonies; it’s fantastic.
14. “Stay Alive”
Lee flaps his wings like an over-excited bird when he sings “wee!” LOL. Like…Good LORD, Lee.
15. “Ten Duel Commandments”
Guuuuuh, you can really
see why they use a turntable on stage for the duels. It’s just amazing,
the stage easily revolving them around each other and keeping the song’s
Laurens DOES physically hand Alex a letter during “leave a note for your next of kin” and it makes the line very real.
Leslie changed his intonation on “ok, so we’re doing this” from the recording; his voice went up a little on the “doing.”
You could practically hear his eyes widen just in his tone of voice and
the crazy-eyed, exasperated stare he’d be giving the camera if this
were The Office instead of a stage musical. I loved it SO much.
16. “Meet Me Inside”
I had expected, for whatever
reason, Washington to be behind his desk and Alex to be pitching a very
gestural fit in front of him; I was pleasantly surprised to find that I
was wrong. Instead, Alex stands straight at attention, giving his
General the respect he deserves, as Washington circles Alex and berates
him. Alex answers, eyes ahead the entire time, never moving until “call me son ONE MORE TIME,” which is when he finally loses his cool, breaks his stance and gets in Washington’s face.
17. “That Would Be Enough”
I was curious, since Eliza never specifically states she’s pregnant
until after it’s clear Alex knows in the song, how they were going to
show it. When he walks in, she’s holding her stomach and I want you to
know, it’s STILL bothering me that I can’t figure out if they stuck
something under her dress to pad her belly or if it’s just the bustle of
the dress. LOL. WHY this is weighing on my mind, I have no idea.
It’s all very sweetly done though; they sit together on a bench as Eliza sings to him. *more sniffling*
18. “Guns and Ships”
Or as I generally refer to it,
“Daveed Makes Me Want To Shoot Myself In The Face
Because He’s Just So Fucking GOOD, GOD, WHY is he so GOOD?!”
Full disclosure: I
couldn’t even tell you anything about Leslie’s intro even if I wanted to
because I was too busy trying to figure out where the hell Lafayette
was on stage. Spoiler: he’s hunched over the table with all the
soldiers, who are also hunched over around him (as if going over battle
strategies on a map). He then jumps on top of table at the start of his
part and then, yes, leaps from the table during “watch me engagin’ them,” just like in that damn picture that kills me.
In which I am Laurens in the background. Jaw meet floor. It’s so good. It’s all just so good I could cry.
19. “History Has Its Eyes On You”
It’s been too long that I can’t remember anything of note; go me.
20. “Yorktown (The World Turned Upside Down)”
Hands down the line that gets the biggest reaction; audience went NUTS. And I can’t tell you how much I love that little floppy high-five that they do.
LOOK at that entrance! And Herc comes out BOUNCING. This whole song is SO energetic that it SURGES through the entire theatre, especially right here at Mulligan’s reemergence. And then the interlude after that with the dancing? GOD, SO infectious; it’s insane. I can’t even begin to describe it.
And then at the end, half the company standing on boxes or chairs declaring they won. GUH.
What’s funny is that this song is just as dramatically sung and staged as you would expect; it truly comes across as if it’s the closing of Act I. I was with 3 friends when I saw it and one had purposely stayed away from the music so that she could experience it for the first time live; even she expressed that she was surprised when Act I continued on past this. I love that it does though. We are subject to SO many giant and dramatic songs in this show; why stop now? ;)
21. “What Comes Next”
“I’m so blue.” *DRAMATIC FOOT STOMP*
And hearing the inflection on “awesome; wow” is just as fantastic live. My best friend next to me happy-clapped in her seat.
22. “Dear Theodosia”
I LOVE the staging for this song. Burr comes out all alone on stage with a single high-backed chair. He places is off-center stage right and instead of sitting down, stands behind it. Spotlight on him, he begins singing, forearms leaning against the top of the chair-back. Nearing the end of his verse, he circles the chair & sits down.
That’s when Alex comes out, carrying his own chair, setting it down off-center stage left just in the nick of time to start his own verse. Single spotlight now on each, Alex continues to sing in the same position Burr did. And exactly the same, near the end of his solo verse, he circles his chair & sits down.
They then join their voices and sing together about their respective children, sitting side-by-side, but just far enough apart, both in his own spotlight, facing the audience. It’s just…it’s a lovely metaphor. Their stories so similar, yet so different; so close, yet just far enough off that they wind up becoming adversaries. And the simple staging also makes you focus on the emotion behind their words.
22 ½. “Tomorrow There’ll Be More Of Us”
Oh HEY. Here’s the only full song not included on the recording, so therefore, I was not prepared for it: letter Alex gets from John’s father saying that he was killed in battle. Alex is at the front of the stage with Eliza when he reads it and you can also see Lafayette and Mulligan on the second tier getting a similar letter at the same time. Laurens comes out and just STANDS at the front of the stage in the spotlight as it’s read. No one takes it well; I still remember Lafayette needing to sit down while reading it as the shock knocks him off his feet. But when Eliza tries to comfort Alex, he walks away and says he needs to get back to work, refusing to deal with it, and it jumps right into “Non-Stop.”
So thanks for ONE last emotional gut-punch I wasn’t expecting, Lin! *shakes fist*
“I was chosen for the Constitutional Convention!” Alex literally side-skips to the front of the stage, giddy like a school-girl.
“Who’s your client?” “The new U.S. Constitution…” The latter said with a sheepish flourish of the hand in the air, like mapping out the words on a banner. LOL.
“I am sailing off to London…” Angelica comes walking down center-stage, arm hooked in Alex’s as she sings. When she leaves (”don’t forget to write”), she & Alex continue to hold hands as she walks away, their arms stretching out across the stage.
They utilize every aspect of the stage during this song and it’s great. Hamilton is generally center-stage for most of it, with people singing to him from various corners: Washington questions him from the upper right parapet, Eliza sings down to him from the farther left, the ensemble with Burr circle Alex in the middle as he writes & they question him, etc. It ends with Alex finally ascending the middle stairs, spotlight on him. (”I am not throwing away my shot!”)
1. “What’d I Miss”
Funny thing about the beginning of the second Act is that, like some other shows, there is no curtain and no Overture. They start the second the break is over; your only warning is the first beat before they break into song. So you’d best be in your SEAT cause they’ll just perform over you.
Daveed makes his second entrance with a flourish; he comes out at the top of the stairs on the second level, to thunderous applause, I might add. He immediately motions for people to hold their applause; the second it starts to die down, he makes a face, takes back his request, and starts motioning for more and people just go WILD. It’s fucking fantastic.
It’s ok, TJ; the slaves will just handle those stairs for your Purple Rain’ed behind. ;) Also, I will never be over the dance he does in this. Ever. It’s just not possible; I love it.
Let me just say, everyone in this show is phenomenal, but I’ll never get over how much pure, unadulterated talent Daveed brings to the stage. Whether Lafayette or Jefferson, the man is an undeniable force; he has an unequivocal presence that draws your eye, a gravitas that you can’t possibly deny. You immediately know you’re getting to witness something extremely special and very rare when watching him perform; it’s like magic.
“Mr. Jefferson, welcome home.” “Mr. Jefferson, Alexander Hamilton.” THIS. When Washington sings his line, he steps forward with a smile on his face to embrace Jefferson. Alex DARTS in front of him, singing his line, and shoves his hand out to Jefferson first, who, of course, just looks him up and down like, “who the actual fuck are you?” Oh, Alex….
2. “Cabinet Battle #1”
Chris trades his general uniform for his suave black Presidential duds and they’re just PERFECT for him to MC this song; I can’t express that enough.
Yes, Jefferson has as much conceited swagger on stage as he does in his voice. Lol. At the end of his bit, he LITERALLY mic drops. Holds his arm out dramatically and lets the mic fall; Madison catches it so it doesn’t land on the stage. It’s just SO over-dramatic, it’s FANTASTIC.
I know people are used to the clips we got of Alex doing the below line, but that was not the “dance”(ish) move I saw. He pretended to fluff his hair up real big like Jefferson’s. It makes me wonder if Lin does something different every night a la Rent’s “to every passing fad.” Anyone?
At the end of Alex’s bit (”I’ll show you where my shoe fits”), Jefferson is so pissed off and riled up that he angrily rushes towards Alex like he’s going to start a physical Cabinet brawl. It’s Washington who jumps up from his chair and separates the two.
3. “Take A Break”
It’s funny cause I wondered how they were going to make Philip a child. Do they have Anthony on his knees? No, they just doofy-up his clothes so that he “looks” dressed like a kid. Lol. It’s great because he’s practically the same height as Phillipa. But again, as Hamilton loves to prove to us, it just doesn’t. frickin. matter. People WILL suspend reality and use their imaginations.
Angelica starts her part on the second tier and descends the stairs slowly as she sings her letter back to him.
When the sisters start begging him to join them Upstate, they each take a hold of one of his hands while singing to him. At “I have to get my plan through Congress,” I forcefully shakes one off, then “I can’t stop til I get my plan through Congress,” he shakes the other off and walks away. I think, I THINK, he shakes Eliza off first.
4. “Say No To This”
Another song that I was really curious of the staging. I sincerely expected a bed to appear at some point, but no. Very minimal stage dressing; they keep Alex on the move instead. That is, until the end of the song, where he sits on a chair and she sits on his lap, facing the audience and he sings into her neck. It’s actually rather intimate.
Also, the song REALLY showcases Jasmine’s talent and that makes me so happy. She’s especially wonderful in this. Her voice is naturally just so silky and sultry and it lends to this song perfectly. But not just the temptress, she’s emits a vulnerability that makes you empathize with her. Sidenote: I’ll never be over how phenomenally gorgeous she looks in that red dress.
5. “The Room Where It Happens”
The deal silently plays out at the table behind Burr as he sings. Which is great because it allows the audience to see, it allows Jefferson, Madison, and Hamilton to get up and sing at their respective parts, and it allows Burr “into” the room afterwards.
At the start of “what did they say you to get you to sell New York City down the river,” the three at still at the table and Burr comes running up around Hamilton to sing to him. Hamilton gets up those and is standing at the front of stage right by “and we got the banks; we’re in the same spot.” It’s truly amazing to me how much they utilize movement to push the story forward.
Alex imitates Burr’s dramatic hand-flail during, “you get nothing if you *wait for it; wait for it*.”
That part in the above gif? It is PERFECTLY timed. I sincerely didn’t think he was going to make it to the table in time to have his feet up as he sung that line, but that’s EXACTLY how it plays out. It’s timed down to the MILLISECOND.
I love this. Burr leaps up and they rip the tablecloth out from under him. From the mezzanine, it looked like the actual tabletop was a reflective surface which caught the light. Therefore, *illuminating* Burr at “but we dream in the dark for the most part.” I’m honestly not sure if that is the case or not, cause it certainly doesn’t look like it in this gif, but if it is, it works well: this is HIS lightbulb moment.
The crescendo of the music and the build of the dancing just…you want to FLY from your seat and dance in the aisle; everything is SO electric that you can practically feel the air buzzing with it. The audience is soaring WITH Burr.
At that final “Click! Boom!,” Burr is back-lit in spotlight, except now, they don’t let the light fade. They keep his lighted silhouette on the stage because they’re prepared for it now. The audience LOSES it. Everyone means it when they say this song is a showstopper; it quite literally STOPS the entire show. People start screaming and cheering and clapping and just won’t STOP. So now, they just run with it; they let the show stop, they keep Burr lit in his moment, and allow the audience to deafeningly scream their support for at least a good 30 seconds before they forcefully move on. It’s a phenomenal feeling to be a part of.
6. “Schuyler Defeated”
“I’m sure he already knows” will never fail to make me laugh but sadly, Hamilton is not in the background shattering things in anger. Lol.
7. “Cabinet Battle #2”
“Uh, who provided those funds?” Jefferson literally holds the mic out to Madison who’s behind him so that he can haughtily answer “France.” HA.
“Daddy’s calling.” Never over it.
8. “Washington On Your Side”
Burr literally comes out of NOWHERE. Just comes STROLLING across the stage to stare at Hamilton as he walks away before he starts the song. It was HILARIOUS. Like, busy-body Burr is so obsessed with Alex that he’s just ALWAYS there ready to DRAG him to whoever’s around.
“I’m in the Cabinet”… That whole bit? Still fucking amazing. That is all.
I wanna mention Oak at this point, because people don’t talk about him enough. I think he tends to get a little overshadowed because of everyone else and he doesn’t get his own solo song but guh, he’s so good. His voice is just this low, gorgeous rumble. There’s a post going around that describes his voice as “a gentle earthquake feeding you chocolate.” Which is actually really descriptive and sincerely perfect. And he’s such a strong figure in both roles, even just in presence, and it’s fantastic cause he even brings a different ENERGY to each. I just really love everyone in this cast, ok?
Ah, now’s a good time to mention the letters. I LOVE what they do with the staging any time there’s a letter in the show. Think about it; it’d be hard to show how those letters are always being written and then delivered and THEN read. So everything happens quickly and almost simultaneously. The action never stops, the singing never stops; someone will lift a quill quickly, then hand a letter off to an ensemble member, never stopping, and the ensemble will literally *dance* it over to the recipient. The letter generally passes through multiple hands first before arriving at its intended destination, perfectly showcasing the passage of geography and time, while never taking you out of the moment.
I mention this hear because near the end of the song, Jefferson “writes” his resignation letter, which is then handed off and subsequently delivered to Washington. Washington has just opened and is reading it in semi-surprise as the trio sings their last line. It’s a great detail you obviously don’t get when just listening and leads perfectly into the next song, showing the audience how Washington knows before calling Alex in.
9. “One Last Time”
“I don’t know about God, but I believe in Chris Jackson.” - LMM’s
Tony speech for In The Heights. 7 years later and you can see why it
still rings true. Chris MURDERS this song; he just SLAYS it. GOD.
I just really, really love how they do the end, with Alex “writing” Washington’s words as George slowly and softly begins to sing along, then overtake Alex as he steps forward for his last spotlight moment.
After the show, the friend I was with that went into the show blind perfectly encompassed this song by wailing that she was not expecting this to be so emotional. “I’m crying because Washington is stepping down; WHAT’S WRONG WITH ME?!” It’s part of Lin’s gift: he makes us CARE about these people; he makes us identify with figureheads we learned about years ago with disinterest; he makes us LOVE them.
10. “I Know Him”
Groff does the EXACT condescending, dismissive hand wave at “little guy who spoke to me” that I was imagining and for that, I BLESS HIM.
Now, the King walks to the edge of stage right as he finishes this song. What I did NOT expect was for him to FORGO leaving, instead taking a seat at the edge of the stage to watch Burr sing his monologue at the beginning of the next song. He’s simply there to gleefully watch shit go down in America.
11. “The Adams Administration”
The King fucking happily WAVES at Burr at some point during the beginning and I almost peed my pants laughing.
Hamilton drops a giant book (probably the entirety of his writings dragging Adams) from the second tier with a giant slam on “motherfucker.” I believe that’s when the King leaves the stage.
12. “We Know”
I also wondered how this was done considering Hamilton addresses them all slowly by name. The way it’s staged is as if they’re gradually walking into Alex’s house/study one by one to confront him. This also makes sense for later on when Alex takes out the letter to show them; he pulls it out from a drawer behind his desk.
Once again, gorgeous lighting. The different colored, shadow-detailed spotlight makes it look like Alex is sincerely standing in the eye of a proverbial hurricane.
14. “The Reynolds Pamphlet”
I swear to God, they must have so much fun during this song. It’s literally the Let’s-Throw-Shit-At-Lin song. LOL. And yet another song where I’ll NEVER be over Daveed’s dancing.
What I was NOT expecting? When they’re singing the contents of the pamphlet at the beginning, they’re huddled around Philip, that poor kid, who’s reading it. Singing it pretty much TO him as he’s reading, just rubbing it in that poor child’s face. It’s watching Alex’s son read about his father’s affair that hurts the most.
And yes, King George is just there to dance across the stage, enjoying the shitshow that’s going down over there in the States. Lol. Also, the ensemble dancing in this is, as usual, phenomenal.
Once again, my brain was preoccupied with silly things, like the burning of the letters. Clearly real fire. Definitely actually burning. Still burning when dropped into the bucket below.
Continues to burn for a bit, then, at least from my seat in the mezz, looked like it just randomly faded out. Is there water in the bucket? Does it have a false bottom? Is it put out from below the stage? Is there perhaps a mist-er that sprays the flame out? I NEED TO KNOW.
16. “Blow Us All Away”
I gotta say, Anthony is really, really good; there’s definitely distinct differences, not only between his two separate characters, but between Kid!Philip and Teen!Philip. He gives off a completely different aura; there’s confidence there, a swagger to his step in the beginning. Then when it comes time to duel, his trepidation and fear are blatant, written all over his body language; he’s scared and it reduces him to a child again. It’s played beautifully.
When Philip interrupts Eacker at the play, I assumed he kind of sneaks up into his box to challenge him. But no, no; he interrupts the entire play, stands where the orchestra seating would be located, and starts shouting up towards Eacker’s box. HE IS NOTHING IF NOT HIS FATHER’S SON.
“Everything is legal in New Jersey” is the second biggest laugh of the show.
Sam, the friend that went in blind…the poor girl literally wailed, “NOOOoo!” when Philip was shot (in the pin-drop silence of the theatre, lol).
17. “Stay Alive (Reprise)”
Sam then proceeded to sob noisily on my other friend’s shoulder all through this song and the next. It made everything hit just as hard as the first time listening, getting her 1st time reactions in real time.
Worst part…worst DAMN part about this song? The fact that Pippa lets out a horrible, grief-wracked WAIL after Philip dies in their arms. I…I have had the unfortunate experience of hearing that first awful scream of undiluted pain and shock upon losing a loved one, a child, no less. It’s something that unfortunately etches itself upon your consciousness, a chill you can never get rid of. Pippa…hit it remarkably well; it hurt real bad and the sobbing was instant. Phillipa Soo: ripping your soul out one song at a time.
18. “It’s Quiet Uptown”
As much as Renee slaaaaaaaays “Satisfied,” it’s this song that kills me. She appears in a black dress and sings this song with such quiet, pent-up emotion. It’s beautiful and heartbreaking all at once; I’ll never be over how perfect everyone in this cast is.
The song is staged and lit so that Eliza grabbing Alex’s hand cannot be missed, even though you’re blearily attempting to peer at the stage through a DELUGE OF TEARS. They stand side by side, grieving and staring silently out at the audience, just far enough apart that they can throw a spotlight on their hands when clasped between them. (It just makes you cry harder.)
19. “Election of 1800”
BLESS Madison for walking out wiping his eyes; WE ARE ALL JAMES MADISON.
The cute part of this song is that as the voters are gabbing about the candidates, Burr is peeking his head around each of them as they talk, gleefully listening in and looking pretty darn happy with what he hears.
The NOT-cute part of this song? The part ripped me in two? Is when Hamilton chooses. Alex is up on the second tier, speaking to the voters down on the stage as they look up at him; Burr is on one side of the stage, Jefferson on the other, both looking out at the audience so that you can see their reactions.
Considering Burr’s reaction, I expected anger. I expected rage. I expected him to fume or throw a fit or look like his head was going to explode off his body from sheer frustration. But no.
Instead, Alex names Jefferson and you see Burr’s entire world come crashing down written upon his face. One moment, he’s standing there, utterly cheerful, his chest puffed out in confidence, 100% believing that Alex is going to side with him. It’s not the smug contentedness of a cat that’s eaten a canary: it’s pure happiness that he’s finally witnessing his moment. When Hamilton throws his hat into the ring in Jefferson’s favor, Burr looks like he got hit by a freight train. Pure shock, utter betrayal, and unadulterated PAIN grip his face.
In my opinion, THIS is what’s going to win Leslie that Tony. This moment. I could see that from the MEZZANINE. Even far away, that expression hit me like a ton of bricks and has stayed with me since then. It HURT and it STILL hurts. You feel Burr’s heartache in a way that I never quite expected. It’s unbelievably powerful and suddenly you know damn well why Burr’s led to his next action. It’s not him being petty: it’s a necessary reaction to that heartache. Leslie…is just astounding.
20. “Your Obedient Servant”
I still really frickin’ love what sounds like a door closing at the top of the song. The proverbial slamming shut on their futures: no way out, no escape; they’ve chosen their paths in this one action.
This is where the show really shows off the genius of the letter delivery choreography. It’s phenomenal; the back and forth writing, receiving, and reading just works so so well.
“Here’s an itemized list of 30 years of disagreements / Sweet Jesus.” One ensemble member after another after another come up to Burr and hand him letter after letter after letter, piling I’d say probably 8 pages or so into his hands. It’s hilarious.
21. “Best of Wives and Best of Women”
Again, for some reason I expected a bed. I’m glad there wasn’t because it allowed for Eliza to wander up to Alexander in his chair, writing, to plead for him to come back to bed. When he says “hey” before his last line, he grabs her hand as she turns around to walk away and lovingly pulls her back towards him: “best of wives and best of women.” (And then your heart breaks. [And then you realize what he was writing was his death letter to her…and your heart breaks more.])
22. “The World Was Wide Enough”
Philip comes back out on stage next to Alex just to sing that one line in the spotlight, then leaves. Thanks, Lin; thanks for all the pain. *salutes*
Hamilton’s soliloquy in the middle of this song is a phenomenal work of art. Once again, lit in that different colored, detailed spotlight. Everyone around Alex freezes and then the ensemble begins to move in slow motion in what may be the most ingenious use of blocking that I’ve ever seen.
One ensemble member is the designated bullet that is shot from Burr’s gun; the rest are used as vehicles to support her movement. She makes her way slowly across the stage: tip-toeing, being lifted and passed over others, etc, in a perfectly timed choreographed dance that give Lin just enough time to deliver the monologue. He even moves around the stage, sometimes putting himself dangerously close to the moving “bullet” as if dancing with death; it’s absolutely memorizing and utterly astonishing.
Eliza comes out onto the stage when he says her name during it. *sigh*
When Alex is shot, Lin bends at the waist, folding his upper half over in front of him. They move him like this into the “boat” as two people pretend to row him back, then he leaves the stage for the rest of it. Angelica & Eliza come out at the back in spotlight when Burr sings their names.
And then you just sob as Leslie pours his heart out.
23. “Who Lives, Who Dies, Who Tells Your Story”
To sum up: weep, weep, weep, weepity weep weep, gurgling choked sob. Did I miss anything?
In all sincerity though, regardless of the fact that I knew Eliza’s gasp was coming, it still positively ruined me. As if I wasn’t crying my face off before that… Alex leads her to the very front of the stage and, for the first time in his life, steps OUT of the spotlight. Eliza finally gets her own moment to shine as she looks out and sees the fruit of her life’s efforts for the first time. And it DESTROYED me.
Pippa. I just… Eliza’s the glue that holds Alex together. When she sings that she carried Alexander’s legacy for the next 50 years, there’s no doubt in your mind that this is the one woman, the only woman, that could’ve possibly pulled that off. Pippa’s Eliza perfectly blends kindness and caring with strength and resolve. She’s magnificent.
Also, I love love love that they decided to go with an ensemble bow. No one person gets singled out for their performance; they bow as a unit. This show is a brilliant work of art due to every single one of them; they all take the credit together.
Whew. That’s a lot of words. And yet still, only the small things that caught my attention. There are not enough words in the English language to describe the insane genius of this entire show. We’re just truly blessed to be seeing this within our lifetime. Thank you, @linmanuel; thank you from the bottom of my heart for everything you continue to give us.
Summary: You and Bucky have been dating for a few months. But when the Russian spy Natasha Romanoff comes into the picture, everything changes. She is ready to do anything, anything, to get him. You’ve been warned: she is not scared of playing dirty.
Pairing: Bucky x reader
Y/N: Your name
Warnings: Angst… But lots of fluff, fluff for everyone!!! There may be some cursing…
Word count: 2,616
About the SHIELD Archives: When we carried out some research about James Buchanan Barnes, we found out he was the Casanova of Brooking. We submit some of his adventures. Security Level: Classified.
A/N: I’m taking a break from “The Past, the present… The future” to write this request. I was in serious need of writing some fluff! But don’t worry, the next chapter from the series will be up soon. Enjoy reading!
“Do we really have to go?”
“The answer remains the same it has been for the last hundred times you’ve asked me”
I put my best puppy face “Please?”
“Ughh… No, don’t do that. Don’t do that. We have to go.” Bucky turns around to face the window but I go around him.
He clearly intends to say “No” again, but he makes the mistake of looking inside my eyes. In a second, he is out of combat, looking at me with a heartbroken expression. I intensify my puppy look. “We could stay here and have some fun” I whisper, stepping closer to him. He is still too mesmerize to answer. “Please. I’m begging you.”
Song Of The Week #1 - Shelter by Porter Robinson and Madeon
Because of course this is the first one I do. Easily one of my favorite songs ever, despite its simplicity. From a songwriting perspective, it’s really nice how it works together healthy repetition while maintaining its overall progressive nature through instrumental, pattern, and effect changes. The composition and lyrics deliver an emotional journey of a story. In addition, the production is great and you can really hear the blending of both of the artists’ styles. The warm mix and punchy drums with the brighter melodic elements on top come together satisfyingly. Additional details like the subtle shifting of patterns and gradual building of effects on elements really make the track an experience to listen to. I also dig stuff like the tonal snare, the rhythmic guitar in the first verse, and the rad formant shifting on the vocals
I've identified as a transboy for a while now, but I've realized I'm not 100% boy. I feel mostly boy but a bit nonbinary... would demiboy be a good label, you think?? And would it be wrong to just say I'm a transboy for simplicity sake to some people... I like being called a boy but I just think it's not all it is
Sure, label yourself however you’d like. Whatever makes you comfortable. Just remember that gender isn’t determined by stereotypes but as long as that’s not why you’re labeling yourself that way I don’t really have any commentary. its ur identity after all.
Good lighting = Good room. If you have shit lighting the best thing to do is to throw as much light into the room without going overboard and to use warm-temperature bulbs.
Get IKEA items, the simplicity of it allows you to add complexity somewhere else within the room and it doesn’t make you look like you’re stocking ramen noodles like its the apocalypse
Learn how to use the color wheel to your advantage. Take your favorite color and explore (i use the Adobe Kuler Wheel, it’s free and online and really fun to play with) different options to create a harmonious atmosphere within the room.
However, in order to keep it calm I’d recommend from using any “loud” colors (eg firehouse red or lightning yellow) and to stick with calmer tones of your favorite colors. The loud colors can be used for accenting (eg posters, lamps, plants, etc)
And speaking of accents, try to work with something that might break the monotony of the room. The best way to do that is with posters, textiles, curtains, or rugs. Try to keep it in a tasteful design so that stereotypes don’t bring down the room quality (so no, that black light Bob Marley poster would not work in most circumstances). A good rule of thumb is that; if it’s good to (CALMLY) trip in, it’s good to live in.
Also, organize your shit! Try to utilize empty spaces within your room to reduce clutter. (A great way is to use risers in your bed frame so that you can fit things under it)
Basically that’s what I got in terms of tips. You could also research and incorporate common elements in what you would consider to be a cozy room into your own room.
If you’re looking for a good way to get a large poster for cheap if recommend “Rasturbator”, which will enlarge an image so that you can print it out onto multiple sheets of paper in order to construct a giant poster (or you can shell out relatively little money for a nice poster of it to get sent to your house). The process rasterizes the image so that any loss of quality just looks artistic rather than weird.
Consider how people or visitors will be inside your room. Basically try to make as much empty floor space as possible in order to create something where your friends or family can actually visit from time to time and not have to jump over a bed or anything. In that same vein, the most important item to make your room great is to consistently CLEAN YOUR ROOM and MAKE YOUR BED.
Microsoft OneNote is really helpful for students due to its simplicity and effectiveness in taking notes, especially during your lectures. Here a a few tips to maximise the benefits from using OneNote.
I like to use OneNote when I’m researching, as it has the ability to save information, which can then be sent to the programme itself, which is useful for later research and work. This is something that I use all the time as I need lots of case law for my studies. You can find this on share in the top right hand corner of your screen.
You can then add notes to this resource, as well as choose what notebook and notebook section you want to add it to.
All of your notes are organised into a single notebook, and you can add more notebooks later. This enables you to organise your notes in any way you choose. You can then organise your notes into further sections, then by topics, and then by date or subpage. It also allows you to add in images, PowerPoint presentations from any lectures, links, audio and video and even checklists.
There are lots of different tools here to keep you organised. To Do allows you to manually check off any work that you need to complete, for example. The icons become a useful key for remembering key dates, ideas, etc.
Searching for notes is also made easy, as you can also search for handwritten notes and images, as well as text.
With OneNote you are also able to collaborate with others, making it a useful tool when doing group work or projects that require brainstorming. All notes can be added in the same place with everyone being able to contribute. There are a number of sharing options on OneNote including inviting people to add to the notes in real time, sharing the notes, and sending them in a variety of ways.
OneNote allows you to create drawings within your notebooks, which is useful for brainstorming. This can be used across all your notes. To change back to the text format you have to go back to text mode, located on the top left hand corner of OneNote.
You can choose from a range of different colours, and tools such as the pen, marker and highlighter. This is particularly useful if you use tablets. You can create mind maps, flow charts and diagrams which will all be helpful in remembering information.
A very basic guide, but it should help to get you started with OneNote! If you have any questions please inbox me and I’ll try to answer any questions :)
1) Picking a gem! Obviously, since Spinel is pinkish and red and Halite is light blue, I looked at a bunch of gems that were both at the extremes and blends of those colours. The most appropriate gem, colour-wise, would probably have been hackmanite. It’s a gem that changes from white to rich purple depending on how much sunlight it receives. And the hack part made me think of what the fusion would attack: by hacking people with her foot blades. In the end I went with blue laceagate, even though the colours favour the Halite half of the fusion. This was partially because I wanted to avoid an -ite name (very difficult seeing as how most minerals these days all new minerals end in -ite) and because I liked how it abbreviated to Blue Lace.
2) References! I discussed the fusion quite a bit with @joe-sparrow, the creator of Halite. We wanted to do something on the more monstrous end of fusions, though it didn’t quite end up that way. Anima from FFX, one of his favourite Final Fantasy creatures, was our starting point. We wanted a gem that could contort and flex, so that adds a few other images. Dian Yoon and the monocephalus skulls for how her face would potentially look. Obviously, I also looked at actual fusion gems from Steven Universe show to try and keep them stylistically similar, seeing how simple and how complex the show’s creators had gone with them. I feel bad for those who animate Sugilite – she’s easily the most detailed of the fusions. Size-wise, I imagine Blue Lace to be about as tall as Opal and Rainbow Quartz.
3) Sketches! Time for figure out what Blue Lace looks like. This part was actually quite tricky, especially when it came to the bodies. SU is really good in that all its characters have very distinct body shapes and that the fusions end up being somewhere in between. Examples: Sugilite is more muscular than Amethyst, but broader than Garnet; Rainbow Quartz is slimmer than Rose Quartz, but more curvacious than Pearl. But both Halite and Spinel are quite slim (except for Spinel’s chest), so there wasn’t that much to be done in terms of body shape. But they both have long legs, so eventually came to a conclusion: stretch her! Blue Lace’s body parts should be longer than either of her two constituent gems. I also tried to give her a really weird face, but they ended up just feeling awkward. It’s a shame.
4) Rejected Design! An early design for Blue Lace. At first Joe and I were quite fond of the long-hair-in-front-of-the-face thing, but I found it quite difficult to work with in the end. The hair kept getting in the way and spoiling the silhouette. The arms wrapped around the torso did the same thing. (Fun fact: this version has an extra bend in her arms, upper arm, middle arm, lower arm, hands). The upper body also felt like it needed something, but the shoulder pads just felt too Spinel, even if it gave her a cool X-shape. In the end, the whole design felt too Spinel for me, too normal-looking. A fusion should be influenced by her gems, but not so much that she just looks like a big version of one of them. In the end, I felt this was going in a direction I didn’t like and couldn’t fix, so I went back to the sketches.
5) Finalizing the design! One of Halite’s early designs had her wearing a cloak to accentuate her shyness. Joe eventually scrapped that idea, but I really liked it. I went back to the sketch stage and did a few designs with variations of cloaks and hairstyles. Then I did a large version and fiddled around with the decoration on the cloak. I still really like the neck diamonds that the first cloak has, but in the end felt that breaking the symmetry worked better, and that its simplicity would make her easy to animate.
In the end, I still feel a little guilty that Blue Lace maybe takes more design influences from Spinel than Halite. I tried to check myself, hence the rejection of the first design, but I guess I’m just biased towards my own gem. I also feel I maybe copped out with the arms. Does Blue Lace have them? Does she not? If she does have arms, is it because she’s shape-shifted them into existence?
But I’m very happy with her regardless. I haven’t actually designed something in a while. Those of you who follow me because of @dungeonsanddrawings will notice that I haven’t made a post in some time. I’ve tried, but I felt pretty burned out after 6 years of designing new monsters every week. Blue Lace is the first time in months where I’ve drawn something new that I felt was good enough to show other people.
Hi! I am 14 and looking for advice about digital art. I have a cheap Wacom tablet and drawing pen and the software I use to draw is Sai. I love your art and I'm just wondering if you have any tips on brush sizes and the software that you use, thanks! (Also, I'm poor so it'd be great if the software could be free to download. :), Thanks! )
Hello! Thank you so much for your ask! That’s so awesome you’re drawing now, I didn’t even try digital art until I was around 16-17 ish? I’m still learning a lot myself, being a mostly traditional artist, so the best I can give you is advice from my own experiences. First of all, I would say the part of the drawing process is experimentation, so no matter what tools you use, you’re still learning, and even with really expensive programs or tools, they can only do so much, so don’t worry if you don’t have an expensive tablet or program. I still use a cheap one myself and for years I also used SAI because it was free.
The program I use now is Photoshop CC, which I definitely recommend, but it costs money, and when I was 14 I was not about that life. For years I have used SAI, I think to me, it was the best alternative? There are some aspects of SAI that I like even more than Photoshop - mostly its simplicity and intuitiveness. But for me, I didn’t have pen pressure with SAI so I eventually opted for Photoshop. But I’ve edited my paintings for years on SAI and it’s worked very well.
I know some people recommend Fire Alpaca and Clip Studio Paint, which are free and cheap respectively. I definitely recommend you check out this post for more details!
As for brush size, it depends a lot on what you are doing! For linearts, these are my usual settings: I tend to have a canvas size of 2000 px and brush size of 3 - 6 px, but sometimes up to 8 - 10 px for 3000 px canvas sizes.
But for coloring, it really depends on what you are doing. I change the brush size a lot for it! Generally for smooth lines (which I struggle to do with shaky hands), try to have a large canvas size, smaller brush size, and then reduce the overall size of the canvas in the final image, and your lines will look smoother.
Anyways, sorry for my ramblings, I hope I was able to help a bit - Please feel welcome to ask if you have any more questions, I love receiving them!
thinking more about wonder woman and the dceu - this movie really highlighted for me how much the dceu is ironically about condemning about the simplicity of comic book violence, about portraying the horror and consequences. I mean, the main issues people talk about re: man of steel and bvs - superman violently kills, batman is too graphically violent and uses guns. do you know how hard it is to make an audience repulsed at the use of violence?
and I think that those movies definitely did muddle their message by not more clearly including important details in the story, but wonder woman really clearly highlighted it. I already talked about how much I appreciated that the movie accurately portrayed the world war as a WORLD war, fought by and affecting people from around the world, globalization in a time where people now like to pretend the world lived separately.
and then on top of that we saw the ugliness of war, not the mythological glory, the despair and wounded that hurt Diana’s heart - this isn’t bloodless fighting against stand-in mooks, happily fighting a steady stream of mindless violent-by-nature aliens (when we do fight an alien in man of steel, he’s a mirror, he’s superman’s kin, his defeat is a rejection of a culture of supremacy that even when superman defeats him it feels like a loss, is a fight I feel like any immigrant knows, the decision to shed traditions that weren’t working with the niggling guilt that you’re betraying something however righteous you know it is, but that’s a tangent)
Superman killing Zod is painful and disrupts his worldview and sense of place in the world, Batman recognizes his violent outbursts as a fall from grace, as succumbing to the worst of human hearts as described in Wonder Woman
and man that scene in Wonder Woman. We get a classic hero villain fight, her speech before vanquishing who she thought was Aries is straight out of any ancient myth, awe-inspiring, and then her despair at seeing that nothing changed - man, that blew me away. We’ve all been there I think, thought we found the root of the problem only to be overcome by how many and how entangled injustices are. We can’t punch our way into a good world (which isn’t to say that there aren’t some times when that’s the right thing to do).
anyway I really appreciated that, appreciated that her hero moment was the rejection of killing, her reaffirmation that she fights For something and not for the catharsis of it, the idea that regardless of the progress you make, the nature of people means that the work of reevaluating yourself and society is never done, can never a finish but that doesn’t mean you can’t take pleasure in trying.
and I’m really selfishly glad that the well established hero and the movie that gets it right, and successfully expresses its point of view is Wonder Woman
oh boy, i was wondering if that post would eventually get responses like that, so let me just
i’m gay. well, I’m genderqueer, and attracted to all genders, but for simplicity’s sake, i’ll just say I’m gay. I love sylvari for many reasons, but the main one is that their gender is confirmed to be purely aesthetic, meaning that it really does not matter to them, making all of them nonbinary and pan, like me. Sylvari are just about the only fantasy creature ever that is canonically like me. Being like me isn’t odd for them, its not even “unconventional” or in need of discussion. It’s normal. It’s just how they are.