Doubleheader (3762 words) by gwyneth rhys
Fandom: Captain America (Movies), Marvel Cinematic Universe
Warnings: No Archive Warnings Apply
Relationships: James "Bucky" Barnes/Steve Rogers
Characters: James "Bucky" Barnes, Steve Rogers
Additional Tags: Birthday, Baseball, Fireworks, Steve Is Terrible at Double Entendres part two, Pre-Serum Steve Rogers, Grief/Mourning
Series: Part 2 of Baseball
Bucky hooked his thumbs over Steve’s suspenders and slid them off his shoulders, pulled the tails of his shirt out of his trousers, as Steve watched him with heated eyes. “What are we at now,” Bucky asked, “second base, or third?”
Spoilers/Timeline: AU-ized mentions of season two revelations, but takes place decidedly pre-series.
Summary: "You don't have to use that gorgeous pistol of yours to shoot yourself in the bloody prick, you know."
Ratings Note/Warnings: Sexual content which does and doesn't dovetail with the content some readers may find to be disturbing. More and more spoilery warnings in the tags on AO3.
Author's Note: All Pixie's bunny. "What if Treville picks up a young Porthos some night?" I mean, she probably said something else, but I was already writing in my head.
Also, every year around this time, for reasons that don't need exploring at this juncture, I wind up writing about death at least a little. Consider that another warning.
Acknowledgments: To Melly, Pixie, Spice, Houndstar, Ryn, and, of course, my Jack for audiencing and encouragement. This one means a lot to me, and I really appreciate y'all sticking with me for it.
All remaining mistakes, weirdnesses, and fuckeries are entirely my own fault.
Sto-ry! Sto-ry! Sto-ry!
(Look, Iain, look!)
( Direct Links to Each Section )
( Multiple Fandoms (or, Fandom is My Fandom) )
( Avengers )
( Avengers/Daredevil )
( Avengers/Welcome to Night Vale (Twitter) )
( Avengers/Oblivion )
( Hannibal )
( Harry Potter )
( Inception )
( Journey (Game) )
( Jupiter Ascending )
( Kings )
( Leverage )
( Mad Max )
( Welcome to Night Vale )
( OMG Check Please! )
( Rivers of London )
( Spiderman )
( Stargate Atlantis )
( Star Trek )
( Teen Wolf )
( The Fast and the Furious )
( The Fast and the Furious/X-Men )
( Tolkien - The Hobbit & Lord of the Rings )
Aber dieser junge Fischermann sieht sehr wach aus am Ufer der Trebel in Mecklenburg Vorpommern
5.9 x 5.9 inch / Oil on MDF board / 15cm x 15cm / Öl auf MDF Bord
If you would like to purchase this daily painting, please send your bid by email. Startprice 150 Euro. End of sale July 4th, 2015 at 6.00 pm (local time Berlin Germany). Terms of Sale and Right of Withdrawal.
Wenn Sie dieses Tagesbild erwerben möchten, senden Sie bitte Ihr Gebot per email . Mindestpreis 150 Euro. Ende des Verkaufs gegen Höchstgebot am 4. July 2015 um 18 Uhr. Beachten Sie bitte die Informationen zu den Verkaufsbedingungen sowie die Widerrufsbelehrung.
© Edward B. Gordon, all rights reserved.
The bad news is that I feel like the beginning is more exposition than I need for where The 100 kids are starting from, but I'm trying to set up some relationship stuff that will be important later that might not be known to TW people. Also, yes I am trying to shoehorn in more Bellamy/Clarke interactions early because otherwise no one will read this (yes, I am gaming the fan system) (and because Clarke becomes a lot more important later in the story, I don't just want to suddenly have her pov show up out of nowhere) (ARRRGG!)
ANYWAY, would it be weird if I had an author note that says, if you watch The 100 you could probably skip the first chapter, and if you don't you get an intro to the important stuff for starting out in chapter 1?
(I know, the real solution is to just go with it, get the story done, and find a beta reader who knows both shows that can tell me I'm not crazy or whatever.)
Seriously though, in fanfic, how much exposition is too much exposition? This is going to be a novel length story, season 1 AU, but I'm not at the point of divergence yet. And stuff that happens later depends on relationships I'm tempted to gloss over because fanfic readers would already know it. But from a stand alone story perspective, I feel like it should be there.
I'm also looking at a bunch of wsip (well, in some cases that's too generous - in some cases it's "use this title" and some notes) to see if I can finish something for Steve's birthday tomorrow. There's like seven of them, so I'm overwhelmed by choices.
I don't know, sometimes I feel like all of these ideas are too big and I just need something that's one small scene that I can write in a day. I feel a lot more intimidated by writing now than I did five or even ten years ago, and it certainly makes writing harder.
Ahhhh, fluff: Comfort food for the fannish soul.
Fluffy gifs, fan art, ficlets, podcasts: they’re an emotionally uplifting treat - especially at the end of a long day or week, when you’d like for one darn thing to be nice and simple and happy for a blessed minute.
Do you consume fluff? Create it? Reblog, share and kudos it? If so, tell us about your favorite works of fluff - your works, those of your favorite fluff specialists, or maybe a fandom-specific piece of fluff that really made your day recently.
Every month the OTW celebrates Fandom First Friday and invites you share the love!
It's always a good time for fluff!
Fluff on Fanlore
183,720+ Fluffy Works on AO3
Fluff FFF on Tumblr
Kazumasa Uchio is a Japanese concept artist and fantasy illustrator. Beyond that, I have little background information.
Uchio creates fascinatingly elaborate fantastic landscapes — full of curvilinear Art Nouveau inspired designs, glowing windows, luminescent plants and lots of other deliberate eye candy — inviting you to browse through them in a leisurely manner, as though a tourist, drifting through one of his fantasy worlds on a flying ship.
There are some fairly large images of his work that facilitate viewing his detailed approach on what I believe to be his official blog.
Unfortunately, the navigation is a bit awkward for those of us who don’t speak Japanese. Look for the sequence of yellow numbered links just under the main banner image, or at the bottom of each page, to browse back through posts in order. Browsing this way, you may need to be patient and persistent to get to some of the most interesting images.
Alternately, click on some of the links in the third section of the right hand column, which are categories. You can also try Google Translate.
You can also search Flickr, or search Google Images, or get a brief overview on this Russian blog post. (Those of you with accounts on Pinterest, Tumblr or Pixiv can also try there. I don’t link to sites that require membership to view the images.)
"• I'd like more people to be familiar with it - and use it
• I want to make the guide available to everyone, without a paywall
• PWYW removes the upper ceiling of fixed prices and allows happy/supportive contributors to give as much as they like
• It feels easier to promote than a fixed price product
• If there is a sacrifice of profit in order to reach more people (which there might not be), I'm willing to make it at this point in my journey"
|Geronimo rallying the tribes from INDEH|
The act of making art is largely the enactment of creating something that no one else has made, clothed in the voice of an artist presuming he or she has something interesting to offer. It has for it a bar set above the usual mundane concerns of everyday life. Art neither nourishes, clothes or shelters us. It is scorned by those lacking a vision to appreciate it for this reason entirely. Like love in many aspects art is unquantifiable and ineffable. How then can one justify making something that is not inherently functional? How can one craft such a thing with the arrogance to presume it is despite these practical claims, worth bothering with? How dare one make such a presumption. It relies upon a near hubristic ego mania to presume that one vision, the artist's vision is both worth the time to craft the piece and worthy of occupying some of the limited time of the viewer, reader or audience. The artists demands of the viewer to be seen, his/her works are, as their first purpose, demanding of attention. They have to be. Art is the ignored quiet child in the back of the classroom that has to raise its hand, stand and deliver even and especially so, if no one else in the room assumes it has anything at all to say. Art requires convincing of others to engage with it, it sells itself and demands of others something even willing participants must be coerced into bestowing. Time and attention, observation and consideration. Further to insist upon others to forfeit money that would be otherwise used for the more tangible needs of survival, art is committing a distinct act of salesmanship. It's convincing to squirrel to disregard the nut in favor of a bauble it doesn't actually need to survive winter, but wants anyway. It takes a good measure of arrogance to pull off such an audacious trick. it takes even more to presume others won't see it as such.
In the making of art, the artist has to adopt and hug his or her own braggadocio about what they may be making. The marks and strokes, chisels strikes and smudges on a flawless and beautifully clean surface are a complete expression of this. To look upon it and decide it is not complete until the artist sullies its uniformity with a mark takes a good deal of swagger, whether we know it or not. A level of controlled arrogance can give us the confidence that's required to take us into new directions, or to find succinctly our voice as creatives people. Arrogance taken too far creates that opposite. If we neglect a measure of taming our own hauteur, we shrink and become less expansive. Less observant and clear. Less capable. We as artists must be brave within ourselves at this stage in order to dig deeply and find what it is we intend to express- whether its music, dance painting or film. Arrogance can be a comfort and a guide when we're lost in doubt,. It can be a beacon for us when there's no other reason to get up and work again. It whispers in our ear that we have something worth saying, that it matters and that it's important even when there is no outside support to help us do this. More important still when we are faced with outright discouragement for doing it at all. Arrogance fuels us to pick up and try again when we inevitably fail at our craft. it nudges us forward to stand in a room of strangers and tell them why it matters, and why it's important they pay attention to what we're doing. It fuels us in a publishers office when we sit across from an editor having invented some pretend world, or invented idea we expect and hope they will pay us to bring to life. To stand in an opening inside a gallery receiving visitors to see what imaginary joys we have pulled from our personal sandbox. Arrogance insist to us secretly its own essential nature even when we are being scolded for it from others. The opposite of course is death to the act of making art. So we must, we have to embrace arrogance as a requisite tool of our trade. Tame it, bridle it and mount it, never forgetting who is the horse and who is the rider.
|Walt in the grip of the Shadows from THE LOST BOY|
Doubt can be our guardian in the strictest Castanedan sense that can swiftly become a guard. Once protector now jailer, doubt can be allowed to flourish too wildly undermining our essential bravado in making work and presuming we have something to say about it. Doubt, while not the primary element, delights in utilizing more tools of trickery and deception to get its way. Like Arrogance doubt is a creature that wants to eat the world. Controlling it, harnessing it is, like with arrogance, an act of throwing a lasso over a tornado and riding it towards a new horizon. But never forget its desire is to consume, and so it must be always left hungry, chained and controlled or it will engulf everything in you. It even has the audacity to express itself as pride, for what is false modesty but disguised arrogance and self importance? Doubt subverts arrogance and uses it to make its own ends come to be. It can choke off your ability to see your own work, to make new work, to branch into new territories and experiment with new ideas. When let loose upon your world it can fill you with so many questions as to grind to a halt the artist's ability to think at all. It can prevent the artist for failing to stand up and make a case for his or her work, to bypass opportunities to do so and to receive praise and accommodations for the work the artist makes. It is tricky business indeed, dangerous and treacherous filled with the promise of more failure than success. But this is where arrogance come sin to pick up the pieces and sidle onward. When properly controlled doubt is your own personal editor and navigator. Incertitude can keep us honestly on the path arrogance fuels us across and is what can allow us to open ourselves to new interpretations and understandings of what we're trying to do. Doubt can be arrogance's needful bridle, and the disquiet it brings later can save us from a thousand pitfalls and elevate us higher than we deserve.
As a recent example... In making INDEH for example, both of these comes into full and daily play with each other. Presumptuously assuming I could sit down with Ethan who had spent more than a decade writing and building a library of facts and narratives on the subject of Geronimo and the Apaches, and scuttle it all mixing and remixing it together into a new story demanded a level of arrogance and doubt on an unprecedented level. Taking on as an anglo this native story, with all its abuses co-optings and betrayals insists upon the presence of both. Sitting down and drawing, shaping and writing the book with Ethan, allowing for that creative intimacy to full unfold and to take that direction it demands of us both to paper and ink, could not happen without both. Daring to then convince others it is worth reading or taking their food money to buy it, to go out and do press and interviews about it pretending confidence when there may be none could not occur without a hefty mixture of doubt and arrogance.
I can no more express the idea of artistic ego without including in some form the dance between these two aspects. I don't think any artist successful int heir career, can. The world insists we rise up and do so humbly, and celebrates it while scorning it at the same time. Arrogance can shield you from the sneers and jealousy of others where doubt wishes to feed, and doubt can throw needed water on the raging egotistic fires of arrogance non stop praise creates. Moderation in all things is considered the acceptable ideal, but in making art, moderation is death to creativity. We must be bipolar and manic in our wild swings between doubt and arrogance if we're to survive the journey, and even to enjoy it. Art should be a wrestling match and a battle we wage upon ourselves if we are to exact it's highest aspirations. As long as you remember to hold the reins return to the saddle and control the swings, you will surprise yourself with what you come up with in art and in life, even enough one hopes, to give it another try and show it to others again. And again.
I have to separate this into incarnations again.
TOS: the trio, inevitably. And I do mean all three, not Kirk/Spock plus McCoy, but Kirk-McCoy-Spock, with Kirk's friendship with McCoy and McCoy's bickering friendship with Spock as important as the one between Kirk and Spock. Together with the good ship Kirk/Enterprise, this three way friendship is the emotional heart of the show, and the reason it survived that long.
TNG: I was certainly most intrigued by Picard & Guinan. We never got an episode that was all about them, but there were enough scenes to show the depth of the relationship - Picard's complete trust in Guinan's judgment in Yesterday's Enterprise, the way he confides in her in Measure of a Man, while there were also lighthearted scenes (Guinan's wry reaction to Picard's archaelogical geeking out at the start of Rascals). And of course there was the mysterious origin of that relationship. (Shame Time's Arrow, which showed how it started from Guinan's pov, wasn't a good two parter, but they never showed Picard's first encounter with Guinan from his timeline, so that's left free for the imagination.)
DS9: Quark & Dax, and I've written the fanfiction to prove it. Jadzia was the first among the regulars to hang out with Quark socially, not because she was a customer at his bar, and to unabashedly enjoy his company. (This, btw, was when her character clicked for me. The first season had played Dax serene and wise, while the second introduced the Dax who had a flippant sense of humor, loved playing Tongo with Ferengi and flirted with aliens that had open skulls. Not surprisingly, the later version was the one who stuck around.) But it wasn't all having good times together, there was a line to be crossed, which came when he did the weapons of mass destruction dealings with Cousin Gaila, and her reaction was key to giving Quark the courage to go up against Gaila and his psycho client.
Voyager: Janeway & Seven of Nine. This made me from a lukewarm Voyager watcher into, for a while, an avidly interested one. It was a prickly relationship with a great paradox at its start - Janeway forcing individualism on Seven who didn't want it (but whether or not Seven was in a state to make such a decision immediately after being cut off from the Collective was an unanswerable question) -, and their frequent clashes kept me as hooked as their moments of understanding.
Reboot: Kirk & Pike. Reboot!Pike pushed just about every fatherly mentor button I have, and whether he was supportive or chewing Kirk out, he just knew how to handle Jim K., and became apparantly the first person whose opinion really mattered to young Kirk; his inspiration, too. (I'll never fail to regret the reboot wasn't radical and had Christopher Pike remain Captain, with Kirk and Spock serving as his officers.
( The other days )
This is the new place to follow it. The comic will still update on Mondays as usual.
Also, one thing I'm doing on the new archive (that I've meant to do for ages) is adding text transcripts under the comic, for people using screenreaders or who otherwise can't easily read the text in the comic. It will take me awhile to go back and transcribe the whole archive, but I'm hoping to have it done in the next month or two.
Never having done this before, I want to be sure and make it as easy to read as possible. Do any of you following me use screenreaders, or are you familiar with their requirements? If so, and if you don't mind, could you please go to a recent page of the comic - say, this one:
And let me know if this is going to work okay. I'm doing it script-style with descriptions of the actions, as necessary, in brackets.
I would hate to do the whole archive and then have to reformat it if it turns out it doesn't work! I've seen people do it this way for accessibility before, so I think it'll probably be all right, but I wanted to ask, if anyone knows.
Writing, though. I expected that to stop working. So much else going on in my head, where's the room for fiction and stories? Right there, apparently. I hit 54k today, working mainly on the third chapter. It's probably time to go back over the various things in my research folder, check my themes per chapter notes, look at my timestamps, write more timestamps...
Sadly, it's also stupidly hot in Seattle, so my brain is molasses, and while writing is a thing which is happening, it is not a thing which is happening with anything resembling alacrity.
Every rug in the downstairs of the house has been vacuumed.
Also I swept and swiffer-mopped the kitchen and breakfast room floor.
And the kiddo's laundry has been folded, and the portacrib has been set up for this weekend's visiting toddler.
And I have made a pot of coffee so it will be cold to drink in the morning over ice, and also a pitcher of barley tea now in the fridge.
GO ME. \o/
Ich stehe auf einer Klappbrücke aus Holz, die Trebelbrücke, und schaue auf das Wasser des glecihnamigen Flusses. Es ist ein sehr heisser Tag. Selbst die kleinen Wolken schwimmen lieber im Wasser. Hinter einem Pfahl liegt ein kleiners Boot, der Fischer ist darauf eingeschlafen, ein Sommer Tag in Mecklenburg Vorpommern.
Sold / Verkauft
© Edward B. Gordon, all rights reserved.