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incarnateirony · 4 years

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(1.) I like your new format! and (b) I've been thinking about the idea of the end being Cas reordering heaven and Dean being able to choose to be with him there and thinking about why that upset me so much. I think my first reaction was not so much to your outline thoughts, and their hermetic/alchemy base (which i don't pretend to grasp fully), but more to doraspn's read - i hate the idea that someone who has battled a life of trauma, depression and low self-worth can only find peace in death 1/

/part2/ I know it's before Dabberens era, but Dean has twice refused the "peace" option (4.23 when Cas offers it, and s11 when Amara does), plus his character is deeply tied in to the earthy and sensory - food, sex, touch etc. And the show seems (to me) to be saying Cas is moving towards staying - on earth with Dean, maybe as human... Also those Matrix Reloaded videos left me tied in knots! Not sure what I'm asking here, but perhaps for some more of your thoughts. Enjoying this thinky stuff

Hi Nonnie! Lots to reply to here.

1. Re: format; Thanks! I’m still fishing around for some material to make a few more sliders congealing around P3, 4, 5, and SPN’s Shadow; and one around The Matrix, SPN and P5, but for the most part it’s done and I fixed most of the troublesome parts of the first time I converted to a layout like this (eg it hiding text/captions/etc on galleries and forcing them into single image columns)

2. I can recognize your upset with @doraspn‘s phrasing. Personally, from my many conversations with them, I don’t think they intended it the way it came across, but I’m not them, nor will I speak for them. I’m more the kind that tries to presume good faith in readings but I can understand why the phrasing/presentation was hurtful.

3. Eg, the rest.

You mentioned confusion both at the alchemical pathwork and at the Matrix stuff, so let me try a few different angles here. It’s gonna be a bit of a ride. I understand if you can’t soak it all due to personal processing, but see what you can grok from these collective videos I’ve made over the past few years. And yes, the songs are even chosen intentfully. If you have trouble following both in audio, feel free to google the song names for lyrics. After linking them, I’ll discuss a bit.

Parabol & Parabola by Tool (made midseason S14)

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46 & 2 by Tool (made post 14.20 following Lateralus Project theme P&P was built in midseason)

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These videos tackle two highly related topics in Supernatural.

Let it be said: obviously this isn’t an endorsement to run out and die because Fuck All, but let’s just say within the suprastructure of the show that we’re watching;

Andrew Dabb made a comment everybody has been panicking about, that the “death toll will be massive.” I, on the other hand, have a huge mood of “and?” and I think that baffles people how I can mutually suspect a fairly happy or positive ending (if bittersweet in parts) while shrugging that off.

So my simple question, partnered to ideas like Parabol & Parabola, is... should we really fear Death in Supernatural? If we were talking about proverbial death tolls, if Life Is A Highway, and Death and Life are two faces of the same coin, were Death Toll a form of taxation on the highway of life and death, Sam, Dean and their immediate confidants personal crossing past that line, over and back again (consider, if you will, the concept alongside Parabol & Parabola closer to the concept of reincarnation), they’re probably singlehandedly fixing the potholes and keeping the reaper structure online, pfff.

I mean, I use that phrasing loosely. But nothing and in no way has Death been presented as a true end; if anything, it is a point of new beginning. Okay, so humans go to heaven or hell or get stuck on earth and go crazy. And? The Winchesters and co power through that and find a new direction and a new purpose. Neither Death nor God can destrsoy or create souls -- only humans can destroy human souls, be it sacrificing their own for power or torturing each other in hell until the One True Thing, the light that makes them good (and like Jack, without it, is the Absence of Good) goes out, leaving only absence of that kind of spark, and similarity to Amara in her absence of god’s light.

Death, and God, and all these other things can find ways to box up souls, put them in suitcases or jars or trap them, or in the case of heaven, like MichaelDean’s headspace, give them contentment in heaven that pacifies them into not pursuing more, but in the end, where do they come from and to where do they go? Think to the 46 & 2 video and watch it a few times if you have to.

The concept of Shadow, Animus, Anima, Self and Godhood are basically the primitive self, the masculine ego (if we were, for example, to take their angelic daddy issue counterparts), then the feminine self in all things too (be that the need to fill Pamela into Dean’s bar, or the bartender in Sam’s dream, who coincidentally has the same actress as Dumah reflecting the Empty at Castiel, even -- though Cas has been known to take vessels of either sorts and has been argued to even have motherly or feminine aspects and DOES walk the goddess path in the show)

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The Magician and the Self are the master of all of these, to make gold of oneself and the parts in our life, the important things that should not be let go, regardless of what Chuck tells us. But “life” is relative here, in a world where we can reincarnate, time and again. In Sam and Dean’s case, it’s because they’re exceptional people in exceptional circumstances but the question then is, why can the rest of man not be given the same, and how do we right this system?

Which then of course comes down to my Matrix implications: The Architect and Chuck, how are they different? If angels are programs designed to keep his operating system functional; if humans are the power cells, human souls each like innumerable reactors; if he who has the most souls are become god;

if Castiel at one point tried to replicate this, but had no sorting system to keep them distracted or occupied and they ... well, they rebelled. But Chuck has ample systems. He has heaven, where people are distracted. He has hell, where humans tear each other apart. And he has... earth. Yes, earth. Where we are in fact convinced to desperately cling to the human bodies as part of the sandbox he designed, for fear of what waits for us. Again, as per the Shadow video, “I’m the cage,” what separates the defined human experience as it stands from that?

Reordering the suprastructure of the universe may very well give us the opportunity to make a new world, a better one, free of hunger, or want.

If, for example -- just one of the angles this could go; let’s say Cas unbirthed heaven like Rowena did hell. Neither of them truly perish. Their physical bodies die and will not return to earth, but these realms can directly interact. They endure, and can build entire new system structures. What if whoever unbirths heaven in the end makes it so EVERYONE can have the choice to reincarnate and gain new experiences? Or equally so the choice to go and make their own perfect worlds with anyone and everyone they choose, where man is his own agent and own god that defines the extent of his experience?

After all. Burgers can go cold in heaven. Physics are had there. It’s all cognitive, but by Chuck, so is earth. The only problem is that none of the people there are real, and in the end... people, families, that’s real. That’s the whole point, isn’t it?

So back to the Matrix: the architect like Chuck had built many worlds, and humans fell into it, becoming the driving power cores. Their revolt is the one thing the Architect would do anything to prevent or minimize, even if in a way, the Architect himself created the One. Angels are programs. Fallen angels are rogue programs. But even agent smith managed to convert “out” into humanity.

I’ve been all for human Cas endgame and, in a way, I still am. In fact, the very idea, the proposal of him taking over heaven prevents nothing of him living in eternity with the Winchesters. Be they having Jack take over the macrocosm of the universe and still dancing through earth as we know it, or eventually sunning their butts between incarnations or building their own realms with all they may want and have. Do they choose to incorporate the carnal edge of experience? Maybe! They know those things after all, so what prevents them of creating it any differently than Jack’s burger going friggin’ cold off of complex manifestations of memory?

What is life? What is the meaning of life? Is it sitting here with a thumping heart, locking ourselves up in rooms for fear of losing it, or is it the people, the families, the experiences we gather as a whole? And in the structure of Supernatural, if Sam and Dean were to die in physical body, does that mean they’re dead? Hell, does it even mean they’ve given up? Or do they actually have dreams and objectives to make better worlds and realities, to bring back every person they’ve lost?

What keeps, say, Dean from going to heaven and opening up a bar for travelers deciding if they wanna reincarnate and enjoy earth again and get new earthly experiences -- or if they’ve found their meaning, their purpose, their people, and they want to, by choice and not assigned fate, take those souls with them into their own worlds where they can make new and better ones? Break the cages, give power and freedom.

It’s a complex line of thought and takes some brain breaking because, as humans, naturally we fear Death. But the perspective of the heavily reincarnate Winchesters and the universe of the show we’re watching -- hell, Sam and Dean CAN’T even really just kill themselves to give up. Remember Lucifer was like meh, I’d just bring you back. So that ain’t it either. It’s not necessarily about giving up or being suicidal, should we come to this -- but about freedom, and choice, and sovereignty of man, and chosen love and family.

If the Shadow were the dreamer in the nothingspace that neverwas, the primitive man, who woke up and went “WTF?” one day and by mistake shat out primitive principles, like the demiurge YHVH/Chuck who happened to create the world by concept of Light and Grace, somewhere, it’s “Why do I exist?” Not to be too pedantic but remember when Mewtwo woke up in a test tube and just kept asking that over and over again. Hell, DO I exist. What is the meaning of this allnothing? and to make it by that question, and to try to find meaning in it, and to gain a million individual experiences, and become a million people, all developing their own personalities and egos and identities and lives and memories, but all to ask, and search, and find -- and still to come back to itself, each other, and by those experiences we become whole.

Eileen’s ghost didn’t hear. We can say it was just for politically correct reasons. Or we can consider that the soul that entered into that body never knew what it meant to have those senses in the matrix, and it was irrelevant in the end. It did not define who she was, and did not need to, because she had her own definition and her own life and her own self. But like everyone else, she gravitates to those she has a connection to. Sometimes with prodding from Chuck. In other cases, against his best efforts, some connections make themselves.

I’ve reached the point of ranting, but maybe this has explained what I’m talking about in these things?

To me, “suicide” in its form as given by the show isn’t just deciding not to need earth as it stands anymore. It’s giving up. It’s surrendering to the cages. It’s Dean wanting to be rocketed off into the depths of space or thrown into the ocean (or, just as bad, throwing Cas into it in his place). It’s giving in to the boxes, to not want to maintain freedom to pursue and explore. So, if Dean should, for example, choose to go to heaven in the end, if this system has been rebuilt-- I really don’t consider that suicidal or death. I consider that a real step into life, and the self.

** Obvious disclaimer let’s not endorse this as a real world line of thinking unless you too like Sam and Dean Winchester can reincarnate after half an episode thanks

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outsiderisin · 4 years

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Unsaid Goodbyes

13 sat in the UIU briefing room as Director Henry addressed the entire room which was filled with new and experienced agents. The canman and the cart her team had been chasing was larger than they had originally thought. It actually had a can too and they had half waltzed into it without noticing till nearly too late. 13 was still worried about Alex, Agent Time, who had been targeted mostly for his anomalous ability of showing time down. He was alright but his brush with near instant death had shaken the man.

Sure it wasn’t the first time, the team had faced death but it felt different this round. Like there was something more to it all that no one was telling them. 13 remembered getting momentarily separated on the retreat, just long enough to get a message that made no sense. “Tell him thank you for unleashing us and him for godhood.” She couldn’t shake the feeling she knew who it was referring too at least and it made her worried as Henry’s next notion had her on her feets.

“Yes, Agent Reality?” Henry asked with caution as 13 took a breath to steady herself. Her team looked concerned at her as the room focused on her.

“I mean no disrespect Sir, but are you out of your fucken mind? This thing is out of our league and you know it and I mean you know it, Director Henry. If we send in new agents to this, you might as well just shoot them right now. Even us with experience don’t got a chance.” 13 said trying to bay her anger as Henry tensed on her empathization. He took a moment to level himself and sternly replied,

“Noted Agent Reality. Now sit back down.”

“You know I am right, and you keeping secrets from us isn’t helping.” 13 shot back in whispered hiss, before heading back to her chair and flopping down in it. Henry glared at her as 13 stared back. The room was silent and was fixated on them. No one had ever seen Director Henry angry like this before and Agent Reality had never interrupted a briefing before. Laura, Agent Space, gently touched 13’s arm but 13 shrugged it off. After a moment, Henry growled out;

“Got more you wish to say 13?” “Yeah, this thing knows you. It said you unleashed it Henry. It said that with the fullest of belief which makes it hard not to believe it. And now you are telling us that the whole UIU is going to go gunning for it; something ain’t right, but it does confirm something Henry. You know it, but you wouldn’t tell us what it is.” 13 said, letting her frustration seep into her words, before adding “This ain’t about protecting the world this time. It’s something to do with your personal pride and you don’t care who gets killed because of it. And for that, Fuck you Henry…. Fuck. You.” Henry was visibly shaking in anger. His face was red as veins bulged on his temples. His fists tight enough that his fingernails had drawn blood while his knuckles turned white. His jaw was clenched as his eyes burned through 13 who had stood back up as her chair was now on the ground behind her. 13’s hands were in firm fists as she stood like an imposing wall.

“Agent Reality. GET OUT!” Henry’s voice boomed, “You are no longer part of the UIU and don't think ‘that’ phone call wouldn’t be going to the foundation.”

13 tensed at the threat as the room seemed shook at what was happening. 13 could hear the agents whispering as she struggled to keep herself from lashing out. She had to act quick when John, Agent Theory, asked,

“What phone call? 13, what does he mean?”

13 didn’t have time to respond as she saw Henry was going to tell everyone her secret. She let off a blast of energy which slowed down time like Alex’s ability, but no one could hear her and Henry; who had been tossed back into his chair. Henry looked scared, as 13 floated off the floor as she came closer. Her fists clenched tighter as she then spoke up, “Henry, I wish you hadn’t done that. I respected you, trusted you and believed you were a man to rely on, but this changes everything. I don’t know what is so personal between you and that canman, but I will not take a part of personal vengeance. You even taught us that personal vengeance only leads to ruin. It clouds your judgement.” 13 spat out holding the whole room at a stand still, the whole building actually.

“13, you need to calm down. You are right, I was out of…” Henry began to jumbled out as 13 spoke up again,

“No. Just no.”

“What?!” Henry asked, confused as 13’s head hung low as her long hair fell into her face.

“No.” 13 replied about ready to cry “You broke my trust, my belief, my respect for you Henry. It took a lot to reveal that I was once a D-class in another reality. That here is not my home and that because of certain events that I can hardly understand, my old anomalous ability reactivated. An anomalous ability that is so dangerous that it has an instant termination call from all sides. So no, I wouldn’t take your apologies or excuses. You crossed the line, Henry.”

“You can’t kill me 13. It will cause too much suspicion. Calm down, we’ll think of something. Together as we always do. 13? 13?! 13!” Henry yelled as 13 closed her eyes as she froze Henry. She then looked back to her team who looked scared for her as she felt her heartache at what she was about to do. She then took in a deep breath, still fighting tears as she thought hard and ordered.

“Forget me.”

13 thought of every person she had met or seen and put them in a list in her head as she thought of them all just forgetting her and false memories or dreams taking those blank spaces. It was hard to do as she also focused on pictures, videos, notes, documents and anything else that might show that she ever had existed, before she teleported herself away. Everyone then unfroze and seemed confused. Henry guts told him something was wrong as Laura, Alex and John looked concerned as nothing in front of them. A flipped chair between them all, did not help. Henry gently calmed everyone, saying it might have been an effect from Laura’s team entering a can zone. Might of been a word trigger. He postponed the briefing to later as he rushed back to his office to look into his files, but found nothing out of the ordinary. But he felt deep regret as he could only recall a blurred shadow in his mind.

Alex was outside as Laura lit a hand rolled cigarette next to him, John was rushing through his notebook, looking at blocks of missing text. Alex scrolled through his phone for any clue when a MTF member called him. “Time, something just happened. Like everyone who has worked with your team, can’t remember certain things. Like get Henry on the line now. The O5 council needs to speak with him, ‘cause O5-5 has been affected. Hurry.” “GOT IT.” Alex chripped back loudly, rushing off to find Henry as Laura sighed. She went to pass the cigarette to someone that wasn’t there, which confused her.

“John… I think we are missing someone” She said

“I know. My journals are missing anything that could point to who. Do you think they might have got caught by that thing and after getting all the information from them, it deleted them from history for insurance?” John replied, trying to make sense of why their ability was no help either.

“Potentially. Let’s give that to Henry. It makes enough sense to be possible.” Laura said, looking around for a moment as John gently nudged her towards the door.

Over at the Foundation, O5-5, Orchid, sat on the faceless video call as Henry had little answers other than the hypothesis his agents had come up with. She ran her hand through her hair in concern as she rattled her brain for any ideas to add. She tried to recall details: a name, appearance, items they had, and places. A house came to mind as she cut in with its address before apologizing. She was assured that it was okay this time due to the matter at hand. A MTF was deployed shortly after the call had ended.

Commander Matthew drove the van finding it odd he didn’t really need the map as he drove. It wasn’t his normal team with him as they were still getting checked out for the memory loss, but it felt eerie and uncomfortable. He made sure to glance occasionally at the map as the team whispered behind him. He finally called back.

“Hey, you all okay back there. Not used to this quiet of trips.”

“Sorry Commander, we just didn’t want to distract you. We’re just surprised you are spearheading this operation after your team and all.” replied Diana

“Yeah. How spooky is it with not remembering this agent person?” Jax asked

“How does it feel?” Lexi inquired

“It’s definitely scary to suddenly not remember someone, but not very eerie given our line of work. How it makes me feel though… I feel…. Heartbroken.” Matthew replied as he did feel that way. What he could recall was that he had feelings for this agent and that the agent liked him back. That they were close and their disappearance left gaps of daydreams in his mind. It hurt, deepily. He then added “We had grown close, too close. I don’t quite remember it, but I feel it. It’s just, we never told each other that we loved one another. I now wish I did.” “Damn. Sorry we asked Commander.” Jax said as Matthew saw the other two nod in the mirror.

“It’s fine. I just hope they are still alive and do remember us. Otherwise, I hope they are still alive at least.” Matthew said as they pulled up on the house. Him freezing at seeing the house was decaying. Him looking at a photo that had to be recent as he ordered the other to gear up now. The door was open and the house was just as bad as the outside. No furniture, no color, no signs of life as Matthew carefully swept the place before stopping in the master bedroom’s bathroom. The cabinet was open with a new box of plasters as he remembered a woman standing in the old sands of another dimension, pointing a gun at him. “You got Agent Drummer killed back then. I hate you and just want you to feel my pain over and over again till you break” she growled as sand swarmed around her, but he couldn’t recall her voice properly as the plasters covered a part of her chest and arm. He then snapped back as Lexi grabbed his shoulder.

“Commander, are you okay?” she asked, concerned as Matthew recorded his finding. It was a fake memory, but the feeling of it felt right. The woman had once hated him for his hand in her partner's death. It then clicked as he pulled out his cellphone to call Orchid. Another lead had been found.

13 had teleported herself, crying, to her family’s old abandoned estate. No one knew of it, not even Henry, so she knew she was safe for the time being. She felt like shit as she focused on fixing the interior part and getting some basic items running, hating the fact she didn’t think of emptying her old bank account before making herself disappear. She then sat on the old couch from her childhood and pulled her legs up to her chest while she tried not to think. She didn’t want to think of her friends and allies she left behind. Nor her found family or Matthew who must be going mad over not remembering her. She actually doubted the bend would fully work on him or even Clef for that matter. She then closed her eyes as she tried to keep out her own thoughts as she felt sick. Another home and family gone in an instant. She then fell apart, crying her eyes dry before falling asleep as nightmares plagued her dreams once more.

#scp #scp foundation #scp ocs #13 aka agent reality #bobby aka agent drummer #alex aka agent time #john aka agent theory #laura aka agent space #director henry #orchid aka o5-5 #O5 council #agent matthew #13 is a mess #this was a rollercoaster #to write #please enjoy and sorry for the errors #warning: long #language

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kierongillen · 6 years

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Writer Notes: The Wicked + the Divine 39

Spoilers, obv.

And we collapse forward on the keyboard and twitch a while. This has been nightmarishly hard. I suspect the last arc will be hard (as nothing in WicDiv is easy) but the things we were juggling here were something else.

Before we dive in, some top-level thinking. The advantage of the way WicDiv is constructed is that we know what we're doing. A friend was just rereading the first arc, and noted how certain elements and approaches simply changed as the tone of the book solidified – while also noting that every direction we did take was there from the off. We knew the What We Were Doing but not always the specific How.

(Not least, as I was a hot mess in 2014. I'm amazed the WicDiv scripts weren't just bahsjasjfaglagsfk.)

But the problem with knowing the direction of the book is you're tied to ideas you may wish you hadn't put in play. Because a five year book is enough time to change significantly in what you consider a good idea or not – and even if you still think it's a good idea in the abstract, it doesn't mean it's an idea you would necessarily want to do any more.

At this point, there's various things flying around. Firstly, Laura has rejected her godhood. That's great. That's clearly the arc of the book. Secondly, Ananke is running her own eternal scheme with its eternal rules. I don't think it's a spoiler to say that Ananke (and I'm using “Ananke” for “Ananke and Minerva” here) is significantly deceiving people on some key matters, and using the holes in their knowledge to her advantage. At this point in the story the same thing happens to her. We see that her own perception is also incomplete.

So – what's the thing she's missing?

I fell upon Maiden/Mother/Crone as a structure to create a relationship between Ananke/Persephone/Minerva. What action would Ananke buy?

It has to be archetypal and mythic. Cheaty postmodernism doesn't work. Myth is brutal and basic and ugly and wrong.

So – if the Mother archetype has a child, Ananke's doomed forever. It breaks the little eternal circle and Ananke thinks herself trapped in that sensory void forever.

There's nothing in the above specifically and individually which worries me too much. It's how they intersect with the rest of the plot, and how we can chart a line between them all without saying anything we don't want to say, or without causing undue emotional distress in a way we're uncomfortable with.

We end up with our solution, which is merely our best solution, which means it's far from perfect. We do as much as we can, and try and touch on stuff as gently as we can to avoid any fair misreading of the story. Even so, there's resonances in there I dislike.

There's a sentence that is said all the time in writing room situations: “This is the bad version.” It's said when people are brainstorming, and asking the audience to know this isn't good, but they are good enough writers to make it better – it's just a structure of the sort of things that the narrative could delineate.

It's easy to imagine The Bad Version of this plot. Laura finding out she has to have a kid to save the world! Baal and Baphomet fighting over who's the father! An issue cliffhanger where you think Laura's own choice has doomed the world! I shudder. Like, someone with a different aesthetic to me would have done all of the above.

Instead, what we try to do is what we have to do to make the story work, and do it in the safest way possible. It's the guiding aesthetic of most of this issue, in terms of separating the two key threads – namely not confusing Laura's choice to have an abortion and Laura's choice to reject godhood.

But still – I spent four years trying to think of something that Ananke would buy, based on our implicit story, which wasn't this, and failed. I'd rather not have gone this way. I'm happy with the issue, but it was a heartbreaking amount of work as I take all of this intensely seriously.

So, to return to the opening, the problem with being as structured as WicDiv is means that you are tied to decisions you made years ago, without which the story simply breaks.

DIE (aka Project Spangly New Thing) rejects this kind of plotting. It's just as messy emotionally as WicDiv (hell, even more so) but leaves the characters a lot more narrative freedom. I'd have done it anyway (because I hate to repeat myself) but the experience on arcs like this certainly feeds into it.

Anyway – I'll be talking some specifics in this as we go through, as I suspect it may be useful for people thinking about the impact of choices.

Jamie's Cover: Ananke in her cavewoman chic. That means 2 “persephone”, 2 “minerva” and 2 “Ananke” covers for this arc. The symmetry seems fun.

Phil Jimenez's Cover: I first saw Phil's work in his pop-thrill issues of The Invisibles, an obviously influential work on yours truly. We worked together on Angela: Asgard's Assassin together, which was a thrill, and this glam-metal take on her. He's also very lovely. As such, Minerva in full-on catwalk mode is a great take. I love these kind of maximalist high-thrill ones. And LIZ's ‘When I rule the world’ has just come on my WicDiv shuffle at this point, which seems appropriate for Minerva stomping down a lightning-catwalk. Also, Dee Cunniffe (who has flatted nearly all of WicDiv) provides colours. Nice work, Dee.

Page 1-2

Black spaces. Like the opening of the arc – C's idea, I believe. Also, ensuring we get our page turns right. We dropped the recap for once. Normally we'd drop it in the mid-point of the issue instead of the first interstitial, but it would have broken the space.

Obviously mirroring the start of this arc.

The first obvious bit of delineation: this is ten days after the end of last issue. Laura stopped being Persephone 10 days ago. As such, anything that happens now is not connected to that.

The biggest reading we wanted to avoid: “Laura's abortion is the ritual by which she rejects and escapes the Persephone-Mother archetype”. Especially if people, either pro or anti choice, could make an argument we're saying we're saying the act is human sacrifice – a reading which seems especially possible in a story that already has human sacrifice in it.

Page 3-4-5-6

Reestablishing what folks have been up to in the gap – in short, bits and pieces, bits of information the characters should exchange, etc.

The Cass/Woden dialogue is stuff I'd have liked to get into issue 33, but was cut due to space and focus. It was Mimir's scene, and as he's been silent for the whole book, he gets to speak. The “He stole my life/I stole his” was all that was required. This is detail. Interesting detail, but detail. And, yes, loaded.

There's a lot of “starting other stuff” in this sequence – clearly the “ritual” is going to be important next arc.

I love what Jamie is doing quietly with Mimir and the boxes at the back of the room on page 4. Like, I wonder what's in each of those boxes, right? There's some horrible pure objectification here. Like, Pokémon. Got to catch them all.

You can tell that Woden is more chill with Minerva, right?

It was originally written with Minerva noting that mind-controlled-sex-is-rape at the end of page 4. That felt frankly aggressive, as if we were using it as a punchline. Instead, we soften it, and move it mid-panel, which changes the feeling around it, hopefully.

On page 6, I really like the “Hmm. You're learning.” It still makes me laugh.

Making the gun's controls REALLY VISUALLY OBVIOUS is not exactly subtle, but 100% needed to make sure the scene make sense.

Page 7-8-9

With a month gap between issues, it's possible that the reader may not have noticed that we've changed the issue structure from the rest of this arc. It's not “past stuff then present stuff” like the others. It's at least one reason why we didn't give a preview – that and that the first pages of the issue are entirely non-characteristic in terms of where the issue goes.

Anyway – first page is a pure repeat from issue 34, so a free page. This issue is a little longer than normal, due to normal cheats. It's actually 20 new pages long... plus one new panel.

Page 8 is very peak Jamie, plus Matt, for a certain mode. I never get bored of seeing what they do with blood together. Ananke's expression in panel 4 is just particularly well chosen. This isn't how Minerva feels last issue – that's after thousands of years of dwelling on it. This is first exposure. You don't go straight to AGRGRHRHRHRHH.

And back to the still angle on the third panel. Like, the static nature of these seems important in terms of mood.

I really hope Ananke isn't licking that knife.

Page 10

I spent the best part of a day trying to work out what to name this interstitial, after naming it a few things previously. That we end up with a very limited Bowie nod says everything. Anything else seemed to create resonances we were trying to avoid. Once more, the aim is to separate the two decisions from Laura as much as possible.

Page 11

I know drawing London kills Jamie, but I'll miss seeing stuff like this monthly when it's gone.

We don't know Laura's walked out of a clinic for a few pages, but it was important to just give her space here.

Researching locations in London, in terms of placing the events, the timing, what would be available, and Laura's condition after an abortion and trying to find a way to be sensitive to all of that as a writer. Ideally, I was looking for an option around Highbury & Islington, as I always prefer to reuse settings. In practise, this was best.

Page 12

I basically described Beth's crew as Valkyrie-plusses. As in, the mini-bosses in a videogame. Elite models for a basic troop type.

Toni pushes to the front, as he's always been the most talkative of the Other Two. Writing this I realised who he is here – he's basically “Imagine Marvel Boy, if Marvel Boy was a total idiotic dipshit.”

(Instead of the “mostly idiotic dipshit” he was in YA. Love you, Noh-Varr! KISSY FACE.)

I believe Jamie laughed at this a fair bit.

Page 13-14

I considered various captions for Laura here, but no matter what they did, they blurred the line between her abortion and her abandoned godhood. As such, the relative silence was considered more effective.

13-14-15-16

A lot is packed into this space. In an ideal world, I'd like another page for it, to extend Beth's choice to shoot or not, but it's all there.

Key delineations here: obvious restatement of the 10 days since she's been a god, to ensure it's clear. “Panel 3”; Beth never knowing (nor caring) where Laura has just been; Robin actually being human; Laura's privacy being respected; the “I've got more imminent problems” to separate her being shot from this; most importantly, Laura never knowing that this decision was important to Minerva, and never letting Minerva's mistaken beliefs impact her decision. Laura' abortion is her choice and doesn't need a bunch of mythic stuff attached to it for her.

The “shame” line resonates with another, more optimistic, line on the first page of Young Avengers. This speaks to the books, and the choices and the attached psychology.

Page 17

Oddly, the “no cameras in the bathroom” information we've set up allows this scene. Minerva isn't someone who would vocalise much if someone could have hear. You can imagine her looking in each booth to see if someone's around. I did consider moving to captions for a page, but Minerva getting captions for this one event seemed aesthetically off.

Page 18

Self-evident interstitial, and so long a bit of text I can hear designers wincing.

Page 19-20

Earliest scene so far in WicDiv. I did consider having it set after the murder, with the grandson coming back to hear her last words, but the “alive-dead-alive-dead-alive-dead” was getting a bit silly. A quietly magical breakfast conversation seemed the way to go.

I think the bleakest and darkly funniest thing in the issue is the “Eventually, we'll learn. It may take a thousand years, but someone will figure it out.” Oh, you total optimist, you.

I do like the mood of the colouring for this.

Okay – the key structural bit for safety-proofing this plot? The absolute minimisation of the gap between discovering the fourth rule, discovering Laura has had an abortion and then discovering that the fourth rule is just a lie. The longer it hangs, the more it is letting people live with an idea we find reprehensible. The thing I knew when starting this arc is all of this had to happen inside the same issue – the problem there being, that it also had to be foreshadowed enough to not come out of nowhere. And if you foreshadow too heavily, it's as same as saying “this is where it's going”.

Anyway – that wrapped up, we move towards the end...

Page 21-22-23-24-25

The continuation of last issue's end. Laura and her captions.

Some perfect McKelvie expressions, and some key beats. Like, this also adds shade to last issue – I forget if I mentioned that one of the key beats of the series (Laura rejecting her godhood) being dramatised by her swapping a SIM card seems absolutely key to where we are.

Two key expressions – the glance to camera with “I'm not a god” and “So what? So do you.” I could marry Jamie for these.

Matt working the blacks and the ochres here is fascinating.

Thought experiment: originally the layout on page 21 had two captions in panel 3 and two in panel 4. I moved the first from panel 4 to panel 3. Why? A single caption always has more weight in a given space. Having two in each was effectively giving no extra weight to any individual caption. Instead, three in one makes that the conversational beat and the one over the spiral-staircase means the latter just hangs there.

(In short: less dialogue/caption in any space makes the line more important. SPACE=MEANING is what I've been saying all along, usually with panel size. As in, “bigger panels read as more important.” But the same sort of thinking applies to lettering in terms of the space it is allowed to “control.”)

End of page 21 – a final restating of the two events being separate. Laura choosing to have an abortion is something she decided when starting to put her life back together. It's not a cause of her stopping being a god – if anything, it's something that's resulted from her new state of mind.

Lots in terms of mode in 22, but I love how Jamie has handled the nudity in the second panel. As in, she's a girl changing for bed, but she's never presented as something to be objectified, to looked at. Laura is always someone we're meant to be. We are meant to inhabit her, and her us.

The panel at the start of 23 is the extra panel we squeezed in. One panel for this amount of extra material, leading to the better reveal seemed a good choice.

Did I mention I lost a line I really liked last issue? The “At long last, I know what I'm not” was originally “I know what I am/and I know what I'm not.” Which is pretty and elegant, but also confusing with this ending – the “what I am” is “not a god” and what I'm not” is “a god”. Prettiness only goes so far, especially as it's not as if Laura's going to stop and explain that.

Lots of key bits of dialogue in these pages, obviously. “I distrust anyone who tells me who I am. Especially if I agree” and all that.

Obviously in storytelling choices, this is reprising, in an inverted way, the end of The Faust Act. Instead of a flash of light, fading into darkness, darkness emerging from light. Also, really strong choice of expression in that final panel.

Referencing ‘Dancing In the Dark’. Springsteen's is obviously great, but I'm thinking of the Downtown Boys' cover which is much closer to where WicDiv is coming from.

I choke up at all this scene. Been a long way to get here, Laura. Onwards.

The trade collection for Mothering Invention is out in October. We have two Specials before next arc, WicDiv: 1373 (out at the end of September) and WicDiv: The Funnies (out in November.)

We're then back in December, where we begin our final arc.

It's called – “Okay”. Including the quotation marks. Yes, we're going out on another Bowie reference.

Thanks for reading.

#WicDiv #the wicked and the divine #writer notes

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peachyteabuck · 6 years

Text

act of godhood

summary: after you refuse to tell both of them which is the better dom, they take matters into their own hands

pairing: bucky barnes x reader x Natasha romanoff, bucky barnes x reader (past sexual relationship implied), Natasha romanoff x reader (past sexual relationship implied)

words: 4223

trigger warnings: smut smut smuttiest smut, threesome (mff), oral (female receiving), face riding, straight up fucking (no condom because consequences don’t exist in fanfic), spanking, lots of swearing, mentions of past sexual encounters.

PART TWO, ‘BITE OF FRUIT’

PART THREE, ‘ACROSS A MINEFIELD’

ask box / masterlist / commission info / ko-fi

You feel like caught prey. Cornered, hogtied, ready to be devoured. This was your own damn fault, you had no one else to blame.

Lying on the corner of Natasha Romanoff’s large bed, your legs are free to writhe and kick while your hands are bound above your head, effectively turning you into a captured dog with some illusion of freedom.

Your mouth isn’t gagged, but it is covered. Tony had been experimenting with a bunch of different masks for Bucky in different fabrics and colors, trying to make them even more high-tech than whatever Hydra originally provided him with, and at one point had mismeasured his face dimensions. That made one set of masks (about five or six, all exactly the same in their fatal flaw) too small, and therefore useless to the wide-jawed supersoldier.

Still, you found a use for it. Even in their inadequate size, they still silenced any sound that escaped your lips was absorbed into the fabric and easily expelled. This made for a great hide and seek cheat, and an even better sex toy.

Bucky stays on one side of the bed corners while Natasha stands at the end. Both are staring down at you, mouths watering, cock and pussy aching. All for you.

You mewl, a desperate attempt for physical contact. How did I end up here?

It’s a rhetorical question to your broader consciousness. You know the answer.

You had been dommed before, both by the Winter Soldier and Black Widow. Albeit, you never got your brains fucked out by both at the same time.

One day, due to a very unfortunate laundry day mishap, they had found out about your sexcapades with the opposite assassin. They confronted you in the large laundry room, the hum of the machines almost drowning out the sound of your heart beating wildly against your ear drums. Whether you were screwed in a good way or a bad way, you were still screwed.

Both demanded to know which was better, which brought you more pleasure, who would you choose if you had to? What about this kink? Did you perform this specific sex act with the other?

You felt like a guilty criminal, one not very good at keeping secrets. You feverishly tried to calm them both down, to stop the nerve-rattling line of questioning. “Neither of you is necessarily ‘better’ than-”

“Bullshit,” Natasha scoffed. She stood tall, full-on “fight me, I fucking dare you” mode. The last time you saw this was when your ass was about to get torn up with a riding crop while you suspending from her maroon ceiling, the time before that, when Steve decided to go off on his own during a mission without wearing an earpiece.

You continued despite their shared glares. “You’re both, each of you is completely different! I can’t compare you two!”

Then Bucky spoke, voice low and commanding. “What do you mean…different?”

You shrugged lightly, still holding the laundry basket that mostly held your clothes, but also had Bucky’s black boxers and Natasha’s black panties. Geez, what is it with hot, scary people and black underwear?

If only you had just given their underwear back to them, or made them pick it up, like a normal sub. But no, your never-ending hunger for praise and to be good just had to manifest itself into you being an unreasonably nice bottom. God, next time you were just keeping it like a trophy.

You shivered, them both still staring you down. You now understood why criminals confess so damn quickly when they’re the ones questioning. “Natasha likes me, like, totally immobile. She likes to give or take whatever she wants, when she wants it. No word from me. Buck, on the other hand, likes for me to be brattier...likes me to put up a fight...likes to praise me...lay it on thick…” Your voice got quieter as you continued, ability to stand up to them withering away with every inhale.

You thought she was about to snap at you, but instead she turned to Bucky.

“You’re a brat tamer?” She exclaimed loudly, and you flinched; she’s talking a little too loudly for a common area.

Bucky shrugged. It was less tense than yours, though. That one wasn’t defensive or scared, it was relaxed. “I like that feeling of success, let me live my life in peace. What, you don’t like a little chase? Don’t like the feeling of accomplishment when a mouthy little brat finally gives into you?”

Natasha huffed. “No, I don’t. I like to be in charge, that’s why I dom you idiot. Plain and simple. If I wanted someone to back talk me, I’d go talk to one of you petty boys about following orders, or not being little bitches when something goes wrong on missions, or…”

You snorted, and it reminded the two of them that you were, in fact, still there.

Natasha reacted first, because of course she did. “What was that, pet?”

You locked eyes with her, your whole body going cold. Oh fuck. You just fucked up big time.

“Nothing, mistress,” you whispered, voice tight. It’s a last-ditch effort to avoid trouble. The problem is, it most likely won’t do shit for your acting out of hand. Nor will it do shit for your ass, which has just recently healed of the deep purple-green bruises and bloody scratches that criss-crossed your back, butt, and lower thighs.

Bucky’s thick arms crossed across his expansive chest. “She calls you ‘mistress?’ I feel like you’d be more of a ‘mommy’ type of person, Romanoff.” Natasha didn’t turn back to face him as she responded. Instead, her eyes raked your body. God, you felt so fucking small.

“Doesn’t have the same…” she tilted her head, scanning you while she searched for the right word. “Feel.” Her long pause felt like centuries, eyes still locked onto you. “What does she call you?”

Bucky stepped closer, only adding to the feeling of helplessness. He traced your plump lower lip, pulling it from between your teeth. His soft touches were a sharp juxtaposition to Natasha’s stony looks.

“A few things,” he replied, watching you like a hawk. You still didn’t break eyes with Natasha. “But my absolute favorite is daddy…” He leaned in impossibly closer. You dropped the laundry basket, narrowly missing their toes.

Bucky smoothly kicked it away before speaking again. “Isn’t that right, baby? You love making Daddy happy, don’t you?”

You whimpered and nodded ferociously. Bucky then pushes his thumb past your lips, and you knew exactly what to do.

You begin to suck and he moaned and holy fucking shit you’ve never been so turned on in your entire life.

Natasha rolled her eyes again, grabbing Bucky’s shoulder. It breaks the spell your interaction had cast on the two of you.

“As usual, you’ve turned a cross-examination into some kind of porn shoot,” She backed you into the wall completely, the coldness causing you to gasp. You could feel her body heat on yours, and all you wanted to do was reach out and touch, touch anything. Her soft belly, her scarred shoulders, her plump lips.

“Tell me, Printsessa,” her sultry voice sent shivers down your spine, even more so than the freezing cinderblock wall. “Tell me more about how Bucky boy over there and I treat you different.”

You gulped. Your voice tumbled out of your mouth like boulders down a steep hill: fast, uncontrolled, deadly. “You like to inflict pain, you like impact play, you like toys. So, so many toys...all Bucky does it lightly spank me when… when he’s taking me from behind...likes to hear me moan because of it...he likes to overstimulated me, you like to deny me until I...you both, both of you like it when you make me cry, love making me beg until tears stream down my pretty little face..”

Your hooded eyes flashed to Bucky, who was palming himself through his dark sweatpants. You barely had time to eye his thick cock before Natasha slapped the inside of your thigh, leggings doing nothing to absorb the blow.

She growled out into your ear, “I specifically told you to describe differences, pet. You want me to punish you until you can follow orders?”

You whimpered again, high-pitched moan never making it out of your throat.

Yes, you thought.

“No,” you replied.

Natasha’s eyes narrowed, fingers going to wrap around your throat. It was a warning, a shot in the sky instead of straight into your heart.

“No, what?” She hissed through her teeth.

You stumbled over your words as you spoke. “No, mistress. I’m sorry, mistress.”

That’s when Bucky moaned, guttural. It went straight to your aching pussy. “God, you two are gonna ruin porn for me for fucking ever.”

“Shut the fuck up, Barnes.” Natasha’s voice was commanding. It’s the one she uses on missions, or when one of the boys fucks up big time. She was already mad she had to share you, and Bucky’s deep voice might as well been a fucking dog whistle, or nails on a chalkboard.

Her fingers tightened against your throat, her other hand going South. Her nails pressed into your hip bone, and you knew for sure it was going to leave marks. Crescent shaped nail marks, to be exact. Say what you want about Natasha Romanoff, but that girl likes a nice manicure.

“Tell us more, pet” she purred.

Bucky’s metal arm moved across your stomach to keep in you place. When did he move so close? You thought he was...over there? On the side of you? It didn’t matter, you being touched. That’s what mattered.

“And feel free,” his voice was smooth, calm, collected. Gruff. His words were good whiskey. “To talk about anything you want, my precious little one.”

You cry out a little. You were wet, so wet, and all you were doing was talking. What would happen when they touched you? Would you fucking explode? Would the world collapse into itself like a black hole?

You didn’t care what happened. As long as you had them, you’d jump off a cliff. Or out of an airplane without a parachute.

You took a deep breath before you continued. “You both love butt plugs, but nothing farther...and Buc-Daddy, Daddy likes the jeweled ones, his favorite is a pastel pink one in the shape of a heart. Mistress prefers the solid black ones, sometimes if I’m good and she collars me she likes the ones with tails because they match,” your sentences devolved as Natasha started rubbing between your thighs, one of them still stinging. Bucky, who refused to allow anyone to have fun without him, began kissing your neck. “You both love when I ride your face. Once Natasha made me moan to loudly I lost my voice and didn’t get it back to normal until two weeks later. Three days after that Bucky left a bruise so big on my hip I had to cancel yoga with Peter because I could barely move…”

Bucky was the one who cut you off next. “Who made cum the most in a single night?”

You moan before you answered. His beard scratched against your neck and ear as he spoke. “You, Daddy.”

Natasha reached around and lifted your butt from the wall before spanking you, hard. “What’s the most you’ve cum in one night, pet?”

You wailed at the contact. “Eight, Mistress.”

She smiled. “And who did that to you?”

You were almost crying at that point. “You, Mistress.”

“Who’s made you cum the hardest?” She snarls. It’s animalistic, and hot as fuck.

“You, Mistress,” You cried.

After that the next thing you could comprehend is you, laying on the bed, looking up at the two doms.

You’ve never been more turned on in your entire life. If you thought it was bad in the laundry room, the fire in your belly and the strain in your arms and the almost-incomprehensible pleasure would surely cause you to explode.

“What should we do first?” Natasha questions. Her nails graze the edges of the mask, right below your puffy eyes, and the tense muscles under your chin.

Bucky laughs, and palms your bare breast, occasionally pinching at your hardening nipples.“Gimme a sec, Nat, can’t think straight. I’m tryina wrack my spank bank for every single fucking lesbian porn video I’ve ever fucking watched.”

Natasha shakes her head. Her voice drips out of her lips like honey, or poison. Or cum. “Don’t think we’ll be doing all the work, Barnes. I didn’t do this so you could jerk off into a corner while I make our little pet scream for mercy, or more...whichever comes first.”

Your untied thighs press together, searching for some relief. Natasha tsks you, using her strong arms to keep them apart. “No, no, no, little mouse. You know that’s not allowed...pets don’t get rewards until they perform to their master’s standards.”

Bucky huffs, leaning down. He trails kisses down your body. Big, wet, sloppy ones. He only stops to ghost his fingers over your clit. He can’t hear any noise you make because of the mask, but judging by your arching back and screwed-shut eyes, you’re trying to moan. He chuckles a bit, before looking up at Natasha, who’s still standing tall. She’s wearing black, high-waisted lingerie bottoms with a matching bra. It look so good against her creamy skin.

“Don’t listen to her, baby,” you stare straight up at the woman in question while Bucky continues peppering kisses in your sensitive inner thighs, lifting his head up to speak every few pecks. “ Mistress is just mad that she can’t how much fun it is to fuck with you, eat your pussy until you’re squirming away from me, bruise you up until you can barely move, fuck you until you can’t speak. Daddy just loves hearing you whine and cry and scream...loves it when you disobey orders...love making you get yourself off while I just,” he presses an open-mouthed kiss to your clit then, and your eyes flutter shut. “Watch.”

“James,” Natasha warns.

You can’t what’s worse: being teased or nothing at all.

Natasha is incredibly possessive. You’re hers, not ever and will never be anyone else’s. It made teasing her easy as all Hell, because she gets worked so fucking easily. Once you just mentioned how an ex of yours gave you ridiculously sexy neck kisses and before you knew it your entire upper body was covered in so many hickies you looked like you had been ravaged by an animal.

In a way, though, you had.

That’s what made her so mad, her watching you get eaten out by one James Buchanan Barnes. She should be the one pleasuring you, not him. Still...it was so hot watching you try to resist him.

It was crazy.

Part of her wanted to rip Bucky off of you and tie him to a chair, or suspend him, or something, anything to keep him from soliciting another moan from you.

The other part of her wanted to just sit back and relax with a good glass of red wine and direct Bucky to do whatever she pleases to you.

Bucky was right, she’d give him that. Finding porn after this was gonna so fucking hard.

Well, maybe, she wonders. I could just film us...and then…

She’s snapped out of her thoughts by your sweet, sweet body about to orgasm. Hard.

“C’mon, baby,” Bucky’s baritone voice seem to vibrate the floorboards. “Cum for Daddy, Baby. You know I love it when you cum for me…”

Even after you cum, he doesn’t stop moving his fingers skillfully in and out of you and kissing around your clit until you find the strength to place your foot on his shoulder and kick him away.

You try to crawl away from him, but Natasha is immediately on top of you, placing one hand on your throat and the other right next to your hip. She means business.

“Did Daddy tell you do that?” She’s asking a question, but everyone in the room already knows the answer. Especially you.

“No,” is all your voice can muster. It’s small, tiny, just like how you feel.

Bucky’s stood up and is licking you off of his fingers. You can see him in your peripheral vision. You don’t make an effort to look at him any more than that, though. Your pupils have to remain trained on Natasha, or else you’re going to be in even more trouble.

Before you can process the switch in doms on top of you, you feel a sharp smack to your inner thigh again.

“No, who? That’s the second time you’ve made that mistake, Pet. I think Daddy being here, pleasuring you like that,” she tightens her grip on your throat and hooks her free hand under the leg you used to push Bucky away. She pushes it up to your chest, leaving your ass vulnerable to her. She then turns to the man in question, who’s currently stroking himself. “Do you think we should punish our little printsessa?”

Bucky rarely punishes you, once he explained he doesn’t really like to. It’s not his thing.

But that preference seems to have been lifted due to Natasha’s presence.

“I think we should Mistress,” he moves closer to you, to the side where your ass is lifted off the bed. “Our Babydoll needs to learn her place...needs to know who’s in charge…”

The mask is gone, now (When did it come off?) but you don’t dare speak again. Can’t talk out of turn if you don’t talk at all.

Your eyes flit between the two, wondering who’s going to make the first swat to your ass.

It’s Natasha who moves you into position: face down, ass up. She runs her dexterous fingers through your folds and it takes every ounce of your willpower not to moan.

Her voice is deep, commanding. “I’m going to give you ten spanks, Pet.”

Bucky speaks next. “And I’m going to give you ten, too, Babydoll.”

He’s never punished you before. Never. It’s so hot, so fucking hot.

“Count ‘em...kitten.” Bucky using Natasha’s nickname for you makes you gasp, but thankfully they both let it go.

Smack. “One, thank you Mistress.”

Smack. “Two, thank you Daddy.”

This goes on for what feels like forever, and by the end your ass is nice and red. Bucky’s metal hand leaves lines across your cheeks, which he traces with featherlight fingertips. The cool metal against your hot skin is an intoxicating feeling.

The teasing isn’t over, though. Natasha flips you over, looming over you. Her smile is sinister, sadistic. Your head is moved into Bucky’s lap, while he pulls your restrained hands above your head again.

Natasha’s voice is soft, and it forces you to pay attention more. It’s normally something dog owners do to make their animal more attuned to their commands.

“Beg, printsessa. Beg for me to touch you.”

Oh, do you beg.

“Please Mistress, I’m begging you to please touch me, make me cum, make me cum until I’m begging you to stop. I wanna feel you, feel both of you. Want you to stretch me out, make me feel you both for days and days, make me miss you when you’re not there...not inside me. Please I’m so fucking wet for you.”

“Well,” she says, moving down your body. She plants random kisses as she descends.

Left nipples. Right third rib. The mole on your tummy. Just below your belly button.

Then she’s there, ghosting over your clit and kissing your sensitive pussy lips.

“My, my kitten. You are wet.”

You try not to make a sound, determined not to get punished another time. Your ass is still so sore, and you know it’s going to hurt to sit for awhile.

Her fingers move expertly in and out of you, knowing when to curve up, spread apart, add another finger. You thrash, rolling your hips, hands nearly escaping Bucky’s grasp a few times.

Oh yeah, Bucky’s here. Holding your hands up. Keeping you behaving. Not touching you at all.

His eyes are locked on Natasha and your pussy. She doesn’t know where to look, your sweet oh face or Bucky’s hungry stare.

Natasha coaxes one, maybe two, maybe three (at this point you can’t tell what’s an orgasm and what’s just a fucking good g-spot stroke) orgasms out of you before Bucky rips off the restraints and is climbing over you. He settles right next to Natasha, who takes the hint and lays down next to you, running her fingers over your body.

You don’t know what’s okay and what’s not, but with Natasha in the room, you know you need to err on the side of caution. That means hands above your head, no noise, no pouting, no nothing. All you can do is bite your lip and hope your teeth don’t meet.

Bucky’s knuckle deep with his first finger before you hear a deep, dark chuckle. “‘S okay, Baby. Mistress may not want you to pull her hair or release a single sweet little moan, but Daddy sure does. Lemme hear it Baby, let it...all...out.”

He punctuates the last few words with little nips to the tops of your thighs, encouraging you to let it all out.

You do.

Immediately, your arms stretch before latching both into the hair of the man between your legs. You moan like you’re trying to lose your voice, hugging your legs to your chest to give him a better angle.

This forces Natasha off of your body, but she finds a way to still be attached to you. She sticks fingers into your mouth, and you know what to do. Sucking on your fingers, but it’s still hot as Hell, so Bucky doesn’t make an effort to stop it.

His five o’clock shadow scratches you, which is especially painful on your sensitive thighs. Still, it all feels so good. If this is Heaven, you’d happily convert to Christianity to ensure your safe return. It feels different than the first time he ate you out. Hungrier, sexier. It’s beautiful, like a work of Renaissance art.

Before you know it, his cock replaces his tongue. It’s thick, veiny, perfect. You’ve had it inside of you before, but this time...this time it’s different. More intense.

Bucky is slamming in and out of you so hard you’re sure there will be intense bruising on your pelvis.

Natasha slips from your side and onto your face, riding it with reckless abandon, your head locked between her toned thighs.

It’s insane. Your body is completely at their whim.

Occasionally, one of them will play with your nipples or rub your clit or press on a bruise or scratch down (or up) your tummy, sending even more shockwaves of pleasure through your body.

Every time you moan, it sends sweet vibrations through Natasha’s pussy, causing her to squeeze your head with her legs. You feel trapped, caged. It’s amazing.

“Fuck,” Bucky moans. “I’m gonna cum, Baby. Love your pussy so fucking much...keep clenching around me, Baby, don’t stop licking your Mistress...fuck.”

With that, he cums inside of you. The other two of you cum shortly after, bodies shaking furiously as you do so.

You’re gasping for breath, body aching all over. It’s a good ache, like after an intense yoga or pilates session. An accomplished ache. A fuck yeah, I just got fucked so fucking hard type of ache.

It feels good, so good.

Natasha takes the lead in the aftercare. Bucky stays next to you, whispering sweet words into your ear while he lifts you up and into a comfy chair on the far end of the room.

They work in fluid motions, like they’re dancing, or taking care of something complicated mission. Natasha strips the sheets, Bucky leaves you to replace them. The second you start whining about being alone like some angsty puppy, Natasha waits for Bucky to place you back on the bed before feeding you a protein bar (lemon, your favorite). When you’ve successfully chewed a few bites, she hands it to Bucky, while she tosses the used toys in a large container next to the tub, a reminder for later to make sure she cleans them.

You’re dead tired, unable to do anything for yourself. They sandwich you between them and mumble praises into your sweat-drenched hair, your sore shoulders, your abused chest. It’s nice, sweet. Makes you come down from your high nice and easy, right into a deep slumber.

They shift you around into a more comfortable position, a heavy silence falling over you three before Bucky speaks, because of course he does.

“Do you think we’ll ever do this again?” Bucky asks.

You’re tucked into his side, with Natasha draped across you protectively. He snakes his opposite arm across his chest to stroke your arm with his fingertips. You’d be overly warm if you weren’t totally naked.

Natasha leans into your shoulder, leaving a light kiss on a bruise she’s not sure who created. “Yeah, totally. As long as she,” she angles her head to gesture to you. “Wants it.”

Bucky smiles. “I think she will.”

#bucky barnes x reader #Natasha romanoff x reader #bucky barnes x reader x Natasha romanoff #Natasha x bucky x reader #lukis writes stuff #winter soldier #black widow

1K notes · View notes

aion-rsa · 5 years

Text

How Marvel is Redefining the Future of the X-Men

https://ift.tt/2MhKQXy

Jonathan Hickman and crew are blazing a bright trail for Marvel's X-Men with House of X and Powers of X.

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Jonathan Hickman, Pepe Larraz, RB Silva, Marte Gracia, and the rest of the team are now two issues into House of X and Powers of X, the intertwining X-Men event comics meant to reset the marvelous mutants, and in four issues over one month, they've managed to change everything we know about the X-Men. This isn't hyperbole: the changes that were made in House of X #2 altered everything we knew about the past of the X-Men, and the additional information we got in Powers of X #2 changed at least two potential futures and may have further tweaked the past. We are one third of the way done with the event, and already these are the most ambitious, most entertaining X-Men comics in a decade.

WARNING: This article contains EXTENSIVE spoilers about the first issues of House of X and Powers of X. STOP READING NOW if you haven’t read both comics.

I. The Theme

They're not kidding about this 10 thing. First, Powers of X literally goes through exponentially greater powers of ten on a timescale (starting at year 1, jumping to year 10, year 100 and year 1000). So of course Moira X would be the tenth Moira Kinross.

House of X #2 made one of the most head-spinning retcons in X-Men history. This is a flatly absurd statement to make about a comic family where the title character faked his own death for shits and giggles more than once, but Jonathan Hickman will see your "actually Jean Grey's real body was in a cocoon at the bottom of Jamaica Bay," and raise you "in Moira MacTaggert's ninth life she chose to help Apocalypse ascend to godhood."

A brief summary of this massive, massive retcon: Moira Kinross lived a happy, long life full of family and died at the age of 74. When she died, she immediately woke up in the womb with all the knowledge she had gained in her previous life. She tried living through her life again with that additional knowledge, but it didn't work, and when Charles Xavier outed himself as a mutant on television, she felt that was the answer she had been looking for, and promptly died in a plane crash on her way to meet him. She woke up again in the womb, with an additional lifetime of memories, and proceeded to devise a cure to her mutant ability of reincarnation. Unfortunately, Mystique and Destiny didn't care for the potential outcomes of having a mutant cure out and available in the world, so they burned her and her cure in her lab, but not before warning Moira to help mutants, to never attempt to make a cure again lest they find her and kill her again, and telling her that she only has ten or eleven lives in total.

read more: Marvel's X-Men Relaunch Explained

From there, Moira begins an iterative process of figuring out the best way forward for mutants. First she marries Charles and helps him establish the X-Men, but they're eventually all killed by Sentinels. Then she finds Charles 10 years early and helps him establish a separatist mutant colony, but they're all killed by Sentinels. Then she goes badass commando and kills every Trask she can find, but Sentinels are created anyway and she's killed by a stray Mastermold. So she convinces Magneto to attack early, but he's killed by the heroes of that world and she dies trying to break out of jail. The ninth time through, she wakes Apocalypse early and helps him ascend to his maximum power, and they go to war with the Sentinels. And the tenth time through brings us, presumably, to House of X.

This is a massive, massive change to existing continuity that asks as many questions - what happened in the unaccounted for life 6? why would she enter an abusive relationship with Joe MacTaggart in life 10? - as it answers (Moira is no longer the only human to contract the Legacy Virus).

II. The Art

Pepe Larraz on House of X and RB Silva on Powers of X continue to astonish with their linework, but my god, Marte Gracia's colors are staggering. It's unfair to single anyone out, because these are arguably the best looking superhero books on stands right now, but Gracia is doing tremendous work (and we fawned over Larraz and Silva last time, but holy shit look at Destiny's mask and tell me Larraz isn't due some awards).

These two books are basically telling four stories; one in each of the four time periods. Each is a vastly different setting with a different tone and different coloring needs. Gracia maintains the distinctions between the four with different palates, and uses different effects for each. He also does a great job of getting out of the line art's way when it's needed - Larraz is a little chunkier and muddier with his blacks, which really adds to the tone of some of the scenes in HoX, while Silva is a little bit bubblier and cartoony, which is perfect for adding incongruous menace to Nimrod. Gracia combines with the other artists to make an X-Book that sings better than any X-Men comic since Jerome Opena and Dean White on Uncanny X-Force.

We are in a golden age of comics coloring. The perfection of digital coloring technology has both opened the doors to a lot more potential colorists, and given those at the top of their game more tools to use when telling the story than they had when coloring was more analog, and that means there are a lot of people doing incredible work. Gracia's work on House of X and Powers of X show that he belongs in the same conversation with the Dave Stewarts and Jordie Bellaires of the world.

III. The Marvel Universe Matters Again

For a very long time, the X-Men books have been siloed off from the rest of the broader Marvel Universe. This has been to the detriment of both the X-Men and the rest of Marvel. That shared universe feeling is part of the reason most of us got into superhero comics in the first place. If we wanted to read a story about a group of kids with powers, there are any number of places we could go for that. It's the fact that the X-Men resonate within a larger shared superhero universe that helped lend these stories some meaning.

That feeling is back, and the beauty is that the creative team is doing it entirely through offhand references. The fact that Powers of X's textual explanation borrows heavily from Annihilation: Conquest isn't material to the progress of the story, but for longtime fans it's a sign that these stories matter, and for new fans it's a thread to tug at to find more stories to love. Cyclops showing genuine affection for Ben Grimm is an awesome metacommentary on how the Fox properties were treated at Marvel, but it's also a link between all of these stories happening. X-Men comics haven't felt like they mattered like this in a long time.

IV. Everything X is New Again

X-Men comics haven't been this effectively rooted in their own continuity for some time either. These two comics are absolutely jammed with classic X-Men nods and love from all over the time period. The promotional material flagged four distinct eras it would call back to - Giant Sized X-Men #1, the '90s launch of volume 2, Age of Apocalypse, and the Grant Morrison run - and while we're getting plenty of those, we're also getting everything else. There's a surprising amount of '90s X-Men, too, from well beyond the launch of volume 2. That is perhaps required when you're doing this much work with classic '90s villains like Apocalypse and Sinister, who weren't entirely fleshed out until The Twelve and the Gambit ongoing series respectively, but it's still fun and surprising to see that era rehabilitated here. And the X^3 era's focus on the Phalanx hearkens back to a lot of X-Men continuity that is firmly mid-90s.

Magneto is also a pathway for a lot of Silver/Bronze Age cusp continuity. We spend a lot of time in Octopusheim, his island base from the dawn of Uncanny X-Men that he then used as a vacation getaway for the New Mutants when he ran the school, and the gorgeous flashback above from Powers of X #2 is chockablock with classic callbacks.

And every aspect of X-Men life is touched. Obviously their genetic inheiritance is the crux, but the preponderance of crazy X-adjacent space name drops like the Shi'ar and Phalanx and Technarchy shows that everything counts and nothing is off limits.

V. Hickman's Mastery of Villains

There were very few outright villains in Jonathan Hickman's older Marvel work. Really only two that I can think of: Thanos in Infinity and The Maker, Ultimate Reed Richards. There were plenty of villanous characters, but while Namor and Dr. Doom are assholes, they at least had an argument to make. But whether they were bad guys or bad guys making compelling points, Hickman wrote them beautifully. This is happening again here.

read more: The X-Men Movies You Never Saw

Nimrod is a delight. He plays as brilliant, weirdly funny, and just slightly unhinged, which goes against type for a blocky murder robot. But his power and design and openness to flat murder make him a little bit terrifying as well. Meanwhile, Magneto is tremendous. "I do. I decide." is right next to "I. Doom." in the face of the Beyonder's destruction of the multiverse as PERFECT lines from ambiguous bad people. Destiny's entire interaction with Moira in HoX #2 is on the same level. Menace, authority, understanding, and purpose all in the briefest of dialogue.

VI. The Greatest Cyclops of All Time

This is going to sound weird, but I don't want to be friends with this Cyclops. I want to be his coworker.

I want to be set to a task with him. I want us to decide who's going to take care of what. And then I want to be completely and utterly certain that the stuff I'm not working on is going to be taken care of correctly and quickly, and then we can go grab a beer when it's done.

This is perfect writing of a character who's been done dirty for the better part of the last 15 years. Good Cyclops should be competence porn. He's the guy who can bank an optic blast off of two walls and knock out the bad guy, the one Captain America takes tactical advice from. I look at him and I see a viable politician with appeal outside the mutant community, but for a decade and a half events have conspired to push him into reactionary terrorism before he was killed off panel. His return in the last wave of X-books is promising from what I've read so far (I'm on Unlimited time, so I'm six months behind), but he was off the board or playing a different game for a long time. He's back now and he's better than any Cyclops I've ever read.

VII. Elegant Infodumps

The infodump graphics that abound in Hickman comics have turned some people off to his work in the past. Designer Tom Muller and the subject matter are, I think, combining to change that. Also, the droplets of information hidden on these pages make them really worthwhile to pour over.

read more - The Essential Episodes of X-Men: The Animated Series

There has been an enormous amount of information conveyed in these first four issues. Resetting of timelines, additional potential futures, massive character retcons, a core mystery, new factions introduced. All of them used Muller's infographics to help further the story, but they're presented in a clear, logical way that both furthers the story and deepens the mystery. Here's a perfect example: the timelines at the end of HoX #2 require two page turns. Being the broken completist that I am, I wanted to see all of the timelines lined up, and when I found a copy of the images attached online, I clicked away immediately because it didn't work in my brain. It was laid out the right way for the page turns, but not necessarily from end to end. Someone also very generously put the timeline data laid side to side in a google spreadsheet that was, to me, fundamentally unreadable, and I have spent enormous parts of my life staring at and creating unreadable spreadsheets. It is a testament to Muller's skill as a communicator that he found the best way to convey this information on the page.

It also helped that he dropped a huge hint about Moira 9's timeline as an OS build caption at the bottom of the mutant race summary graphic in PoX #1.

VIII. Mastery of the Form

As consumer products, these books are just about perfect.

To be completely honest, $5 is pretty expensive for a comic. Even with an added page count, a LOT of books now are breezy, decompressed reads that are done in ten minutes. Not these. Setting aside that they're designed for rereading, these are incredibly dense stories that are perfectly balanced between using the art and the words to tell them, that reward deep readings and rereadings in a way a lot of other comics don't. I'm not saying I want my entire stack of books to be like this, but these are good purchases.

They also manage the information flow perfectly for a weekly story. Consider: week 1, House of X #1 lays out the new status quo for humans, Magneto, the X-Men and the robot adversaries. A week later, Powers of X #1 builds two potential futures and sets up a retcon while furthering week 1's story and layering in mystery that rolls back onto the first issue. A week after that, we get hit with a massive retcon that changes all of X-Men history and totally recontextualizes the first two issues along with building out ten potential alternate timelines. And then this week, more gaps in that story get filled in and more mystery gets layered on. A month delay between any of these would be interminable. A week is just right, and considering the quality we're getting, it's also ridiculous from a production perspective. This is high quality work.

IX. #XSpoilers

I've been reading comics for a while, and I think the last time any comics hit like this was probably Flashpoint. EVERYBODY is talking about this book. It's selling like gangbusters, but it's also the first time since I started using the internet that people were universally and uncritically happy with a comic.

read more: Best X-Men Movies Watch Order

Honestly, these books are just so much fun to experience. Rushing to read them right when they come out, then spending hours arguing about the possible interpretations and new plot lines, it's a reminder of what it was like to first get into comics. I'm loath to be the old white dude shouting at the kids that this is how comics should be, but it is nice to have everyone on generally the same page and having fun reading them again. Even if the guy who owns Marvel has spent the last three years trying to rob the VA.

X. I Don't Own Enough Corkboard and Yarn

An enormous part of that fun is the baseless, incorrect and often ridiculous speculation. Last time, I argued that X^1 Xavier is actually Sinister in disguise. While the trashy glam geneticist remains conspicuous by his absence, I'm drifting away from that idea a little bit, only because it feels like he's being accounted for. My big speculation this week is around the various lives of Moira and how they relate to the PoX timeline.

-X^3 is Moira 6.

-X^2 is Moira 9.

-X^1 is Moira 10 and the 616.

-X^0 is Moira 11.

I'm very confident about the X^2 timeline belonging to Moira 9 after PoX #2 showed that Apocalypse is leading the future mutants. There's still one unaccounted for mutant on Asteroid K, so that could easily be her.

Moira 6's timeline is noticably missing from the timeline at the back of HoX #2, but each new life flows from its predecessor - Moira 5 gets Charles to wall off the X-Men after watching them die in a Sentinel attack, while Moira 9 goes to Apocalypse after Magneto can't fix things. So what happens to Moira 6 to make her spend her next life hunting down Trasks?

She makes herself a Sentinel and lives through the Ascension.

If Moira 6 doesn't involve a Nimrod, then the first time she'd experience on would be in her ninth life, so it would make no sense for her to have the X-Men hunting down information about Nimrod's emergence there for use in a future timeline. It makes a kind of sense for her to experience these Sentinel ends to her previous two lives, then to go all the way to the end of what the robots want to find out what she's up against.

read more: Complete Schedule of Upcoming Marvel Movies

I have no evidence to support X^0 and X^1 being different trips through besides a gut feeling. X-Men continuity would be SO much more complicated if Moira, Charles, and Eric all knew what was coming and the intervening thousand issues of X- and X-adjacent comics happened. And we've seen a timeline where minor changes lead to mostly the same outcomes - Moira 4 lived through the original 5, the Giant-Sized globetrotting team, and A vs. X while married to Charles, so Moira 11 can have Charles and Magneto working together from the jump and the rest of Marvel continuity unfold the same way.

Either way, it's extremely complicated and a blast to argue about.

Read and download the Den of Geek SDCC 2019 Special Edition Magazine right here!

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Feature Jim Dandy

Aug 14, 2019

Marvel

X-Men

Jonathan Hickman

from Books https://ift.tt/2Z4FqVR

#aion-rsa #Books

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theethird · 7 years

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Crazy Star Wars Theory Time - Tar Viszla and the Edgiest Saber

So to sum this post up, Tarre Viszla is the retconned Tor Viszla, or part of a larger origin story for two differing ideologies among Mandalorians. And his saber is proof that crystals are a lot smarter than we give them credit for in SW. Here we go. SPOILERS OBVIOUSLY. So Tarre Viszla was announced in Rebels as the first and possibly only Mandalorian Jedi in the history of the order, who befitting his status created a unique lightsaber that his descendants would later steal and use as a rallying symbol for the clans after his death. Now to deviate for a moment, Tor Viszla was the foil to the heroic Jaster Mereel of SW Legends lore, the antithesis of everything honorable about a Mandalorian. Tor was the creator of the Death Watch, a group that he felt honored the old ways of the Mandalorians from their warring and raiding days,while Jaster was a firm believer in the honorable ideals of his people, fitting his status as a Protector and eventual mentor of iconic Mandalorian (now a supposed pretender), Jango Fett. Now this is where things get tricky. So we know from Mando'a that the word Tor means justice, and the color for justice in Mandalorian culture is Black. What color is the Darksaber? Black. Let's take it a step further. Let's assume for a moment that Tor and Tarre exist along the same timeline, and that Tor was the descendant who claimed the blade from its resting place in the Temple, a callback to his name. It would make sense that perhaps Tor didn't have the full story about his father or ancestor and simply saw him as a wayward mandalorian who created a weapon worthy of his people's fealty. And obviously no one but the Jedi would have the full story considering they kept his saber locked away after his death, which suggests he was either buried in the temple in honor or that they kept his discovery under lock and key because of how it could be used. Switching lanes for a moment here, let's examine the colors of lightsabers, now that we know that all kyber crystals are white until they tune to their users alignment with the Force and possible motivation. In our world color mixing has a few rules but when it regards black and white it gets interesting. White is all lights combined, but is the absence of color (in paint). Black is all colors (in paint) combined, but is the absence of light. We know that Red sabers come from forcing the darkside into a crystal and thus making it bleed, and we know that the most common colors were Blue and Green, which if their users are any indication, Blue was more for physical Jedi (ex - Young Obi, Anakin, Ezra's first blade, etc) while Green was reserved for those more mental in focus (ex - Qui-Gon, Yoda, Luke's actual lightsaber) We also know that white sabers can only come from purifying crystals but can also signify ones search for balance in the Force, such as Ahsoka who no longer saw herself as a Jedi, but clung to the light even while walking alone. Her experience on Mortis with the darkside, though removed from her memories, left her touched, as the Convor is proof of, and her choice to follow the light beyond the boundaries of the order all play into her saber colors being white when she makes her second set. Touching more on this color theory for a second, Mace attuned his crystal to purple which in Legends can be attributed to either side, and if color blending is to be trusted, is a balance of Red and Blue, which fits his physical saber style that draws from the darkness to serve the light (red into blue) rather than seeking a balance like Ahsoka's which would cause her to negate the darkness in the crystal with her innate light. Going a step further, while Yellow is a primary color, it isn't a principle saber color, meaning we'd have to cross red and green to get there and if what we know of yellow saber users in either canon is true, it is either the natural state of the crystal/saber, or an indication of a user seeking to defend the light with a passion that toes the line. We have Bastila who is more mental in her focus of the Force, but is easily turned dark due to her passion for both the order and Revan being used against her by Malak, we have the Temple guardians, one of whom fell to darkness and became the Grand Inquisitor due to unknown circumstances, only to be redeemed by Kanan which is confirmed from beyond the grave when he knights him later on. So by now we know that crystals can be tuned to a different color if taken by a user from opposing ends of the spectrum, but typically only end up as white or possibly yellow, as purple was a rare case. Going back to Viszla, it is possible to surmise that in his forming of a lightsaber he may have sought to balance his heritage with his teachings, or sought to combine his knowledge of weapon making from his people with his knowledge of the Force. I like to suggest that he crafted the Darksaber using beskar in some portion to act as a focusing element for the crystal, which would explain it's sharp katana like shape and possibly its cracked appearance on the blade. But also going on what we know of colors, in that white is the presence of light but the absence of color and black is the absence of light but the presence of all colors, and that in lightsaber color mixing, hues can show alignment to a side or an ideology, where Ahsokas white sabers are a reflection of her pure light nature but the rejection of any ideology but her own, Tarre's could have been an acknowledgment of his combination of all martial styles on either side, but an absence of light for the most part. Now this gets even more complicated considering that he was a Jedi who did not fall to the darkside according to records, but could've left the order at some point, or possibly left and was taken down with the official records altered to hide his discovery. Whatever the case, let's assume that Tarre was honorable because the Jedi kept his blade, but not only that, but because of the presence of white light on his dark blade. You're probably thinking, well it needs a white outline to make it visible, so that's a technicality, and that's right, from a certain point of view. But let's assume that the darksaber is designed much like a black hole, and that it feeds on the pure Force presence in all beings, regardless of sensitivity or not. The white streaks are an indication that this crystal was not made to bleed, but instead it was created as an anti Jedi countermeasure from within the order. It would fit the idea that Mandalorian technology is perpetuated by a need to overcome the Force, even in the hands of one who could wield it, and that a sentient crystal could sense the purpose of a young Jedi from a culture opposed to the Force simply because of circumstance. It is no coincidence then that the color of a saber this unique would be Black, the color of justice in his own culture, potentially meant to be used by anyone willing to train to use it effectively, to level the playing field against the Force users warring over balance in the galaxy. Back to the name. and this part is pure my idea on the subject. This was easy simply because, Tor and Tarre are very similar sounding and initially many sites wrote Tarre as just Tar. I'm certain that Filoni in his research of existing mandalorian canon before the EU purge saw the name of the leader of the Death Watch and saw an opportunity to take that name and give it a greater purpose. Like rewriting it and attaching it to a Mandalorian Jedi who could've found out the truth of who he was when the war against his own people was in full swing, causing him to abandon the order long enough to learn the truth about both sides, only to return to battle to stop the war on the side of the Jedi but possibly at the cost of his own life, creating a legend among his own people of his blade, worthy to be wielded by one destined to lead Mandalore in its revenge against the Jedi. I mean if you're going to try and canonize KOTOR without Revan, why not just kill two birds with one stone. Give Revan a new name and angle for leaving the order that removes the godhood but keeps the mythic nature of that eras hero in a new form. Also explains a Jedi in a Mandalorian mask. And if you wanna take it a step further, let's look at the legacy of the Viszla clan, always a step away from leadership, but always in the business of creating weapons for the advancement of their people, whether they be literal (Tarre and Sabine) or ideological, like the Death Watch (as founded by Tor* and led by Pre Viszla) yet always having these weapons used against them. It creates a scenario where Sabine inheriting the Darksaber but finally using it to unite her people and give it to a rightful heir that can strike back at the darkside of the Force, attaining justice for all Mandalorians, is the fulfilment of a larger legacy, something that SW is big on. And for extra kicks, if the darksaber eventually ends up in the hands of a certain Fett, whose father is considered a false Mandalorian, and he becomes Mandalore, it brings the EU story of Jango to a vindication point, where a semi factual origin story frames the struggle between honor and pride in a warrior race capable enough without the Force to challenge the Jedi and Sith. So yeah, that's my crazy idea, and hopefully if I'm right, we can all look at this as a moment when an outsider called it on the nose. Or we can laugh at the silly fan fiction when I'm wrong. Either way that's the beauty of SW. So much lore not enough budget or time to do it all. Color Theory comes from Reddit user AndreLoga General Theory of Lightsaber Color https://www.reddit.com/r/starwarsspeculation/comments/5vu0g1/general_theory_of_lightsaber_color/?ref=search_posts

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