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keouil · 3 years

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how you forget to be human

“so is she like,” scott hesitates. “cap’s first lady or something?” rated t. 2k+. steve/nat. also on ao3 / twitter / cc

Scott hasn’t been with the team for a long time, but he thinks he at least has enough working knowledge of how everyone operates.

The Winter Soldier—Bucky to Steve, James to anyone who dared—quite frankly still scares the living shit out of him, and that’s Magneto on a good day. It didn’t take much to deduce he seemed wholly uncomfortable in his own skin, his jaw coiled perpetually tight and the rigid set of his shoulders always in alert. It was uneasy just being around him, his discomfort bleeding over others and charging the air around his space with its own brand of disquieting; but always, without fail, Steve cushioned whatever apprehension anyone aimed toward his bestfriend.

Most of it came from Sam, and almost always in good nature as if to ease the brainwashed supersoldier into some semblance of normality; and Scott would fear for Sam’s life every time he opened his mouth, were it not for the also very obvious fact the Falcon held his own and didn’t appreciate handouts and the three of them seemed to be getting along uniquely (if not a little oddly) well enough.

The witch was a small problem, however. Simply for the fact she was a witch and Scott is wary because history taught him they burned all of them down in Salem.

He sees her wiggling those voodoo fingers around sometimes, almost unconsciously, and feels the hairs on his arms rise with every flick of her wrist. The energy around her isn’t suffocating the same way Bucky’s is. It was more a subtle nervous tingling; like she herself was afraid of the gravity of her own powers she had yet to have complete reigns on. Scott is oddly humbled by the fact and even empathises with her a little.

Steve keeps an eye on her and doesn’t bother hiding it, but it’s the archer who gets past her when it really counts. Clint Barton, who, surprisingly is the one he’s on the most similar wavelength with out of all of them: family man and all.

Clint Barton whose also friends with Natasha Romanoff.

Hawkeye who has simultaneously the most complex and impossibly simple relationship with Black Widow.

“I swear to god if you ring me up next time you’re out of goddamn Fruit Loops,” Natasha warns, digging through one of the five grocery bags on the kitchen island. She fishes for a few more seconds, before popping a colourful cartoon box out from under the bag and tossing it to Barton. “I’m bringing you in for real.”

Clint scoffs, placing the carton on the top shelf. “How many times have I heard that before?”

“Apparently not enough,” Natasha glares at him from her peripheral, scooping out Nutella and a pack of store-bought pryanik to lay on the table. Russian biscuits. For Wanda. “If I’m still stopping by an abandoned boarding house in the slums of Siberia every other week. Y’all grown men can’t do grocery shopping by yourselves?”

Scott blinks from his spot by one of the stools.

Of all the things he expected to wake up to in hiding from 117 countries from possible charges of aiding and abetting a war criminal, Black Widow casually arranging and organising their weekly rationale was nowhere near the top of the list. She did this all the while supposedly fighting for the other team.

This one needs no introduction.

Scott knows who Black Widow is. Scott knows Captain America, after all.

You don’t grow up in the land of the free without knowing his legacy even in minute passing. The man has been plastered on nearly every surface of the continent since the dawn of America. Scott has seen the news footages, read the official accounts, willingly devoured every single documentary or biopic helmed in honour of their nation’s greatest hero: he knows, down to the bone, the star-spangled man with a plan.

A forgotten and revered and rebirthed war hero.

How he came to know of her, however, is an entirely different story: because come the news footages, zoom in close enough you’ll see the infamous shield covering a much smaller and daintier figure; go over the accounts with a fine-toothed comb, they speak of a levelled dynamic between a commanding officer and a shadow leader; and, lest history not forget, the documentaries: Peggy, because behind every great man is a woman, Natasha.

“Now why would we do that if we got you?” Sam. He comes up from behind the hallway to playfully grin at Natasha before enveloping her in a small hug. She returns it easily.

Scott braces himself for what’s to come, because they came in a pair, and so: “Nat,” Steven Grant Rogers, in the flesh himself, pokes his head in not a moment later with a barely indisputable frown on his face. “You came here again?”

Natasha clicks her tongue at him. “Someone had to make sure you boys were fed.”

“That’s not— We can—” Steve stutters as he strides in, and Scott has to very carefully school his features into nonchalance because Captain America does not stammer. He sighs deeply before settling next to her, nudging her with his hip. “Tony atleast know you're here?”

Natasha gives him a pointed look. “Who do you think paid for all this?”

Scott watches their silhouettes grow smaller and smaller by the distance.

Even from afar, he can make out Steve’s absolute hulk of a frame: back impossibly straight in a way that bespoke authenticity, years of rigid military training drilled into his bones; only he seemed to mellow, somehow and very slightly, the fine lines of his shoulders angled in the direction of her voice. And Natasha: brave and lithe, nearly a head shorter and so much more smaller, facing forward in full confidence and a leisurely stride in her steps.

Siberia has a biting night air that seeps deep into the bone. But it’s also comforting somehow; all of them knowing, in one way or another, what it was like to be iced out from society.

They were all huddled by the makeshift campfire Barton fashioned out of some wooden logs and a matchstick. Sam, in charge of roasting marshmallows, was gently coaxing Bucky into eating one and promising him it’s not poisoned. Wanda was handing out steaming cups of hot chocolate brewed from the pack Natasha brought in a few hours ago, a staple in her weekly grocery runs because apparently the kid witch liked sweets.

Scott gingerly takes a sip from his mug, some of the warmth seeping into liquid courage he was building up for weeks now. He takes a deep breath before plunging himself into the waves.

“I can’t be the only one worried that the enemy has infiltrated our territory, right?”

To their credit, neither of them kill him on sight.

Wanda pauses in levitating one of the wooden logs above the hearth, a single bark of kindling hovering uncertainly over the air. Bucky has an unreadable expression on his face when he regards him. A look passes between Sam and Clint, betraying nothing of their inner thoughts at his outburst.

The fire is nice and toasty, but the air is stifling now and Scott has never felt more the outsider than at that very moment.

Until Sam breaks into a hearty laugh. “Widow?” he shakes his head amusedly. “No, man, Steve and Nat are tight. They’re past stuff like that.”

Scott furrows his eyebrows in concern. “But isn’t she—”

“On Tony’s side?” Clint quips, poking at one of the planks. Wanda finally drops the floating bark, and Scott doesn’t miss the flash of something in her eyes when she glances at him from the other side of the fire. He thinks he saw a spark of red for a second. “Sure, I guess. Technically she’s Team Iron Man or whatever that means. But Natasha is also fiercely loyal, especially when it comes to Steve.”

“What does that mean?” Scott asks in genuine confusion.

Sam opens his mouth to elaborate, words already forming on his mouth; before he seems to come to a belated realisation, blinks, and manages a nonchalant shrug. "Damn if I know,” he admits, turning over a puffy mallow and watching the crackles of fire burn its edges. “But she’s good for him. That’s all I care about.”

“And he’s good for her,” Clint returns easily, not an ounce of hesitation in his voice. “Maybe sometimes it’s just that easy.”

They hear the crunching of footsteps on snow creeping up behind them, and Scott takes this as his cue to stash the conversation for another time.

He watches them stroll in together carefully.

Steve holds the gate open for her and places a small hand on her back as they advance in the small patch of woods by the backyard. Natasha settles next to Wanda, hands going up and down her arms to warm the younger girl despite being the one having only just gone out for a walk in the middle of Russian winter: because, and at this Scott is now confident, the jacket resting on her shoulders three times her size was keeping her warm enough.

The quinjet doesn’t start up right away.

Scott is slowly panicking, because the realisation that he was truly out of his depth at fighting in the next greatest civil war of the century notches above his pay grade only viscerally begins to take hold.

He has a family back home, pets to feed, a little life saving every now and then; but never this colossal of a scale, never with the stakes stacked up so high against them, that it really could only ever be toppled down by the likes of fucking Iron Man and Captain America.

But Steve is still confident.

It’s so bloody obvious he was always going to keep at it, gunned down the concrete walls of the airport and clawed his way out of it brick by brick if need be. He was really and truly the good man underneath it all, and at the back of his mind, Scott still finds himself awed at the fact.

But he doesn’t know how on earth the man came out of that airport not visibly rattled, not at all unlike how Scott was currently feeling; and, as he processes the rest of their wayward expressions, he knew he wasn’t alone in thinking so.

“Cap,” Sam wheezes by the floor, fighting to labor his breathing with a hand clutched on his dislocated shoulder. “I still got the jeep parked outside. It’s not too late. We can hike the rest of the way.”

“No,” Steve replies, an edge of conviction in his voice. There is not a single tremor in his stubborn hands gripping the wheel. “That’s gonna hold us back days. We just need to be up in the air for now. We need—”

“A woman to come to your rescue again?”

This time, it’s Scott who sighs in deep relief at her voice. This time, Scott doesn’t fight the churn in his stomach at the prospect of having someone who nearly nicked him lifeless not even hours ago this close a range with them again. This time, she is not Black Widow, but simply Natasha Romanoff; Steve Rogers’ friend.

This time, Scott thinks, he will let them be easy just like that.

There was no more a sign of tremble in his voice or hands the entire battle, but at the lilt of her voice, he just crumbles.

“Nat,” Steve breathes out when he turns to her, hands fisting at his sides in an attempt to regain control. Just like that, he unravels; so easily and without preamble in the face of her steeled strength. “I can’t get it to turn on— And I— We have to get Bucky—”

“Work through it, Steve,” she cooes in probably the most placating voice he’s heard of her, but she doesn’t move to touch him when she comes close. Her hands are going a mile a minute over the control panel, pushing buttons and lifting levers. Steve is hovering by her side like it's the only thing holding him together. “You know how to fly this thing, right?”

Steve is visibly taken aback and angles his body to face her. “You’re not coming with us?”

The question hangs in the air.

It charges the silence around them and quells any of their growing uncertainty, because, clear as it was of Steve’s well-founded and undeniable leadership skills: they also knew, intimately, she anchored him through it all.

Sam was putting pressure around Bucky’s human arm as he looked back and forth at them tensely. He could feel Wanda hitch her breath behind him.

Natasha’s fingers keep flying away at the keyboard, until they feel the telling signs of an engine rumbling underneath and the overhead lights spurting back to light. The whole jet roars to life in the next second, heating fans whizzing and technical sounds beeping. She shifts some gears around and locks in a destination with the GPS navigation.

When she turns to look at Steve, it is then Scott forces himself to pry his eyes away and not bear witness to this part of his already over documented life. In that single moment of uncertainty, the what does that mean is meant like this: an intimate baring of a soul, heart, trust: in a way no words could ever begin describing or should even attempt to put to paper.

It is friendship at the most intimate level, it is soulmates on the most soul-crushing departure, and it is the everything else that comes after.

“Not this time, Rogers,” he hears her say, and Scott doesn’t have to imagine the slight fracturing of his iron-clad footing in the world swaying ever so slightly, when he replies with: “Then I guess I’ll see you around, Romanoff.” .

“So is she like,” Scott hesitates. “Cap’s first lady or something?”

They’re some seventy feet off the air above the Pacific Ocean, the moisture from the ocean drifting up to the open barracks and making the air glisten around them. Bucky is fast asleep somewhere down the lower levels with Wanda keeping watch over him, upon the fervent insistence of Steve arguing he needed rest. It came as no surprise that he also self-assigned himself the first watch of the night.

Sam is sharpening his knives, the grating sound of sandpaper slicing over iron piercing through the silent hum and drum of the night.

“Please,” he scoffs, looking over at him. “If anything, Steve is her first lady.”

#romanogers #stevenat #fic #natasha romanoff #steve rogers #romanogers fi #stevenat fic #marvel fic

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greenfleeze · 4 years

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Serleena was always eating.🤣

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asknatasharomanoffavengers · 4 years

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Who wants to go with me to peggy's timeline to get our steve back?

p.s i rly dont like steve's ending

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polarb2709 · 5 years

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How Marvel Destroys Character Arcs. Part One: Black Widow

*SPOILERS AHEAD FOR ENDGAME*

Posting here and on my blog (link in bio).

It’s a long one. I’m getting to Cap and Romanogers later, don’t worry, ya’ll.

____________________________________________

What is a good story?

When you sit down to open a novel or get a ticket for a movie, how do you know that what you read or what you watched was a "good" story? Examples often help. For me, THE STAND is a good story. LOTR is a good story. GONE WITH THE WIND. COWBOY BEBOP. HALLOWEEN. STAR WARS EPS 4, 5, and 6. They are all good stories (in my opinion). I could go on, but you get the picture.

Screenwriters, novelists -- they'll say that regardless of the context, there are common elements to a good story. The act structure is an example of this. An act ends when a character (usually the protagonist) makes an irreversible change. Think of Michael Corleone when he decides to shoot the mobsters in the restaurant in THE GODFATHER -- up to that point he had been the moral upright son in a family hindered with morality issues. Or in WONDER WOMAN when she leaves the island for the first time. Frodo when he chooses to take the ring to Mordor. I think you get the picture, right? Each of these decisions spark incredibly great character change. And remember: that change is irreversible. There is no going back then. The experiences that happen to the character -- and more importantly, the internal changes about who they are, how they see themselves, others, and the world -- cannot be undone.

Which brings us to the MCU....

From this point forward... MAJOR SPOILER WARNING!

...Okay?

...Okay.

I should pause here and say: "Before we get started, does anybody want to get out?"

This is going to be long. And this is going to be geared toward Captain America and Black Widow; there are other characters in Endgame that did not get their due (I'm thinking of the complete glossing over how Hulk turned into Professor Hulk), but for the purposes of this post, I will focus on the two characters who I felt were maimed throughout Endgame in terms of character arc. And why. I think that's really important to highlight. Why did the writers choose to do this? It's a question that I don't think has been asked from a writer's point of view.

To give some context: I am a published novelist. I wrote a little sci-fi novel that was picked up by EDGE Science Fiction and Fantasy Publishing. Since then, I've helmed the screenplay for an upcoming neo noir psychological thriller video game. I am the sole writer and co-creator. And since I like to think I'm a writer worth my salt, I got my hands on every screenplay book I could find to make that what I was crafting made sense from a story perspective. Why? Because how you write stories for the big screen differs greatly from crafting them in paper form. It's about dialogue. It's about structure. It's about conflict. And you guessed it, it's about arcs. I am not here to say my word is the golden rule on this. Many people -- including many writers -- will disagree with what I'm about to say -- and that's fair. But the writer in me is screaming after watching some of the decisions in the screenplay, and so I do the only thing I can do: write about it.

PART ONE

Black Widow:

"I got red in my ledger. I'd like to wipe it out."

This is the first quote (that I can think of) from Black Widow in which we as the viewers get a sense of her backstory. It occurs in a great scene between her and Loki -- the conflict in the scene couldn't be higher, which always lends to great scenes and character growth -- and ends with Black Widow "winning." But at what cost? Scarlett Johansson does a fantastic job at conveying the subtle shift when BW goes from cold assassin to letting a little part of herself through. Loki lost, but he had gotten to her. And no one gets to Black Widow right?

The problem isn't this scene. It's that it is the first scene we really get at Black Widow's capacity to solve problems her counterparts cannot, and it is the first scene we learn more about her, that we learn to empathize with her. It shouldn't have been. Her introduction was in Iron Man 2, as the seductive and sexy assistant to Pepper Potts, where she plays a character who advances the plot for the male protagonist. For most of the movie, we, the audience, wonder if she's coming onto Tony Stark or really what her purpose is in the film -- until she's side by side Nick Fury in the donut shop. She's been sent undercover to watch Tony's movements, and it's only at the end of the movie that we see her showcase her abilities. By the end of the IM2, we know two things about BW: she can kick ass and she's an assassin, madly skilled at seduction. That's it. That's not enough. Not if she's going to be part of a team which includes the God of Thunder, Captain America, Hulk, and Iron Man (Hawkeye has yet to be introduced either).

It would have been nice to see BW solve a problem her counterparts could not in IM2. That way we would have gotten an introduction to the character that allowed us to put our faith in her as having her own bonafide superhero status despite not having a robotic suit or summoning lightning from the clouds or having super serum or gamma radiation (and to show that she has more to her than advancing Tony's arc). How? Simple. Remember that scene where she and Happy infiltrated the facility, chasing after Ivan Vanko? Wonder if instead of him being gone when she busted down the door, she had to go toe to toe with him, with his armor on? The same Ivan Vanko who nearly killed Tony in his suit. We'd immediately have the impression that BW has something other superheroes don't despite any extra help. The scene would likely end with Ivan escaping, barely, and BW alerting Tony of his departure, but it would give us the lasting impression that without any armor, lightning, serum, or radiation, she can go toe to toe with the biggest baddies.

Flash forward to the "red ledger" scene. This supposedly is the arc that is completed when she sacrifices her life in endgame for her "family," the avengers. It's a good arc. We can understand it. "Hey, I have so much red the only way I can make it up to people is to give my life for others." Yeah... that arc works only if Marvel: The Avengers was followed up by Infinity War and Endgame, and did not have Winter Soldier, Ultron, and Civil War before it. It's almost as if the writers ignored the character development of those three movies for her and the rest of the OG6. Those three movies moved Natasha's arc forward and backward and forward again -- and more importantly: in a different direction.

Winter Soldier found BW paired with Cap, which centered around themes of trust and the truth. It was a perfect set up for conflict. BW fluid in truth and distrustful. Cap having an unbending moral compass and in a complete pursuit of the truth and honesty. The two have to work together, on the run. BW, however, once again becomes the character in a movie that moves the plot forward for a male protagonist. And here we still only get a fraction of her background and, of course, it centers around a description of the main villain and is used as an info dump for the viewer (the scene where Steve and her are at the candy machine).

But the "I have red in my ledger" is addressed: at the end of the movie, BW accepts that others will know the truth about her by releasing Hydra's secrets which include everything about her as well. She and Steve have an intimate moment where she says "I thought I knew whose lies I was telling..." hinting that BW wants something more than this, that she thought she was doing something more, that she was changing, only to find herself back in the same pattern. She breaks that pattern when she releases the files to the public and exposes everyone. And her and Steve move past a work relationship into something more...

The point is, the fact that Black Widow had the emotional strength to release her secrets to the public means she had to accept them herself. The red in my ledger arc would be finished. And we as an audience can relate to it. Everyone has dark stuff in their history, and everyone knows how hard it would be to let the world see it. It takes acceptance and strength to do that. It was brilliant. The beauty of being human is accepting our mistakes and moving past them, forgiving yourself. At the end of WS, I thought BW had.

And then came AoU. If BW's character hadn't been hit badly enough, AoU sets up the "I'm a monster" scene, in which she views herself as broken because she was sterilized. The destruction of her arc here has been beat to death by critics and feminists around so I'm not going to dig too deep into it, but I will say that we're now five or six movies in and we still have her as a foil for our male heroes. She's relegated to a prize, with a beauty and the beast metaphor crap that leaves a bad taste in our mouths. And she needed to be rescued, my goodness. How wonderful would it have been if she had fought Ultron and gotten out of there herself? See, even without her own movie, there are moments where we could have seen her be her own and not beholden to a man. Worse, we have lines like: "I'm always cleaning up after you boys..." that cement that Natasha is going to become a surrogate mother to the group. It's embarrassing for her as a character, because instead of an opportunity to come into her own, her identity will now be defined by "her boys."

Civil War finds her on this path. The only significant choice she makes is the one in which she betrays IM for Steve Rogers -- another choice to move the plot forward for a male protagonist. Good for her character arc, but still. Infinity war hits, and we are told that her and Steve have been hiding out underground. We see her take more of a leadership role, watching over Wanda and Vision, joining Steve and BP on making decisions. It's wonderful. She's not as beholden to anyone.

Which brings us to Endgame.

After the 5 year time jump we find her holding down the fort at the facility, trying to find any way to fix the snap. During that time we witness the others grieve and Hawkeye slaughter innocents. The writers firmly plant her in the motherly role, even describing them as her family. She goes out to get Hawkeye. The two are then assigned to go to Vormir to get the soul stone. We know what's going to happen: one of them has to die. Given everything I've said so far, should we really be surprised that what happened actually happened? Hawkeye, who wasn't even in infinity war and who managed to slaughter several innocent people, winds up alive at the bottom of that pool instead of Natasha. Once again, she's a foil for a male protagonist's arc. Once again, her character is depicted as LESS than the rest. And worse, she also views herself as less, citing a character regression back to the red ledger scene and the sterilization. "I'm a monster, and since I still view myself as a monster, and have red in my ledger, here's what I know I can do. I can die for my family." As if somehow Hawkeye's life is worth more than hers. Well, actually, to the writers: it is, and it always has been: BW has always been depicted as less than the other avengers -- and for no reason.

This is seen in the aftermath, after Hawkeye returns. We get the worst line ever uttered by Tony Stark: "Did she have any family?"

Seriously.

You spent years with her and you don't know that? No one knows anything about the supposed mother figure that took care of the avengers for the last 5 years, that sacrificed her life to save millions? She doesn't even get a funeral. And Steve Rogers sheds a tear but doesn't say anything else about her. This would have been a great scene for Tony and Steve to have it out. Steve who spent the last decade with her. Steve who had his butt saved by her in Civil War. Steve who was fortunate enough to have her visit him after Peggy died, saying "I didn't want you to be alone." Steve could have really let us, the audience, know how important Nat was to the avengers, instead we get an argument between Clint and Thor. The scene falls flat for a very simple reason: how can you convey to an audience how important this character is to the other characters when that said character has always played second fiddle to them?

Long story short: she was discarded, like she had been for the prior movies. And that's when you realize that BW wasn't a motherly figure at all to the rest of the avengers (and it's writers/directors): she was a glorified secretary until someone better (e.g., Captain Marvel) came along. They had six movies with BW in it. And in those six movies writers were unable to move her arc forward at all. They placed her in a motherly figure for "her boys" and like a mother, she made the sacrifice for them.

How should it have ended with Nat? Hawkeye should have died, paying for his past mistakes and a chance for his family to live again. Meanwhile, Nat should have embraced her role as a leader more (like infinity war), and viewed herself worthy enough of being alive. Picking up from Winter Soldier, it should have gone: "my secrets are out, time to live in the truth that I know who I am." And then take over SHIELD for Fury. She deserved to be at the final fight with the OG6. She deserved to see her work be paid off. She deserved so much more.

Sigh...

You know I get it. Feige and the marvel crew were unsure of how audiences would take to Black Widow, which is why the hesitancy of giving her a standalone movie to start...well actually I don't. That argument kind of falls flat when you consider that they chose RDJ for Tony Stark and gave him an entire movie to develop his character when RDJ had been in MIA (mostly rehab and jail) for the last decade and a half. Scarlett wasn't as big as she is now, but she was still well known. With the upcoming BW movie, my only hope is they give her a movie that lets her come into her own, which is why a prequel once again would be a disservice, because it only serves a story that's already happened, and that story spent the last ten years treating her as an afterthought.

#romanogers #black widow #capwidow #captasha

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jbbuckybarnes · 5 years

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Request Guidelines / Commission Guidelines

I wanna start by saying that I'd appreciate a coffee or more on Ko-Fi for any of my work. Free work is still work and getting an extra few bucks a month really helps me out a lot. Sometimes 1k words take me an hour and sometimes they take me 5 hours. Knowing my time is appreciated is a great motivation. All the things on here are for PERSONAL USE ONLY, if you want to use anything I make commercially please write me a message and I'll be happy to work it out with you.

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+$20 if complicated Other services: Anything in the designing list from above that isn't mentioned here is fairly affordable. Just ask me per private message and I'll let you know if it's 5 bucks or 15 bucks. If you want any of the free things in a set time frame I’d like a tip on Ko-Fi for it.

Disclaimer/Note:

And last of all: I don't wanna hear anything about this being unfair. If fanart artists can charge $50+ for a character drawing, I can do the same for writing you multiple pages of character growth and story. Same goes for the Templates, this is my free time and if you think artists of all kinds should be able to make a living you should be supporting them. ALSO: Requests for free stuff can take multiple weeks if not months sometimes, especially if I don’t usually write a character.

For the broke peepz: PLEASE don't worry if you can't afford something on this list. I will do giveaways from time to time where you'll be able to get a 'three shot' or a custom 'PSD Template'. I know how it is when you can't pay for custom work from an artist. Very active and frequently commenting/reblogging readers definitely will have priority in my challenges and One Shot Waiting List.

#mod post #request guidelines #requests #request

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