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#while her tracking down the body of this pilot and then vowing revenge for his death has a romance framing
daydreamerdrew · 1 year
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Contact Comics (1944) #2
#I’m intrigued by the gender politics of this#as Black Venus this character is essentially taking on the role of an official pilot#while her tracking down the body of this pilot and then vowing revenge for his death has a romance framing#I think it’s also a kind of narrative that’s commonly used for ‘brothers in arms’-type characters#her competence as a pilot also wasn’t questioned in last issue’s story by the other characters#and there and here it’s not being remarked upon that she flies well for a woman in the narration#I like that Black Venus cries when she finds the body and then directs those feelings into#‘I’ll get him for this- I’ll kill him if it’s the last thing I do!’#also the Agent X that murdered the pilot is revealed to be a woman#when Black Venus learns this she’s really startled#and Agent X says ‘Don’t let that deceive you! I can still defeat you!’#she does not actually as Black Venus succeeds in murdering her#also it seemed to me that this pilot was not the same primary love interest from the first story that stood out from all the other pilots#so I was thinking that Black Venus' civilian job as a U.S.O. girl would give her a revolving door of love interests#but then at the end of this story she dramatically declares that because of this pilot’s death#‘From now on no matter how many people are around me I will always be alone!’#/if/ they actually maintain that she’s swearing off romance then that would be an interesting conflict with her job#aviation press#black venus#my posts#comic panels#racist language tw
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in-dire-need · 4 years
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Three Cheers For Sweet Revenge- My Chemical Romance
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The only 2004 album that could even come close to giving American Idiot a run for its money is Three Cheers For Sweet Revenge. My Chemical Romance’s second full-length album shot the band out of its familiar water. Its numerous hits continue to reach billboard charts, such as opening track “Helena” and world-renowned “I’m Not Okay.” According to frontman Gerard Way, Revenge stands as a “pseudo-conceptual horror story”. Every track on the album ties into this twisted and supernatural story of the two lovers featured on the cover, which was created by Gerard Way.
“Helena (So Long and Goodnight)” opens this story of Three Cheers with a heartfelt yet twisted dedication to the Way brothers’ grandmother, Elena Rush, had passed away under circumstanced unknown to the public during the band’s tour of I Brought You My Bullets, You Brought Me Your Love. Elena had heavily influenced the brothers from a very young age and inspired them to pursue their dreams. When she passed, Gerard Way was sent into a spiral of anger and self-destructive behavior. He wrote the song to be somewhat of a letter to himself, expressing the hatred he felt for himself at the time. Despite the dark theme behind the lyrics, “Helena” continues to be a radio classic on rock stations everywhere. 
The story element behind the album begins during the second track, “Give ‘Em Hell, Kid”. A man has been divided from his lover after the devil resurrects him from the dead and, in order to resurrect his wife as well, he must kill one thousand evil souls and present them to the devil. While he ventures out to accomplish this, his wife wonders where he has gone and is clueless of his plans. She is livid at him for wrecking their marriage that began when they were young and dumb. In the next few tracks we listen as the protagonist crashes a wedding in order to kill the guests. He begins to question his sexuality and if his wife is worth one thousand souls. Continuing the double-meaning, the “To The End” is also based on the short story “A Rose For Emily” by William Faulkner. In this story, a rich wife begins suspecting that her husband may be a homosexual, so she poisons him before he cheats on her or leaves her. 
“You Know What They Do To Guys Like Us in Prison” features Bert McCracken, frontman of The Used, with whom all of My Chemical Romance was extremely close with at the time of Three Cheers’ release. Gerard was also featured on their 2004 album, In Love and Death, which toured with Three Cheers after its debut. Since then, the bands had a falling-out and didn’t speak for years before heavily hinting that The Used would be opening for My Chemical Romance’s reunion tour that was scheduled for 2020. This information was never officially announced, though, seeing as COVID-19 has ruined every hope and dream that it could lay its greasy paws on. Anger aside, “Prison” continues the protagonist’s journey to kill one thousand evil souls to resurrect his wife as he is arrested in a restaurant gunfight. Once in prison, he begins falling for an inmate of the same sex, which confuses and upsets the protagonist who had assumed he was heterosexual for his entire life. He still dreams of his deceased lover, whom his journey is all for. The other inmates begin to take advantage of him, forcing him to dress in drag and give blowjobs to accommodate to their sexual desires. He begins to lose his sanity and believes that he might as well be executed since he will not be able to fulfill his mission from prison. He decides that when he leaves, he will burn down an entire hotel to quickly raise his body count.
Another track that has gone down in history is number four, “I’m Not Okay (I Promise”. It follows a girl who struggles with dealing with the problems in her life. She vents and complains to her boyfriend, who is dealing with his own problems. He puts them aside to comfort his girlfriend time and time again. She does not take this into account and simply continues to wallow in her own pain, attempting and failing to relate to sad songs with deeper meanings. He has finally had it with her by the end of the song and explodes, telling her that he is not okay and he is done with her melodrama. “The Ghost of You” is another smash hit produced by this album, which continues the story already present. The protagonist expresses the grief he experienced after losing the lover he is trying so hard to save. Later tracks emphasize this as the protagonist begins to doubt his ability to bring his lover back.
Standing as a message of inspiration and a sign not to give up, “Thank You For The Venom” has become very popular within its target audience. Critics began to blame My Chemical Romance for making music purely to become famous, to which the band responded saying that the fans are a huge impact on their music. They never wanted to be on the front covers of magazines and at the head of the rock scene, but at a certain point they could no longer fight the inevitable. The song narrates what is possibly a nun attempting to convert a horrible sinner, then being murdered by the man. The sinner could be the protagonist continuing his killing spree, knowing that no amount of preaching could save him. In the following tracks, he questions again if his lover is really worth kill one thousand evil souls. After a woman representing his lost love holds him at gunpoint and tells him to stop his killing spree, he considers shooting himself and therefore dying for her instead of killing. He trudges on still and vows revenge on this woman as his story nears its end. After killing nine-hundred ninety-nine evil souls, he realizes that the last one he must take is his own. He begins hallucinating that his wife is there with him and even holds conversations with her before remembering that she is not there. It is heavily suggested that his lover committed suicide after getting drunk, though the means are unknown. The protagonist finally comes to terms with the fact that he is destined to die and that he would never have been able to resurrect his wife. 
In the final track, “I Never Told You What I Did For a Living”, the man completes his transaction with the devil. He accepts his fall from grace, but knows that once he is with his love again it will all have been worth it. Once he kills the last soul, himself, it is revealed that the devil tricked him. As a result of his astounding body count, he has been damned to hell instead of being reunited with his lover. His final realization is that it was all for nothing and that he has simply become a monster. 
Three Cheers For Sweet Revenge’s final lines are a callback to the group’s first album, I Brought You My Bullets, You Brought Me Your Love, or Bullets for short. Dozens of lines throughout the album reference Bullets, and the lovers featured are even referred to as two “Demolition Lovers”. Initially, fans and critics believed that the two albums were linked as one continuing story, but that theory has been denied. Past its horrific tale, many songs actually send a buried positive message- keep going. Specifically “I’m Not Okay (I Promise)” and “Thank You For The Venom” have worked to debunk the band’s stereotype of being a suicide cult. Ironically, these songs have also become symbols of this said suicide cult, given the references to death and self-destruction, which leads many younger listeners to fall prey to this cult mentality that the media has created. That very concept was something that My Chemical Romance vehemently spoke out against, seeing as the very reason they began making music was to help people. Even despite being twisted and forgotten by the media, that is still exactly what they did. Although fame wasn’t what they wanted, in the end they achieved exactly what they wanted: to help people. Their worldwide fame simply allowed them to reach farther and wider than ever imagined. 
As previously stated, all tracks on the album not only tie into the crazy narration of two dead lovers, but into the real lives of the bandmates, specifically Gerard and Mikey way. For example, “The Jetset Life is Gonna Kill You” personifies Gerard’s struggle with alcoholism and cocaine addiction in the form of a woman. He says that he could stay with her for hours even though she will eventually kill him. He was able to sober up and toured for Three Cheers during his first full year sober, which he described as extremely difficult. “The Ghost Of You” helps paint the picture of how the brothers were grieving after the loss of their grandmother, Elena.
Elena was one of the most powerful influencers behind the creation of My Chemical Romance and continued to inspire them throughout their entire career. Thanks to her, the band went on to inspire millions of young adults worldwide. Had she not supported her grandchildren like she did, so many more influencers would have never developed the confidence to take their first steps into the sunlight. These influencers include Palaye Royale, Twenty One Pilots, Post Malone, and Yungblud. Who knows how many more celebrities truly are that wouldn’t be where they are without the influential messages of My Chemical Romance? Who knows who the next possible star will be? I guess we’ll just have to wait and find out. Go enjoy yourselves, internet.
“And we'll love again, we'll laugh again We'll cry again, and we'll dance again And it's better off this way, so much better off this way I can't clean the blood off the sheets in my bed!”
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No Man’s Land (part 2)
Part 1
Summary: The Barton siblings had grown up knowing a single truth: “Trust no one”.  Their childhoods had been ripped away, leading the trio eventually to find comfort and a home in a traveling circus.
Time is a tricky thing, but some things never change: a friend turned foe, the Swordsman, is out for revenge after the three siblings had locked him away ten years previously after a robbery went haywire.
With Natasha missing, and his sister, Amelia Barton, retired from intelligence work; Clint attempts to reunite his siblings for one last showdown with the former villain.  
Little do they realize, this grudge goes deeper than a foiled robbery; and Jacques Duquesne has new, powerful, allies to exact his revenge on the Barton trio.  
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Warnings: there’s some swears and reference to sex.
Masterlist
“You should get some sleep,” Clint’s voice broke the daze Amelia had fallen into while staring at all of the files for the mission.  
The younger Barton leaned back, giving a long stretch and sighed.  
“You’re one to talk,” she mumbled, closing her folder and tossing it to the top of a large pile nearby.  “You look like trash.”
Clint snorted, dropping to the empty seat next to his sister, leaning his head back against the cool metal siding of the jet.  
“I guess it’s easier said than done,” he agreed quietly.  Around the jet, the others had mostly crashed, including Barnes, which shocked Clint, as he’d been more fidgety than Clint was about the whole Nat situation.  
Clint, himself, had turned the jet to auto pilot to try and get some shut eye, but his mind kept playing over scenarios of what might be happening to Natasha, and he couldn’t let his body relax.  Not yet.
“I know you’re scared, but this is what I do, or well, did,” she offered him a small, reassuring smile.  “We’ll find her.  I promise.  It’s my job.”
Clint nodded to himself, his head still faced upward.  He had to remember that Mia had a stake in this as well.  The former agent probably had more undercover missions with the redhead than he’d had in his whole career.  Mia knew what to look for.  He swore that the women had some kind of psychic connection when it came to finding one another.  On more than one occasion one had tracked the other across borders without a single hint or clue.  
“Yeah,” he finally grunted, readjusting his posture to get a better look at his baby sister.  “Barney mentioned Chisholm.  You gonna be ok?”
It was slight, but he saw Amelia tense at the familiar name.  She closed her eyes a moment, the exhaustion that settled on her shoulders more evident now than it had been all day.  
“I’ve gotta be, right?” she noted dryly.  “Natasha is more important than some screwed up…”
Her voice trailed off as the siblings caught Barnes stirring in the cot across from them.  They silently watched as he slowly awoke, gazing around the silent jet in confusion.  
“What time is it?” he grumbled through a yawn.
Amelia looked expectantly at her brother, and Clint groaned, standing up and glancing at the controls up front.  
“About 4 am in New York,” the archer replied.  “We’ve got a little over 12 hours before we infiltrate the charity gala.”
“How far until we hit the city?” the former assassin questioned with a stretch, his gaze met Mia’s and he offered a small smile, earning a snort from the youngest Barton sibling.  
“About two hours,” Clint offered.  “May as well get some more sleep, Barnes.”
“Too late, I’m already awake,” Barnes yawned again and gestured toward the onboard coffee machine.  “Anyone else need some?”
“Be careful, Amelia will drink the whole pot if you let her,” Clint teased, flipping the small machine to life and dropping into a seat between Mia and Bucky.  
“My kind of woman,” Bucky shot a wink in Mia’s direction, but instead of finding a shy smirk, he was met with a glare from Clint.  
“I can’t believe you’re hitting on my sister in front of me,” Clint complained, grumbling as he scooped coffee grounds into a filter.  “I can’t believe you’ve got me making the coffee.”
“Don’t worry, Clinton,” Mia stood up and took the task over for her brother.  “I’ve taken a vow of celibacy from Bucky’s.”
“You said that in high school,” Barney’s sleepy voice carried through the cabin.  “Remind me what happened five years ago?”
“Go back to bed, Barney,” Mia threw a crumpled coffee filter at her oldest brother and finished starting the coffee.  “Nobody asked you.”
Bucky watched the exchange between the Barton siblings in amusement.  Even though they’d only been reunited a few hours before, the familial chemistry was still there.  Clint and Barney would pick on Mia, but fake hurt if she fired back.  
“…Which one of us is only working for the FBI because he’s a career criminal?” Amelia threw her hands on her hips and glared at Barney.  “That’s what I thought.”
“At least I didn’t fuck one,” Barney muttered, earning a slew of insults under Amelia’s breath as she poured herself and Bucky two mugs of coffee.
The Barton boys had picked up on another argument while Amelia settled into a seat by a window, staring at the patches of lights from the flyover cities as the jet soared through the otherwise silent night.  
“You’re welcome to use my cot if you’d like to try and get a little shut eye,” Bucky cleared his throat, stirring Amelia from her concentration.  She smiled, sipping at her beverage and shrugging.  
“I’m fine,” she admitted quietly.  “I wouldn’t be able to sleep anyway, now that Nat’s been pulled into all of this nonsense...  She has her own dysfunction, she doesn’t deserve to be dragged into ours.”
“Carnies, huh?” Bucky questioned in amusement.  “My ma always warned us about circus folk, but go figure they’re all actually criminals.”
Mia laughed, the sound a surprising reprise from the sullen expression and snark that she seemed to wear like armor.
“You do what you gotta do,” she explained.  “Clint and Barney didn’t become good shots because our parents paid for summer camp, but Clint’s saved the world a few times.  It all evens out.”
“What about you?” Bucky’s voice stayed low.  He was actually enjoying the more intimate conversation he was sharing with Amelia, much to his shock.  And if he was being honest, Amelia looked less like she was going to vomit from nerves.
“I’m nobody,” she hummed, downing the remainder of her drink in a swallow.  “Refill?”
“Clint wasn’t kidding,” he glanced at his barely touched mug as she poured more black liquid into her cup.  
“It’s easier than counting sheep,” Amelia chuckled, her gaze caught by the steam rising from the coffee.  
There was a melancholy that Bucky recognized in Amelia.  He wore it, Clint wore it, and even Natasha and Steve wore it from time to time.  It was a shroud of maybe, a dark past?  Perhaps, like the rest of them, she’d been forced to grow up faster than she should have.  It was a universal energy, that no matter what one did, a person couldn’t just outgrow it.
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