but can you imagine alexander pierce having a heart to heart with the winter soldier after the latter weakly asks to let him stay out of cryo-freeze for a little while longer (◡‿◡✿)

asking the winter soldier why he would like to stay out, whether he has any plans outside of this facility, if maybe he thinks there’s someone out there waiting for him, whether he thinks he can take care of himself (◡‿◡✿)

telling him that he had been there with HYDRA for forty-fifty-sixty-seventy years and not a single person seem to have been looking for him in all those years (◡‿◡✿)

telling him to think of what he is capable of, what monstrosity that makes him, and how without HYDRA he wouldn’t be able to keep himself in check (◡‿◡✿)

telling him that HYDRA takes care of him and makes sure he doesn’t cause all the horrors he would cause if he were on his own (◡‿◡✿)

watching with genuine interest how the flicker of hope goes out in the winter soldier’s eyes (ʘ‿ʘ✿)

alexander pierce (ʘ‿ʘ)ノ✿




i’ve seen Bucky Barnes compared to Icarus a lot and i think that’s hella rad

but the thought occurred to me last night that he’s actually more like Prometheus 

He helped make Steve what he was: he advocated for him, he protected him, and looked after him - he never stopped fighting for him, and helping him to fight the good fight - just like Prometheus, stealing fire to help man survive. Throughout their time together, he never gave up on Steve. 

And he was punished for it. He was struck down, and tortured, like Prometheus was: forced to endure repetitive, hideous torture. Every time they erased him, it was like he died all over again. If memories grew back, helping Bucky to resurface, they were stolen away again - he died again, and again, for decades. He went through not only physical torture, but mental torture; being forced to do things he wouldn’t want to do, and lose his agency. 

All because he wanted to help Steve, and fight for him. 

Prometheus is tortured, every day, until Hercules frees him from his chains. (Or as it were, knocks off the mask that muzzles him, gives him back his name, and with it — the power to break free himself). 


Anonymous asked:

i tend to forget how old steve and bucky are. in the grand scheme of things they are /babies/. i know we joke about them being old men but really what are they, 25? 26? with everything they've both gone through they are /so young/ it hurts to think about it. they were boys fresh and innocent and thrust into the war and then both of them forced into this strange new world. and they are men but still so terribly young to have been put through so much. babies, both of them, ugh my heart

ink-phoenix answered:

IT HURTS ME. It hurts me so much. And I think we tend to forget because in the comic story line of course they’re older, age differently etc etc and in the MCU, they’re played by slightly older actors which — you don’t actually sit down and think about it because of all the 95-year-old jokes until you do the math and you’re like, wait, wait, wait. 

They are so young. During TWS, I imagine Steve’s a little over 27 - he was born in 1918 and he went down with the plane in 1945, so at best, he’s now about 28— Bucky’s one year older than him, so considering the movie canon implies they keep him in cryo for longer periods, he’s probably not older than 29 himself.

They both went to war when they were kids, for all intents and purposes, in CA: TFA Steve’s 23 and he’s leading the commandos in secret black ops across Europe to fight Nazi superpowered robots and tesseract-based weapons— which is just the reality of war, it has been for centuries and it is still nowadays; it’s always the youngest and brightest, and very few have the stomach to address what it does to those people who come back, if they come back, and just how they come back. 

That’s what I loved so much about The Winter Soldier (and for different reasons, IM3). The scene with Sam at the VA meeting was so beautifully executed, it made my heart weep. And Steve, not knowing what to do with himself so just continuing to fight, Sam asking the hard questions because he knows, because he’s been there. I think they did an incredible job of addressing that yes, this is a movie about super heroes, but it’s also a movie about a soldier who came back from war with nothing. And Steve’s are extreme circumstances, true, but it doesn’t affect him any less.

It also reminds me just how much everyone demands from both Steve and Bucky, throughout the movie. Bucky, of course, doesn’t have a choice, but it does make it so much more harrowing when you think that all Bucky’s known in his adult life is death and devastation and nobody gives a shit what it does to him. It’s dehumanizing. It is, pure and simple, the personification of the cost of war. Steve, who still has his own agency, still is put in a position where there’s not a lot of choice — we get the feeling he’s not all that thrilled to work for Shield but he, quite literally, has no clue what else to do because that’s been his whole life and people expect Captain America to toe the company line and ‘fight the good fight’. As soon as he questions it, he becomes a threat to be eliminated.

And god, they’re kids. They’re not powerful white men in suits who press a button and decide, with the detachment that can only come with privilege, to wipe out a million people at once because they might become a threat. They’re just kids. Steve’s trying to do what’s right; Bucky doesn’t have a choice— which is the thread that ties the movie together, the importance of choice, and of free will, and thinking for yourself and standing up for what’s right. Every character in the movie makes really hard choices— from the tech standing up to Rumlow, to Natasha who sacrifices all of her own secrets for the greater good, to Sam who puts the wings back on, hoping that this time maybe it will have a happy ending, maybe he will be able to make a difference, when he couldn’t with Riley.

In the end, when Steve surrenders to the Winter Soldier, when he stops fighting and puts the choice completely in Bucky’s hands, it breaks something in Bucky’s programming — it tells him that he can choose. And Bucky chooses to save Steve, even if he doesn’t yet know why. It gives me SO MUCH HOPE, and it’s really what Steve and Bucky’s story is to me — hope, hope that you can go through so much, sacrifice so much, suffer so much and lose so much of yourself, and then still manage to come out okay on the other side,


ink-phoenix, once again proving why I love and hate her in equal measures.




a weak and tortured bucky making sure steve gets to safety first

It’s because Bucky has a habit of letting Steve go first.


1) Always let Steve go first up the stairs, so that you can keep an eye on him.  It’s easier to count Steve’s breaths and notice when Steve’s heart does that thing that makes him stop and shake.  Much easier to stop and pretend to tie your shoes while you wait, worried, than to realize 2 flights too late that Steve’s no longer with you. 

Later: Your limbs are sore and numb from being strapped to a table for 2 days and you’re pretty sure you haven’t eaten and the entire base might be exploding, but when Steve says “let’s go up,” you tell him to go first.


2) Steve’s walk was mostly normal, though he swung his hips in a certain way to compensate for his scoliosis, and that put a special cadence to his stride that you unconsciously match. Even without Steve around you would twist your hip back before swinging your leg forward.  Twist, swing, twist, swing.

Later: Steve is leading the way through the forest, and you’re finally used to his height and broad shoulders and that dumb shield, but something still feels wrong.  Somehow your pace doesn’t quite match, and you can’t figure out why.


3) Colors don’t work the same with Steve, so always describe unfamiliar objects by their shape and relative location, like that square window past the third door on the left, or the man wearing that unseasonably long coat standing in the corner by the garbage can.

Later: The boys are singing in the other room and you’re at the bar with Steve, trying very hard to get drunk because of course you’ll follow Steve into whatever but that doesn’t mean you have to do it sober.  “Steve,” you whisper, “Check out that lady by the door, next to that short thin guy who has his shirt open.”  Steve looks over.  “The one in the red dress?  That’s Miss Carter.”  You can’t decide what surprises you more — that Steve can see red now, or that he knows her name.  So you decide you need another drink.


4) When walking down a narrow dark alleyway always stay on the right, because Steve’s bad ear makes the right side feel blind to him (though damn if Steve’d ever admit that).  On broad open streets, switch to Steve’s left side, so that Steve could hear you better through the noise.

Later: Dum-Dum gives you a weird look as you line up to charge into a Hydra base.  “Why won’t you take the left flank for a change?”  You start explaining Steve’s bad ear before you remember that he’s not that Steve any more, and that Captain America doesn’t have a bad ear.


5) Stuff in your left pockets are for Steve: the asthma cigarettes that Steve could never afford, a dime for that popcorn that Steve likes, tickets for whatever shindig you’re trying to drag Steve along to. Sometimes you put things there for Steve and totally forget about it, like extra paper and a spare pencil in case Steve wants to doodle.  The left side always belongs to Steve.

Later: Steve is awfully quiet by the campfire.  You sit down by his good ear and reach into your left pocket.  “Hey,” you say, pulling out a news clipping about the war front that featured a lovely photo of Miss Carter.  “You read this yet?  They think Morita’s a Japanese defector, but the section on Dernier is priceless.”


Still later:

Report on the Winter Soldier reset procedures

After the latest test run, only the following anomalies remain:

A) The asset tends to hug the right walls and not the left, and hesitates for 30 microseconds before climbing stairs.  However, he does not hesitate when scaling walls or ladders.

B) When walking unopposed the asset has a characteristic and identifiable stride, which is dropped when he is making a covered approach.  

C) The asset communicates via relative locations, often omitting crucial color information.  However, he can be commanded to describe the colors of any object in impressive detail.

D) When dressing himself, the asset keeps his knives exclusively on his right side, and his left pockets are underutilized.  This may be an effect of continued unfamiliarity with the new left arm.

After extensive field testing, we have determined that these anomalies do not impede the asset from completing his missions, and declare the reset process complete.


[basically the textual partner to the colorblindness comic]

[The rest of my Captain America stuff]

[and now with colorblindness commentary]





"I need to remember.”


But that’s the THING. Those tags leave you feeling like there’s a hole in your gut. But that’s not really the point of Bucky. Bucky is a hopeful character. Because you know what, he may not be Bucky any more and he may have a lot of the Winter Soldier still left in him, but he CHOOSES to reforge himself into something new. He CHOOSES to do good. He CHOOSES redemption. He’s not sure he’ll ever deserve it. He’s not sure he’ll ever get it. But that doesn’t stop Bucky from trying. That doesn’t stop him from picking up the shield that Steve drops. That doesn’t stop him from trying to turn the very things people used in him to hurt others to help them.

Because yes Bucky is alienated from what he was and doesn’t really know who he is, but rather than give up or become a pale imitation of what he was, Bucky pretty much says SCREW THAT and makes himself into something new. Look at it like a sword. When a weapon like that is heavily damaged, the best thing to do isn’t to fix it, but to reforge it entirely. Bucky doesn’t really try to FIX himself, he basically says “this is what I’ve got to work with, NOW what do I do” and goes from there.

That’s why I love him. Because Bucky is ultimately hopeful. He’s the proof you CAN come back from the dark. He’s the proof that you can screw up, be used, be broken, be abused, be wrong, be the ANTITHESES of something good and you can come back from that. He’s not a reformed villain, he’s a broken PERSON. And if Bucky can figure out how to live with himself, anyone can.

It’s tragic in a lot of ways, but it’s HOPE, people.




He rebuilds out of scraps in the beginning. It’s all he has—old suits stripped of their paint, bolts taken from unused appliances. He starts with Jarvis, because he needs a companion and someone that can make coffee, someone that won’t laugh at his jokes. 

Jarvis creaks when he walks. Tony couldn’t remember how many lines were in the man’s face, improvised on it. He’s off enough that Jarvis doesn’t feel right but years wear the rough edge until Jarvis past blends with Jarvis present and he can’t tell the differences anymore.

Jan and Hank are built as a pair. Tiny, perfect Jan, who he sets with dark, quick eyes that glitter. That had been difficult to copy, but Tony’s a genius (he built himself a hero out of the broken parts of a man—no, no, that’s not how it goes, Obadiah had said he built a suit out of a box of scraps but that had never been his biggest accomplishment, not really). He builds them a little different, if only in their AI. It’s hard to program love, so he programs need and devotion, so that their eyes set on each other and never waver. 

He’s fixing them, is how he justifies it—it’s like it was at the beginning, when things were easy, when they were friends and happy and saving the world from things that had no moral grey. He’s fixing his mistakes.

He starts on Pepper and Happy and Rhodey. Their circuits are laid out, the pale synthetic skin of Pepper carefully dotted with freckles, the darker tone of Rhodey a swirl of mixed colors. He never finishes them. 

That’s all.

His workshop has dozens of faces—strangers he remembers from the street, the kid who worked in the mail room of Stark Tower, a dog, a cat (he even thinks about making tiny, little rats to pepper the streets of New York’s husk because he almost misses them). Jan plays with them, laughing as eyes track her across the room, mechanical voices chattering without language. She has no comprehension of her own circuitry—the blue lines under her skin are her veins, her tendons.

"Where’s Steve?" she asks him one day, deft little hand running across the face of a boy with brown hair and light eyes. "I haven’t seen him around."

"Vacation," Tony answers. Jan’s programmed to believe him.

She dips her head, laughs. “He’s always tense, isn’t he? He needs it.”

Steve’s in a back room, actually. Tony’s masterpiece. He was the first one Tony had started—right after the battle, when the world had been silent and cold, and his friends and humanity had lain dead, broken. He’d started him, but hadn’t finished.

Steve needed to perfect. 

He’s been good about keeping them mostly the same—Jan and Hank are like they were at the start, and that’s not a bad thing, they’re happy for it, they’d thank him if they knew.

But Steve—he’s in a backroom, he’s almost done, just needs a few touches more. He turns his head when Tony enters and smiles, says, “I’ve missed you,” and his eyes are so very blue and his voice is so very honest, and they were friends once, it’s not so far-fetched that he’d say such a thing, his voice is perfect (but it tears at Tony’s heart, leaves the meat of it raw and ragged, because this is a lie—this isn’t Steve, it’s a machine)

(a machine that he’s programmed to love him, and the sickness of that twists his stomach, or did it at the beginning at least and somehow that’s worse—that he’s forgetting, purposefully forgetting, because what he’s built is so much better than the truth)

(it always has been, hasn’t it)


tony stark feels take the wheel



Okay, so we gotta talk about this gif [made by sergeantjames, which I pulled out of this post because I felt like it would be a little crazy to write extended commentary about ONE GIF out of a full, awesome gifset and just totally ignore all the others. But you should check out the original post; SO MUCH TONY, and sergeantjames has mad gif skills, yo].

Or, I should say, we gotta talk about the scene this gif is from, because fdshfksjdf THIS IS ONE OF THOSE “OH MY GOD THIS SAYS SO MUCH ABOUT TONY AND I DIDN’T CATCH IT MY FIRST SEVERAL TIMES WATCHING THIS FILM” SCENES. Because, dudes, this is Tony Stark; he does not need to be doing this shit to his house by hand. And I don’t mean that he could bring in a work crew, because the “no contact with the outside world” thing, I remember that; no, I mean this is a man with a GIGANTIC METAL SUIT with built-in INCREDIBLY POWERFUL CONCUSSIVE BEAMS. Even if you want to argue that the use of the suit is, at this point, accelerating his blood poisoning—which it totally is, no argument, but it’s not like that stopped him from, uh, using it for Very Important Business like eating donuts inside of a donut—but anyway, my point is, even if lithium dioxide has the side-benefit of forcing Tony to make responsible decisions, he could STILL go grab one of the other arc reactors he’s got chilling downstairs, put on one of his gloves like that scene in IM1 where he busts out all the windows, hook it up to reactor number two, and go to town. 

Read More




Obadiah Stane: [to Tony] When I ordered the hit on you, I was worried that I was killing the golden goose. But, you see, it was just fate that you survived it, leaving one last golden egg to give. You really think that just because you have an idea, it belongs to you? Your father, he helped give us the atomic bomb. Now what kind of world would it be today if he was as selfish as you?

Ohhhhh god it’s every Tony Stark feel ever—how many times do you think Obie’s played that card before? The “selfish” card, the “your father would have done it better,” card; Tony was only 17 when Howard died. He spent most of his life away at school or at home but away in his own world, separate from his father, who never gave him the time of day—and some of what remains, sure, no question, is what pieces of that stuck with him, the memory of a game of catch they never played, Tony waiting for hours in the yard, glove still stiff and new. Because Howard Stark was a lot of things but he was never much of a father, wasn’t good at the emotional side of things, was dismissive and disinterested, didn’t know how to engage with a kid—but the way he speaks to the Tony of the future, right, in that video, that’s different, right, less dismissive even though still decidedly screwed up. Because who knows what their relationship would’ve been like, if Howard had lived? Still terribly fraught, probably, rife with things they did and didn’t say to each other, Tony’s hurt and Howard’s neglect, but there are conversations they would have been able to have, with both of them adults, they they didn’t have before Howard died. And hell, Tony himself knows that, acknowledges it in that whole “I never got to say goodbye to my father” speech in IM1. 

But that’s just the way it played out; Tony didn’t get to say goodbye to his father. He didn’t get to say goodbye to his father and he was 17 and, you guys, the entire rest of his mental picture of Howard was probably shaped by Obadiah Stane. Both his parents died in that car crash (which, okay, it’s my headcanon, in movie-verse, that Obadiah engineered that, but regardless of whether he did or not, you KNOW Tony has wondered about it), so it’s not like he has his mother to talk to about it. For the 20 years between when Howard Stark dies and when Tony Stark almost does, Obadiah Stane is the only link to fatherhood Tony’s got. 

So how many times has he said this, exactly? How many times has he said, “What would the world be if your father was as selfish as you,” or, “This is the way your father would have wanted it,” or a thousand other things, little manipulative tendrils because that’s who Obie is, building on Tony’s already-extant neglect and affection issues until they’re impossible for him to untangle? Because I’m guessing it’s enough times that Tony’s forgot where that thought came from, just thinks of it as the truth, and that, y’all, that is the worst part about what Obie does to Tony in this scene—because he’s been building the groundwork for years and years, because it’s just the icing on the cake of everything Tony’s ever thought about himself, because really, if you think about it, Obie ripped Tony’s heart out a long time ago. 


So Cap’s freezing wasn’t tragic enough…





So I just realized something horrible.

Was pondering over Captain America on the way home. The Avengers movie had a tie-in comic the for movie, which was rather amusing. There’s a section that details SHIELD’s recovery of Cap from the ice, highly amusing for Coulson’s cheesy grin reaction to the sight. I was pondering that when something occurred to me.

The frozen block they pulled Cap out in, he was laying down, holding his shield over his chest, looking for all the world as though he had been laid out for a military funeral. Very symbolic, very fitting and all that.


When Captain America’s plane went down in the ice, Cap was sitting up in the pilot’s seat, his shield to the side, sort of buckled in. When the plane hit, it hit hard, assuming he weren’t still in his seat, Cap and his shield would have been thrown all over the place from the impact, they would absolutely not have landed nicely and neatly to freeze and be found later. He’d be hunched over in his seat, the shield would be somewhere off in a corner someplace, the cockpit would be general chaos.

What does this mean?

The plane crash didn’t just not kill Cap. It didn’t even knock him unconscious.

What it means for Cap to have been found frozen in the position he was in, is that he had to still be awake and aware after his plane crashed.

Ponder that for a minute.

Sure, he’d have probably been at least loopy for a few minutes, even Captain America can’t just shrug off driving a plane into the ground.  But clearly, he wasn’t out of his right mind to the point that he couldn’t figure out to go locate his shield.  And if he were well enough to get up and move around, he was probably well enough to be aware of where he was and what had happened.

Take this to it’s logical conclusion.  Steve would have known he’d gone down somewhere strange, cold, and far from any help.  He might have tried to radio for help, maybe tried to figure out something, hoping a rescue would be coming for him…but ultimately, at some point, the cold (not to mention, potentially, hunger, considering his metabolism and the fact that there was probably no food on that plane, he was probably pretty much starving at the same time) got to him, and Steve had to choose to lay down and let himself freeze for them to have found him in the position they did.

If Steve was lucky enough that his super-human abilities didn’t tie into cold, hypothermia would have set in (cold lowers metabolism to a degree), then he probably would have only had a day or two to deal with it before he was out.  If he wasn’t lucky?  Four times the metabolism, four times the length of trouble…he could have spent a week or even longer sitting in a frozen plane, by himself, waiting.

Further horror…Howard Stark.  He was obsessed with trying to find Cap, to the detriment of his life and his family.  Sure, maybe it was just the concern of a friend who could afford the search…but maybe it was also the frantic efforts of a man who might have gotten some sort of attempted radio signals from Steve (you have to think he tried) trying to let people know he was still alive.

…so yeah…no shit Steve’s got a fucking serious case of the PTSD when it comes to cold.



This will probably just make this worse, but I feel the need to add that Howard may have known and factored in a few scenarios that took Steve’s metabolism into account. Which may have something to do with why he kept searching, because he knew there was a chance that Steve could be alive and also might have known that if Steve didn’t go out with the crash he would be awake and slowly freezing to death because of his metabolism. Howard is a scientist and a genius, I think he would at least be one of the few people to realize this first. I just made myself really sad. If anyone thinks Steve is okay let me just say that he is not.

So all y’all can go fuck yourselves, because this is not okay and I already had to write one fic for this and do you really want me to write things from the frantic perspective of Howard because I swear to god NO



Is there an article on this?

ahhh not an “”“official”“” one by any of the mcu cast of crew. i’m just speculating based on the working title “captain america: the fallen son” (that’s listed on imdb here as the working title in the states, anyway), among other things (take a look at this article).

but then i mean there’s the whole character licensing issue they would need to sort out to actually do the civil war arc in the mcu (that is supported here) and i mean i know that they wouldn’t do the whole arc because let’s be real that would be a long list of films but„„

to me it kind of seems like they’re setting it up that way hOWEVER i in no way think that cap 3 is going to be that if they do it. i think they would start that arc in a more forward manner in or after age of ultron (for reasons better explained here and here), most likely in avengers 3.

kevin feige, who is the president of production for marvel studios, actually said that avengers 3 might be right for a civil war arc back in 2012 (that article is here). tony and steve’s dynamic has been hinted at by screenwriters of marvel studios, specifically that tension will increase greatly between them which corresponds with civil war (article here).

so basically what i’m saying is that there are a lot of reasons (largely involving the licensing of characters) why a civil war arc wouldn’t work in the mcu but it also could, it could go either way with some work.

finally, keep in mind that chris evans is signed on for six official films and three of them are already out (captain america: tfa, avengers, and captain america:tws; his brief cameo in thor: tdw was not on the official contract and is not relevant in this aspect).

the other three will be avengers: aou, cap 3, and presumably in avengers 3 as well. he’s stated that he wishes to ease off acting for a while, at least as things stand now, because he wants to shift his focus onto directing (check here for more on that).

i’ve gotten a little bit carried away but i wanted to be thorough and give my reasoning. personally, though i trust marvel studios would do well by civil war, i would much rather see the characters i love so much being happy and hopeful instead of killing each other and going through more trauma and pain.