If you have never been in, or aren’t around people who’ve been in, I would dearly love to give you a few pointers.
Let me preface this: I love it when people write military fics (be they AU or canon-fic). I love the characterizations, the story arcs you create, and the love with which you create the stories.
But I’d like to help you make the actions of military personnel as accurate as possible, so someone who’s actually in doesn’t start to read your fic and roll their eyes at some of the things you unknowingly write.
-First off, you do not salute in civilian clothes. It’s actually unauthorized. There are only two exceptions to this rule: the President is allowed to salute in civvies, and if the national anthem is playing outdoors, combat veterans are now allowed to salute. (That came about in 2010, for accurate reference.)
-Do not salute indoors, unless during a formation (but I doubt people who don’t have intimate knowledge of drill and ceremony would bother writing about a formation, so that point is mostly just thrown in for shits and giggles).
-The army and air force do not say, “sir, yes sir”. That’s a marine thing (I’m not sure about the navy, since I’m not in the navy, but I’m sure someone else could help out if there’s a question about it).
-Saying “black ops” isn’t really something we do. For the army, you’ve got SF (which is how we refer to special forces–the guys you’re probably thinking about (”green beret” is an old term for them that’s not really used anymore)) and Rangers for the two big special operations forces. SEALS are the navy force, and I apologize, but I don’t know the other branches’ special forces. Again, ask someone who’s served in that branch.
-People don’t usually refer to themselves (or others) by their ranks. Exceptions are usually made if hanging out with people from your unit speaking about a superior, such as “Yeah, LT and I were talking the other day and …”.
-Sergeants are not referred to as “sarge”. You have no idea how many people got the shit smoked out of them in basic for that error.
-Army goes through Basic Training (or Basic Combat Training now; BCT for short), and marines go through Boot Camp. Yes, there is definitely a difference in terms. Army people tend to refer to their initial training as simply “basic”. I don’t know about marines or other branches.
-Calling someone “Soldier” is really something only done on TV/film. It’s usually mocked by people who are in.
-In the army, it is against regulation to just stick your hands in your pockets. We mockingly call them “Air Force gloves”, though I don’t know if they typically put their hands in their pockets. There is also a big stigma against wearing “snivel gear”: the poly pro cold-weather protection gear worn underneath your uniform.
–The everyday Army uniforms are called ACUs (Army Combat Uniform). They are never called anything else, but especially not fatigues. If you’re going back to 2003 or earlier, the uniform was BDUs, or the Battle Dress Uniform. The tan uniforms worn during the Gulf War and first few years of Operation Iraqi Freedom (OIF) and Operation Enduring Freedom (OEF; Afghanistan) were called first chocolate chips (gulf war-era) and then DCUs (Desert Combat Uniform).
-The dress uniform is called something different depending on what time period you’re going for. Saying “dress uniform” is usually a good bet, because you’ve also got Class A’s, Class B’s, ASUs, Dress Blues, Khakis, etc.
-Typically when meeting someone else who’s in, the first things you ask are, “What’s your MOS (military occupational specialty–your job)? Where were you stationed?” Giving out rank and deployment backgrounds out of the blue don’t usually happen.
-Time spent in the military is usually referred to as simply being “in”. “How long were you in for?” is heard way more often than “how long did you serve for?” That question is usually asked by civilians.
-There are enlisted, and there are officers. Enlisted are those who start out as privates, work their way up through the NCO, or non-commissioned officer ranks: sergeant (called “buck sergeant” in a derogatory term for someone who has been freshly promoted), staff sergeant, sergeant first class, and eventually get to first sergeants and sergeants major after fifteen to thirty years in. Officers also usually start out as privates and specialists, then graduate from college and commission as second lieutenants (the derogatory term is “butter bar” and is usually used in reference to said officer’s lack of experience and knowledge) before working up to first lieutenant, captain, major, lieutenant colonel (”light colonel”), and colonel (”full bird”). The general timeline is making captain (”getting your railroad tracks”) after about 5-8 years for competent officers, and spending 5-10 years as a captain.
-We do not stand at parade rest unless forced. Ever.
-Or at attention.
-When talking to an NCO, a lower enlisted will stand at parade rest. When talking to an officer, an enlisted will stand at attention.
-The highest ranking NCO is lower ranking than the lowest ranking officer.
-If you want to throw in some humor, if there is a lower enlisted (E-4 (specialist) or below) joking with an NCO, and the lower enlisted says something, the NCO can snark back with, “I’m sorry, I didn’t hear you because you weren’t standing at the position of parade rest.” It’s a dick move usually to call people out for that, but it happens often enough that if you put that in a fic, someone who’s in will likely laugh at that for a few minutes.
-There is a term for a slacker in the army called POG (pronounced “pohg” with a long o). It stands for Personnel Other than Grunt, meaning everyone who’s not infantry. The term has transformed to mean anyone who shirks their duty or is kind of a shitbag and should be kicked out.
-There’s also a bit of a stereotype that infantry are made up of dumb guys, because you don’t need a high GT score to get that MOS. Their nomenclature for their MOS is 11B (eleven bravo), which is often referred to as an “eleven bang-bang” when trying to insult them.
-If someone is making someone else do push-ups, they do not say “drop and give me x number”. They’ll tell them either to push, or tell them to get in the front-leaning rest. The front-leaning rest position is the starting position for the push-up.
-Usually referring to basic training and AIT (advanced individual training, where you learn your military occupational specialty), you get “smoked” on a regular basis. This refers to PT (physical training), usually in the form of push-ups, flutter kicks, and sprints. It’s not fun. One of the least favorite phrases to hear in basic is, “Platoon, attention! Half-left face! Front leaning rest position, move. In cadence! Exercise!” Because that is the full command for getting people to do push-ups. There is literally no other reason for the half-left face movement. It honestly exists only for push-ups.
-It is awkward as fuck to be told “thank you for your service”. It’s wonderful that people want to show their support, but it is very difficult to respond to that without sounding like a douche.
I know I said a lot about basic training in there, but that’s because I tend to read a lot of fics that are either about basic or about deployments. I can give some pretty firm answers on basic, but everyone’s deployment is different, and I also could be violating a shit-ton of OPSEC (operation security) by telling you guys specific details about deployments. Everything I’ve told you is information you can look up on your own on the internet, but this is a bit more insider’s culture for you to help make your stuff more accurate.
And if you ever find yourself writing a military fic and have questions, by all means, inbox me. I’ve been in for almost nine years and I do have one deployment under my belt, so I can give you accurate army info. I’ve never served in any other branch, though, but I can probably give you a little bit more accurate info than what the movies do if you’ve got general questions.
Also, if you’ve got questions about PTSD, I can help with that. It’s not the cake walk that a good deal of fics portray it as, and it doesn’t always involve nightmares and aversion to touch. It can present as depression, intense anger issues, pulling away from loved ones, driving in the middle of the road, freaking out over pops, bangs, crashes and other unexpected noises, being easily startled by things other than noises, hypervigilance, the inability to sit with one’s back to the room, sudden bouts of anger, depression, tears, silence, or mood swings, among many others.
-Also, please, please, if you’re going to write about someone with a disability, or something that gave them a medical discharge, talk to me about the VA first, unless you’ve got a lot of knowledge about them. Not only am I in, but I’ve also worked professionally for the VA, some of that time in enrollment and eligibility, so I know a lot about disability pensions, who would qualify, what type of benefits they would qualify for, etc. I also know the ways that people can accidentally get screwed over from the VA. (It’s actually one of my long-term professional goals to change some of those things, so I am very passionate and very knowledgeable about it.)
TL;DR: I know shit about the military and the VA. Ask me if you have accuracy questions.
For the Navy. Cut for length.
Tag: meta
Ambient sounds for writers
Find the right place to write your novel…
Nature
Places
Garden with pond and waterfall
Study room from victorian house with rain
Fictional places
Chloe’s room (Life is Strange)
Blackwell dorm (Life is Strange)
Two Whales Diner (Life is Strange)
Star Wars apartment (Star Wars)
Star Wars penthouse (Star Wars)
Tatooine (Star Wars)
Coruscant with rain (Star Wars)
Yoda’s hut with rain ( Star Wars)
Luke’s home (Star Wars)
Death Star hangar (Star wars)
Blade Runner city (Blade Runner)
Askaban prison (Harry Potter)
Hogwarts library with rain (Harry Potter)
Ravenclaw tower (Harry Potter)
Hufflepuff common room (Harry Potter)
Slytherin common room (Harry Potter)
Gryffindor common room (Harry Potter)
Hagrid’s hut (Harry Potter)
Hobbit-hole house (The Hobbit)
Founding Fathers Garden (Bioshock)
Things
Transportation
Historical
Titanic first class dining room
Sci-fi
Futuristic apartment with typing
Post-apocalyptic
Horror
World
Trips, rides and walkings
Beautiful
@icanneverbesatisfied @maybe-mikala I HAVE FOUND THE ULTIMATE RESOURCE
I LOVE YOU FOR THIS
HONESTLY I CAN DIE HAPPY NOW
Injury angst for writing dummies.
Hospitals and injury are always such a staple of angst fics, but 9 times out of 10 the author has clearly never been in an emergency situation and the scenes always come off as over-dramatized and completely unbelievable. So here’s a crash course on hospital life and emergencies for people who want authenticity. By someone who spends 85% of her time in a hospital.
Emergency Departments/Ambulances.
- Lights and sirens are usually reserved for the actively dying. Unless the person is receiving CPR, having a prolonged seizure or has an obstructed airway, the ambulance is not going to have lights and sirens blaring. I have, however, seen an ambulance throw their lights on just so they can get back to the station faster once. Fuckers made me late for work.
- Defibrillators don’t do that. You know, that. People don’t go flying off the bed when they get shocked. But we do scream “CLEAR!!” before we shock the patient. Makes it fun.
- A broken limb, surprisingly, is not a high priority for emergency personnel. Not unless said break is open and displaced enough that blood isn’t reaching a limb. And usually when it’s that bad, the person will have other injuries to go with it.
- Visitors are not generally allowed to visit a patient who is unstable. Not even family. It’s far more likely that the family will be stuck outside settling in for a good long wait until they get the bad news or the marginally better news. Unless it’s a child. But if you’re writing dying children in your fics for the angst factor, I question you sir.
- Unstable means ‘not quite actively dying, but getting there’. A broken limb, again, is not unstable. Someone who came off their motorbike at 40mph and threw themselves across the bitumen is.
- CPR is rarely successful if someone needs it outside of hospital. And it is hard fucking work. Unless someone nearby is certified in advanced life support, someone who needs CPR is probably halfway down the golden tunnel moving towards the light.
- Emergency personnel ask questions. A lot of questions. So many fucking questions. They don’t just take their next victim and rush off behind the big white doors into the unknown with just a vague ‘WHAT HAPPENED? SHE HIT HER HEAD?? DON’T WORRY SIR!!!’ They’re going to get the sir and ask him so many questions about what happened that he’s going to go cross eyed. And then he’s going to have to repeat it to the doctor. And then the ICU consultant. And the police probably.
- In a trauma situation (aka multiple injuries (aka car accident, motorbike accident, falling off a cliff, falling off a horse, having a piano land on their head idfk you get the idea)) there are a lot of people involved. A lot. I can’t be fucked to go through them all, but there’s at least four doctors, the paramedics, five or six nurses, radiographers, surgeons, ICU consultants, students, and any other specialities that might be needed (midwives, neonatal transport, critical retrieval teams etc etc etc). There ain’t gonna be room to breathe almost when it comes to keeping someone alive.
- Emergency departments are a life of their own so you should probably do a bit of research into what might happen to your character if they present there with some kind of illness or injury before you go ahead and scribble it down.
Wards
- Nurses run them. No seriously. The patient will see the doctor for five minutes in their day. The nurse will do the rest. Unless the patient codes.
- There is never a defibrillator just sitting nearby if a patient codes.
- And we don’t defibrillate every single code.
- If the code does need a defibrillator, they need CPR.
- And ICU.
- They shouldn’t be on a ward.
- There are other people who work there too. Physiotherapists will always see patients who need rehab after breaking a limb. Usually legs, because they need to be shown how to use crutches properly.
- Wards are separated depending on what the patient’s needs are. Hospitals aren’t separated into ICU, ER and Ward. It’s usually orthopaedic, cardiac, neuro, paediatric, maternity, neonatal ICU, gen surg, short stay surg, geriatric, palliative…figure out where your patient is gonna be. The care they get is different depending on where they are.
ICU.
- A patient is only in ICU if they’re at risk of active dying. I swear to god if I see one more broken limb going into ICU in a fic to rank up the angst factor I’m gonna shit. It doesn’t happen. Stop being lazy.
- Tubed patients can be awake. True story. They can communicate too. Usually by writing, since having a dirty great tube down the windpipe tends to impede ones ability to talk.
- The nursing care is 1:1 on an intubated patient. Awake or not, the nurse is not gonna leave that room. No, not even to give your stricken lover a chance to say goodbye in private. There is no privacy. Honestly, that nurse has probably seen it all before anyway.
- ICU isn’t just reserved for intubated patients either. Major surgeries sometimes go here post-op to get intensive care before they’re stepped down. And by major I mean like, grandpa joe is getting his bladder removed because it’s full of cancer.
- Palliative patients and patients who are terminal will not go to ICU. Not unless they became terminally ill after hitting ICU. Usually those ones are unexpected deaths. Someone suffering from a long, slow, gradually life draining illness will probably go to a general ward for end of life care. They don’t need the kind of intensive care an ICU provides because…well..they’re not going to get it??
Operations.
- No one gets rushed to theatre for a broken limb. Please stop. They can wait for several days before they get surgery on it.
- Honestly? No one gets ‘rushed’ to theatre at all. Not unless they are, again, actively dying, and surgery is needed to stop them from actively dying.
- Except emergency caesarians. Them babies will always get priority over old mate with the broken hip. A kid stuck in a birth canal and at risk of death by pelvis is a tad more urgent than a gall stone. And the midwives will run. I’ve never seen anyone run as fast as a midwife with a labouring woman on the bed heading to theatres for an emergency caesar.
- Surgery doesn’t take as long as you think it does. Repairing a broken limb? Two hours, maybe three tops. Including time spent in recovery. Burst appendix? Half an hour on the table max, maybe an hour in recovery. Caesarian? Forty minutes or so. Major surgeries (organs like kidneys, liver and heart transplants, and major bowel surgeries) take longer.
- You’re never going to see the theatre nurses. Ever. They’re like their own little community of fabled myth who get to come to work in their sweatpants and only deal with unconscious people. It’s the ward nurse who does the pick up and drop offs.
Anyway there’s probably way, way more that I’m forgetting to add but this is getting too long to keep writing shit. The moral of the story is do some research so you don’t look like an idiot when you’re writing your characters getting injured or having to be in hospital. It’s not Greys Anatomy in the real world and the angst isn’t going to be any more intense just because you’re writing shit like it is.
Peace up.
Ya hear that, Buckley?
Loss.jpeg ain’t realistic.of all the additions and replies on this post so far this is by far my fave.
Thumbs up for this from your friendly neighbourhood physician. (Also, I did mostly emergency care for a few years before switching to radiology. I got the adrenaline junking out of my body before settling down.)
One correction from someone who spent almost a decade working in an ambulance across two states: it is required by law to have your lights on if there is a patient in your rig. Now, this might be a state-by-state law IDK, but in both states I worked in, it was the case. You reserve sirens for Serious Shit because, guess what, they stress out the patient, so unless your patient is crashing in the back of your rig, you don’t run a continuous siren. You are, however, once again required by law to turn on the siren briefly while approaching and driving through stop signs or red lights. (You will also use your siren briefly to get idiots in front of you to move over when you’re stuck in traffic and have a patient whose condition can escalate.)
Also, unrelated to the lights and sirens issue, lemme add a detail about us asking a lot of questions. If you want verisimilitude in your story, remember SAMPLE:
- Signs and symptoms
- Allergies
- Medications
- Past illness/injury/disease
- Last food, drink, and medication taken
- Events leading up to the injury or illness
These are the questions EMTs are trained to ask every patient, though they rarely end up coming out in that order. Also, you can totally add a W to that, which is inevitably “Why did you wait so long to call us?” *sighs forever*
And for some more basic on-scene emergency care, remember CABC: C-spine, Airway, Breathing, Circulation. This time, actually in that order (except for cardiac arrest, in which case remember CAB: Compressions, Airway, Breathing).
The long and short of CABC is: if the patient fell or was in a car accident or had any other potentially traumatic injury, start with stabilizing the C-spine (typically via cervical collar and head blocks and backboard), because if there is a fracture in the neck and you don’t manage it and end up severing the spinal cord that high up, your patient’s probably going to die, and if not, will probably be paralyzed from the neck down.
Once C-spine is stable, make sure the patient’s airway is clear (this includes both foreign obstruction and the patient’s own tongue). Yes sometimes this actually involves sticking your finger in their throat to clear shit out, and yes it’s gross. It also means positioning an unconscious patient’s head in a certain way (assuming there is no chance of C-spine damage) to keep the airway open. EMTs also carry little plastic hook things called oropharyngeal airways in a bunch of sizes that keep the patient’s tongue from blocking their airway. And of course if needs be you can intubate, although this is not a skill EMTs have (paramedics do, though, and in some states there’s a certification called EMT-I [the I for intermediate] that also teaches that skill). If someone’s just come across an unconscious person and doesn’t have an airway to use, and you’re sure their C-spine is fine, you can roll them onto their left side and gently curl them; that’ll help keep the airway clear and also helps the heart pump blood a little more efficiently than if you’d rolled them onto their right side.
Anyway, once the airway’s secure, you move on to making sure the patient is actually breathing. If they’re not, you do it for them with an ambu bag. If they are but are struggling, or aren’t struggling but may for any reason potentially go into shock or have compromised circulation (broken leg, high fever, etc.), you give them supplemental oxygen, typically through a nonrebreather mask, though the flow rate depends on their symptoms.
Okay so once we’ve secured the patient’s C-spine, airway, and breathing, only then do we worry about circulation (unless the patient’s in cardiac arrest, remember, in which case we secure circulation first). Which in the case of trauma is generally first aid for serious open wounds and preventing or treating shock, and in the case of medical issues may be getting an ECG reading or administering medication or, if the patient does go into cardiac arrest, chest compressions and defibrillation.
Okay, that’s the end of the CABCs, but you’ll note that in the last para I said treating serious open wounds. Because a minor open wound is going to wait until after the next step after the CABCs, which is a full-body assessment wherein we meticulously assess a trauma patient using palpation from, basically, head to toe, looking for broken bones, soft tissue damage, internal bleeding, etc. Some of those things can be pretty serious, so before we treat a shallow cut, we check for, like, broken ribs that might puncture a lung.
So obviously not all of these things happen all the time. A patient presenting with an asthma attack needs neither a full-body assessment nor C-spine and circulation management. So we just jump straight to airway and breathing and forego the rest. (And then ask anyone with them our SAMPLE questions if the patient is too distressed to speak, because we still need those answers, but also if the patient is too distressed to speak you can bet we’re asking their companion in the back of a moving ambulance.)
Sometimes you spend a Long Fucking Time at a scene, either because the patient is resisting transport (this happens a lot, especially with the uninsured; we stick around and do everything we can to help them while simultaneously trying to encourage them to go to the ER anyway), or because the patient’s trapped in a smashed car and we’ve got to cut the door off and peel the roof back and get a cervical collar and a backboard on the patient while they’re still in the damn driver’s seat and lemme tell you that is a goddamn game of Jenga and can take half an hour, or because the patient isn’t critical but you want to minimize discomfort and damage so you take the time to meticulously package them while also getting all your questions answered on scene to make sure you haven’t missed anything, or because … well, you get the point. Sometimes shit just takes forever.
Other times, we do what’s called a scoop-and-go, typically with patients in critical conditions that can’t really be managed without surgery or medications we don’t carry. Like, patient bleeding out while giving birth? Not a whole lot we can do about that, so we get them in the rig as fast as fucking possible and race to the hospital while trying to get the most critical questions answered. These kinds of situations are very rare, though; it’s much more common to be on scene for 15 or 30 minutes than 5 minutes.
OH AND, another thing. Listen. EMTs do not approach a scene that is not secured. If there’s an active shooter, or a hostage situation, or a raging fire, or a potential for something to explode (or for something that’s already exploded to collapse), or a flash flood, or a hazardous materials spill, or whatever else, we do not go in until the unstable situation has been resolved. It sucks waiting 100 yards away while a critical patient is maybe dying and you can’t get to them yet, but listen, the first thing they teach you is don’t make new patients. IOW, don’t become a victim yourself; you can’t help anyone if you get wounded in the crisis too, and in fact then you’ve just become an additional burden on the personnel remaining.
Okay, so, any questions?
ALL OF THIS. With one exception to what @rachelhaimowitz added, which is:
I’ve never heard of the lights-must-be-on rule. It’s gotta be one or a few specific states. Generally speaking, lights and sirens increase accident rates, and most states are actively trying to REDUCE their use, not increase them, but I don’t know where she lives, so that’s accurate in her part of the country (I’m assuming the US). But it’s inaccurate in most of the country.
xoxo, Aunt Scripty
I had CA: TWS playing in the background at work today, and something caught my attention that I have idly wondered about before, but this time, it was like a great big flashing sign. So much so that I had to go back and replay the scene.
Pierce: The timetable has moved. Our window is limited. Two targets, level six. He already cost me Zola. I want confirmed death in ten hours.
I saw that then I watched the scene on the bridge. Watch the Winter Soldier. He comes in for the attack, and the first person he takes out of the equation is Jasper Sitwell. AKA the man who let the Lumerian Star get captured by pirates. AKA the reason Fury got the intel and had his suspicions raised. AKA the reason that the timetable was moved. AKA the reason they lost Zola.
I always assumed it was Steve and Natasha he was coming after, but no. Steve is Level 8.
Just watch the way TWS attacks. He doesn’t go for Steve or Sam directly. He takes out Sitwell, the easy target, first then aims through the roof of the car at Natasha first. And when the car crashes, he doesn’t go after Steve.
Instead, he fires towards Natasha, and only misses because Steve pushes her out of the line of fire. The blast sends Steve hurtling over the ledge. You would think he would be a priority target after that, but TWS ignores him. Instead, he calmly stalks after Natasha like a predator.
The other HYDRA operatives are firing like mad, shooting at everything, but he just watches for Natasha. He doesn’t fire until he has her in his sites. He only fires three times when she’s still on the bridge, and each shot only just misses her. (Speaking of, I love that the only thing that makes him lose his cool and fire as wildly as the other HYDRA agents, is when she manages to land a hit on him. That’s the one time he doesn’t aim)
When he gets given the machinegun, he also doesn’t waste his ammunition once she’s out of range. He hops over the edge of the bridge and goes after her on foot. The only time he actually bothers himself with fighting Steve is when Steve attacks him.
Also, I think this whole scene really demonstrates the difference between the design of the Winter Soldier as a weapon and the way HYDRA have used him. HYDRA tends to be very much smash in and “KILL THEM ALL WITH FIRE!” style, whereas the Winter Soldier is very much carefully aimed and positioned. Just watch the way he moves when he’s hunting. Or even when he’s firing. He is absolute stillness and quiet, compared to the chaos and destruction of the HYDRA boys. He just walks into a scene, lifts his gun, fires, and just like that, is gone.
This is a very good point! The Winter Soldier’s behaviour on the bridge makes much more sense when we presume he was after Sitwell and Natasha rather than Steve and Natasha – why would he go after Natasha and leave his team to deal with Steve, arguably the bigger threat, if she wasn’t, in fact, his second target? Logically, if he were sent to kill all of them, he’d take out his opponents starting either with the biggest threat (Steve) and working his way down (Natasha, Sam, Sitwell), or starting with the least threat (Sitwell) and working his way up (Sam, Natasha, Steve). Instead, he took out Sitwell, completely ignored Sam (because he wasn’t ordered to kill Sam since Pierce didn’t know about him?), ordered his handlers to keep Steve busy, and went after Natasha himself.
The only piece that doesn’t fit the puzzle is the ‘level 6′, because both Sitwell and Natasha were Level 7. It might simply be a continuity error, but I always assumed Pierce referred to HYDRA’s own system of threat levels rather than S.H.I.E.L.D.’s clearance levels. A level 6 threat, in this case, would be a trained S.H.I.E.L.D. operative – although arguably, Natasha was a bigger threat than Sitwell. Still, they’re both (more or less) standard humans, unlike Steve. It actually makes a lot more sense that the targets were both the same level if they were in fact Sitwell and Natasha, because Steve was both a higher S.H.I.E.L.D. clearance level (Level 8) and a higher threat level, being a supersoldier, than either Sitwell or Natasha.
Notice also that the Winter Soldier asked Pierce, “the man on the bridge, who was he?” Not “my target.” So I think you’re probably right!
But wait…
If this is true, it also means the Winter Soldier didn’t kill anyone he hadn’t been expressly ordered to kill. In Odessa, he was ordered to kill the nuclear scientist and left Natasha alive. On the roof outside Steve’s apartment, he was ordered to kill Fury and ignored Steve even though he had a high-caliber sniper rifle and a clear line of sight – remember that post about how the Winter Soldier shot Nick Fury by extrapolating from where Steve was looking, meaning he could easily have put a bullet through Steve’s eyesocket if he’d wanted to? On the bridge, he was ordered to kill Sitwell and Natasha, ignored Sam, and told his team to go after Steve knowing Steve would take them out. At the Triskelion, he’d been ordered to destroy the loyal S.H.I.E.L.D. air force which posed a threat to HYDRA’s helicarriers until they reached operational altitude, and then went after his target, Steve, after taking out Sam in a way which would give him a chance of survival, however slim, like Natasha in Odessa.
The Winter Soldier was actively opposing HYDRA by obeying their orders in the most literal sense possible. He knew he couldn’t disobey a direct order due to his programming, but given the opportunity to take out a threat to HYDRA, he ignored that threat if he hadn’t been expressly ordered to deal with it. He even had Steve’s shield, Steve’s most powerful weapon, and threw it back to him.
All this time, we’ve been discussing Bucky in terms of loss of autonomy, how he was HYDRA’s brainwashed puppet, when in fact he was fighting HYDRA all along in the only way left to him – by sparing the lives of HYDRA’s enemies whenever he could.
HYDRA never broke Bucky completely.
Because of MY RDJ, I am reading everything about the new spiderman movie.
So according to the people who worked on Spiderman Homecoming from Sony, they filmed soo many videos with Chris evans as Captain America for High school and Chris loved the idea and thought it was funny.
They said the FULL videos will be included in the bluray extra and that the videos that are in the movie are only few seconds long
What if the entirety of both infinity war movies involves most of the avengers fighting Thanos or whatever and then every 10 minutes or so it just cuts to T’Challa, Sam, Bucky, and Steve hanging out at T’Challa’s place and doing mundane things like playing video games and baking and it’s all quiet apart from the sound of three separate ringtones going off in the background.
Adding ces’s tags for great truth: #I would totally watch this movie actually#in the middle Natasha#windblown and exhausted#arrives#and they hand her popcorn
How do you think T.J. Hammond is doing?
TJ is married.
His husband has never made him cry (on purpose).
His husband is not involved with politics in anyway.
His husband initiates kisses and plays with his fingers in public.
His husband only drinks when they’re at a party or event, never at home, never when it’s just the two of them.
His husband fucks like a demon and makes love like the world is ending.
His husband enjoys his music but doesn’t expect him to play.
His husband stays away from his business ventures but wants him to succeed.
His husband loves him.TJ is living in a house in DuPont Circle
with monster of a couch sunken down in the middle from movie marathons,
a heated pool that is used for making love in at least once a month,
a bed with a strong frame he can hold onto and fall asleep leaning against in turns,
and a big ugly dog that follows him everywhere, even into the bathroom.TJ is thinking about kids.
Quietly.
Carefully
Intensely.
Seriously.TJ is going to start a conversation.
Soon.IDK what this is, exactly, but it is always always always for @albymangroves
Also heads up to @brendaonao3 @viperbranium @buckyballbearing and anyone else in the the TJ Hammond Happiness Squad who I may have forgotten BECAUSE SEB THINKS HAPPY TJ IS HAPPY.TJ HAMMOND HAPPINESS SQUAD
can we have tshirts
on fan discourse
*wades cautiously into the wank-infested waters of Fan Discourse, pulls out megaphone*
AS FANFIC IS PRODUCED FOR FREE, IT’S KIND OF SHITTY TO COMPLAIN ABOUT ITS LITERARY QUALITY OR THE FREQUENCY OF UPDATES. THESE ARE COMMERCIAL EXPECTATIONS THAT CAN’T BE FAIRLY APPLIED TO WORKS CREATED AT AND FOR NO COST.
THAT BEING SAID:
AS FANFIC IS PUBLISHED FOR PUBLIC CONSUMPTION, IT’S KIND OF DISINGENUOUS TO COMPLAIN ABOUT READERS HAVING CRITICAL REACTIONS TO THE CONTENT. CRITICISM IS A LITERARY REACTION THAT CAN’T BE FAIRLY DENIED ON THE BASIS OF WHETHER OR NOT THE WORK COST MONEY.
THAT BEING SAID:
REGARDLESS OF WHETHER A WORK IS COMMERCIAL OR FANNISH, GOING OUT OF YOUR WAY TO SEND HATE OR CRITICISM DIRECTLY TO THE AUTHOR IS A DICK MOVE. YOU CAN DISCUSS THE CONTENT, MERITS AND/OR FAILINGS OF A GIVEN WORK WITHOUT THE NEED TO MAKE THEM AWARE OF YOUR FEELINGS. EVEN WHEN A WORK IS CREATED COMMERCIALLY, CREATORS ARE NOT BEHOLDEN TO THE PREFERENCES OF INDIVIDUAL FANS, NOT LEAST OF ALL BECAUSE THIS IS A PHYSICALLY IMPOSSIBLE STANDARD FOR ANYONE TO MEET. SOME WRITERS ARE HAPPY TO BE MADE AWARE OF CONSTRUCTIVE CRITICISM IN WHATEVER FORM, BUT MANY EXPRESS A PREFERENCE NOT TO SEE ANY, OR PREFER TO DO SO ONLY AT CERTAIN TIMES. IF YOU’RE NOT SURE, ASK FIRST. THIS IS BASIC COURTESY, BOTH PERSONALLY AND PROFESSIONALLY.
THAT BEING SAID:
SOME INTERACTIVE ONLINE SPACES – SUCH AS AO3, GOODREADS AND TUMBLR – ARE FAIRLY USED AND INHABITED BY BOTH CREATORS AND READERS. AS THESE SITES ENCOURAGE READER RESPONSES AND COMMUNITY ENGAGEMENT VIA COMMENTS, REVIEWS AND REBLOGS AS A BASIC FUNCTION, IT’S GROSSLY UNREALISTIC FOR CREATORS POSTING IN THESE SPACES TO EXPECT TO ENCOUNTER ZERO CRITICISM EVER. SOMEONE EXPRESSING ABUSE OR UNWANTED COMMENTARY DIRECTLY TO A CREATOR IS NOT THE SAME AS READER/READER ENGAGEMENT TAKING PLACE WHERE THE CREATOR CAN SEE IT. YOUR MILEAGE MAY VARY AS TO WHERE THAT LINE EVENTUALLY BLURS, BUT THE POINT IS THAT IT DOES BLUR AS A MATTER OF COURSE, AND THAT THIS IS A FEATURE RATHER THAN A BUG – ONE THAT WE ALL HAVE TO LEARN TO NAVIGATE.
THAT BEING SAID:
THE FACT THAT SOMEONE HAS WRITTEN SOMETHING THAT YOU FIND QUESTIONABLE, IMMORAL OR OTHERWISE AWFUL DOESN’T MEAN THE CREATOR SHOULD LOSE THE RIGHT TO CREATE MORE THINGS, OR THAT SUCH WORKS OUGHT TO BE ILLEGAL. YOU ARE WITHIN YOUR RIGHTS TO OFFER UP CRITICISM OF THE WORK ITSELF, THE TROPES IT EMPLOYS AND THE CONTEXT OF THEIR USAGE, BUT THE PROBLEM WITH ADVOCATING FOR THE TOTAL BAN OF PARTICULAR TYPES OF CONTENT IS THAT FICTION IS INHERENTLY LIMINAL. GIVEN THAT DEPICTION DOES NOT EQUAL ENDORSEMENT AND THE FACT THAT THE IMPACT OF A NARRATIVE IS ULTIMATELY DETERMINED BY THE INDIVIDUAL READER, IT IS IMPOSSIBLE TO BAN ALL STORIES WHICH USE “IMMORAL” DEVICES UNCRITICALLY WITHOUT SIMULTANEOUSLY BANNING STORIES WHICH EXAMINE AND ACKNOWLEDGE THEM IN DIFFERENT WAYS, AND THAT’S BEFORE YOU TRY TO GET A ROOMFUL OF PEOPLE FROM DIFFERENT COUNTRIES, CULTURES AND BACKGROUNDS TO AGREE ON WHAT “IMMORAL” MEANS IN FICTIONAL CONTEXTS IN THE FIRST PLACE, WHICH DEFINITION IS NEVER GOING TO OVERLAP PERFECTLY WITH WHAT “IMMORAL” MEANS TO THE SAME PEOPLE IRL.
THAT BEING SAID:
THE FACT THAT FANFIC IS FREQUENTLY WRITTEN IN THE SPIRIT OF NARRATIVE COUNTERCULTURE DOESN’T STOP IT FROM CONTRIBUTING TO THE SPREAD OF TOXIC TROPES OR STEREOTYPES THAT ARE ALSO PRESENT IN MAINSTREAM CULTURE AND/OR COMMERCIAL MEDIA. DEPICTION IS NOT ENDORSEMENT, BUT IT IS PERPETUATION, AND THE FACT THAT SOMETHING WAS WRITTEN FOR FREE DOES NOT MAGICALLY BALANCE ITS POTENTIAL NEGATIVE IMPACT AT EITHER AN INDIVIDUAL OR COLLECTIVE LEVEL. WRITING FIC IS OFTEN DESCRIBED AS A HOBBY, BUT AS IT IS LARGELY A SHARED ACTIVITY UNDERTAKEN WITHIN A DEDICATED COMMUNITY, IT IS A PUBLIC HOBBY, AND CAN THEREFORE POTENTIALLY IMPACT MORE PEOPLE THAN JUST THE INDIVIDUAL WRITER. KNITTING IS ALSO A HOBBY IN WHICH INDIVIDUALS CAN INVEST A GREAT DEAL OF TIME AND FEELING – AND, INDEED, MONEY – BUT IF SOMEONE IN YOUR KNITTING CIRCLE STARTED BRINGING IN SWEATERS THEY’D MADE EMBLAZONED WITH RACIST SLOGANS, THE IMPACT OF THIS ACT ON OTHER GROUP MEMBERS WOULD NOT BE AMELIORATED BY THE REMINDER THAT ‘IT’S A HOBBY’. IF THIS IS A VIABLE DEFENCE, IT IS A DEFENCE THAT CAN BE USED EQUALLY BY THOSE WHO WANT TO ACT WITHOUT CONSIDERATION FOR OTHERS IN THEIR COMMUNITY AND THOSE WHO WISH TO ENJOY THAT COMMUNITY WITHOUT FEAR OF BEING PERSONALLY DISPARAGED, AND IS THEREFORE LESS A DEFENCE IN EITHER CASE THAN A STATEMENT OF FACT WITH NO ACTUAL BEARING ON HOW TO SOLVE THE PROBLEM.
IN CONCLUSION:
THE RELATIONSHIP BETWEEN GOOD MANNERS, PERSONAL POLITICS AND FREEDOM OF SPEECH IS A COMPLEX ONE. IN THE WHOLE OF HUMAN HISTORY, NOBODY HAS YET SOLVED IT TO THE PERFECT SATISFACTION OF ANYONE OTHER THAN THEMSELVES, AND WHILE THAT DOESN’T MEAN THERE ISN’T A BETTER SOLUTION TO BE HAD IN THE FUTURE, I GUARANTEE THAT NEITHER CREATIVE ISOLATIONISM NOR BLANKET CENSORSHIP WILL GET US THERE, BECAUSE THE ONE THING BOTH THOSE POSITIONS SHARE IS FEAR OF CRITICAL ENGAGEMENT WITH A PERSON WHO DISAGREES WITH YOU, WHICH IS THE ONE THING YOU ABSOLUTELY NEED IN ORDER TO PROGRESS A DISCUSSION PAST WHATEVER STALLED YOU IN THE FIRST PLACE.
*flings megaphone into the distance, dons portable sharkcage, wades irritably back to dry land*
Oh my god, thank you.
This is pretty great.
oh look, reasonableness.















