#( ronan : visuals. )

[grendel-menz]

dying's a boring side effect // the dream thieves warm ups

[friendofcars]

in an ideal tv adaptation of trc there is an absurd number of shots framed like pertinent tarot cards. calla upside down on the aerial silks hanged man pose. adam gets a meticulously framed but ultimately subtle magician card moment at fox way of course. and adam two/eight of swords with the blindfold. the gray man sleeping in tdt chapter 11 with the right number of vertically oriented objects behind him simulating knives in his back for the ten of swords. multiple iterations of the lovers. blue as the page of cups with her apple juice or yogurt cup. put gansey on a horse (metaphorical or otherwise) for death. idk!!!

[geteaten-or-flyintothesun]

something sooo healing about reminding myself that Adam enjoys Ronan's company and that Ronan loves him so much

[adamnsey]

i think one of the things i’m most excited for when the 2025 comics come out is that all of our icons are gonna be those gay little characters :) tag what you think your icon is gonna be, mine is definitely gonna be adam laughing uncontrollably from the mallory car phone conversation scene, or a little late-night gansey in his pjs & glasses <3

[vibe-stash]

Lady Bird (2017) Director: Greta Gerwig DOP: Sam Levy Production Design: Chris Jones

[railway-lands]

THIS LINE ESPECIALLY ^^^^ BECUASE OKAY HE WAS NEVER INTO ANYTHING BECUASE IT WASNT SAFE!!! BECAUSE HE NEVER FELT LIKE HE COULD HAVE ANYTHING, BECAUES HE NEVER FELT LIKE HE BELONGED YK

this one. sobbingggn

^^^ LIKE OKAY DID NIALL EVER DREAM ANYTHING FOR DECLAN. DID RONAN EVER DREAM ANYTHING FOR HIM. HE DREAMT THINGS FOR ADAM AND GANSEY (AND STATED THAT HE TRIED FOR BLUE DURING TRK) AND DREAMT MATTHEW, BUT AFAIK HE NEVER TRIED FOR DECLAN.

FROM THE MOMENT HE MEETS MATTHEW HE ALREADY HAS RESPONSIBILITY FOR HIM - DONT TELL ANYONE ABOUT THIS SECRET LIKE. RONAN NEVER HAD TO DEAL WITH THE CONSEQUENCES OF MATTHEW YK YK

screenshots from a raven cycle holiday short - maggie stiefvater! read it here

[thetryhardaesthete]

Visually Gorgeous Films

Part 6/? - The Grand Budapest Hotel

Dir. Wes Anderson Starring: Ralph Fiennes, F. Murray Abrahams, Tony Revolori, Saoirse Ronan, Jude Law, William DaFoe

Genre: comedy, drama

[ahtcast]

Ronan Bowes

Xanax

oil on canvas

196 x 178 cm / 77 x 70 in

2016

Ahtcast audio interview: http://www.ahtcast.com/2022/05/artist-interview-ronan-bowes.html

The artist's website: https://www.ronanbowes.com/

[impmarkona]

Tell Me Why: Eddy

Hey there everybody! I’m back at it with more of the Don’t Nod game “Tell Me Why” and man is it still a heavy hitter emotionally for me. The main two characters are twins Alyson “Aly” Ronan and Tyler Ronan. Tyler is a trans-male character so if you aren’t big on that kinda thing then this is not the video or game for you. The game revolves around the mystery of what actually happened the night…

[pollard-zero]

𝚁𝚘𝚗𝚊𝚗 𝙿𝚘𝚠𝚎𝚕𝚕.

𝐏𝐑𝐎𝐅𝐄𝐒𝐒𝐎𝐑 𝐎𝐅 𝐌𝐀𝐆𝐈𝐂𝐀𝐋 𝐒𝐓𝐔𝐃𝐈𝐄𝐒

[oscarwilderobbieross]

the visualization in my brain of gansey going through the stages of grief because ronan wrecked the pig, getting emergency steered to the kitchen by his big sister, calling ronan and then taking the phone away from his ear to check the caller id when kavinsky picks up, only to politely answer with ‘joseph.’ is throwing me into hysterics rn

[robobee]

if trc was a visual medium and I was a tiktoker i would go insane talking about quiet luxury and how Declan and Adam both fall into this position of people with OBJECTIVELY less money compared to their peers and how both of them are trying to replicate luxury (ie: clothing=persona/identity) to varying levels of success. adam wears old gifts from the ganseys and declan is very clearly called out by other characters to be overcompensating. neither are fully seamless and even though thats not an overt plot point it is DEFINITELY very significant since plenty of their story beats echo each other down to their relationship with ronan, who is a different fashion debate (eg. how punk can you get off of a bank account you dont need to look at and a shaved head which needs to be constantly maintained and a BMW you stole w no repurcussion). again I DO think stief implies fascinating plot points that she doesn't focus on but her display of class and economic variation is very very cool & obviously people w more context of specific USAmerican culture can have this debate better than I can

editing to link the video that finally helped me put this thought into words

[friendofcars]

Hello! Here is data on point of view distribution across characters in The Dreamer Trilogy (which I will abbreviate as TD3) as a follow up to my TRC data from last year (viewable here). A rather long-winded discussion of the data, methods notes, and some supplemental figures and tables are under the cut. As it was not possible to include all values and stats in this post (nor in the alt text for image IDs), my spreadsheet can be viewed by clicking here,

This project quantifies and visualizes the distribution of chapters and pages in the books of TD3 across characters from whose POVs the story is told. I didn’t have much of a hypothesis going into data collection/analysis, especially not like I did for the TRC data, but I did expect to see Ronan’s POV having the most chapters and pages for the entire series, given the fact that he is the most central of the protagonists. I don’t think page time is the be-all-end-all for a character’s importance, of course, but it is still interesting to consider how spending more time from certain perspectives affects the perceived narrative. I won’t get much into that aspect of analysis in this post, but if anybody would actually like to discuss that, I’d love to!

Results (and Interpretation):

TD3 consists of 173 chapters and 1184 pages (using the U.S. hardcover editions), making the average chapter 6.84 pages. The longest chapter is 16 pages, and the shortest is 1 page.

Figure 1A: The average chapter in Mister Impossible (MI) is considerably longer (9.26 pages) than the average chapter in Call Down the Hawk (CDTH) (6.00 pages) and in Greywaren (GW) (6.40 pages), which makes sense as MI has just 38 chapters while CDTH has 80 and GW has 55 (see Fig. 2). To me, the effect of the longer chapters (and therefore extended time with the current POV character) makes the various POVs feel more temporally distant from one another- not in a narratively incoherent way, but in a way that echoes the sense of isolation experienced by dreamers and weaponized by Bryde as he tries to convince Ronan and Hennessy to abandon their loved ones.

Figure 1B: Chapter length is fairly consistent amongst POVs across the series. Matthew has the longest average chapter length (8.40 page) over a small set of chapters (5 total)- his character development (as told from his own POV) is limited to a small number of instances, which may have stretched his chapters a bit longer. The 'Other' category has the shortest average chapter length (5.13 pages) (Fig. 1B); it includes the typically short chapters from witnesses of Visionary explosions/aftermath (Mags, Dabney) as well as Nathan's manifesto excerpts. (As a side note, I've described the chapters depicting memories from the Barns as 'Mór and Niall.' These chapters do not collectively portray an equal balance of their POVs, but this was the simplest way to categorize them.)

Figure 2A-B: These graphs are representations of chapter distribution across POVs in TD3 in terms of chapter count (2A) and proportion of total chapters (2B). Some observed trends include Declan's proportion of total chapters remaining quite constant throughout the series, Ronan's decreasing, Hennessy's proportion of chapters nearly doubling from CDTH to MI (and staying at a similar proportion to MI in GW), and Jordan's proportion following an opposite trend (consistent proportion in CDTH and MI, followed by a more than 50% drop in GW). Carmen's proportion of chapters also declines after CDTH.

Figure 2C: This graph compares total chapters per character POV over the entire series. We can see that the largest proportion of the series is told from Ronan's POV (53 chapters, or 0.306 of all chapters). To put that in perspective, Hennessy has the next highest number of chapters (26, or 0.150 of all chapters), which is just under half the number of Ronan's. If all characters had an equal number of chapters from their POV (including the miscellaneous POVs as one category labeled Other), they would each have 21.6 chapters, represented by the horizontal dashed line; Declan, Jordan, Carmen, and Hennessy all have chapter counts relatively close to this number.

Figure 2D-E: These are representations of page distribution across POVs in TD3 in terms of page count (2D) and proportion of total pages (2E). Trends are similar to those depicted in 2A-B, but 2E does make Declan's increased proportion of page time in GW salient.

Figure 2F: This graph compares total pages per character POV over the entire series. The dashed line shows that if each character (plus the Other category) had equal page time in the series, readers would spend 148 pages with each POV. Again, page data is similar to chapter data, but comparing graphs 2C and 2F gives a clear visual indicator that Jordan's chapters (on average, 8.11 pages) are longer than Carmen's (on average, 6.08 pages), since Carmen has visibly more chapters in 2C yet nearly the same number of pages as Jordan in 2F.

Figure 3: Figure 3 shows distribution of chapters (3A-B) and pages (3C-D) in CDTH, as well as average chapter length for each character POV (3E). An equal distribution of chapters would have been 13.3 per character, and an equal distribution of pages would have been 80.0 per character. The 'Other' category included chapters from the perspectives of Lock, Breck Myrtle, Shawna Wells, Jason Morgenthaler (and Lin Draper, briefly, in the same chapter), Mags Harmonhouse, and Dabney Pitts. Carmen's average chapter length in CDTH (4.67 pages) is the lowest single-book average for character POVs appearing throughout the entire series. (Nathan's average chapter length is just 1.00 [Supplemental Figure 2], yet his POV only appears in GW via his manifesto excerpts, and while I have attributed these chapters to his POV, I interpret the POV as actually ambiguous. As with Kavinsky's text in TDT, it's not absolutely certain if we are reading from the writer or the reader's perspective [although in TDT, due to the lack of Kavinsky POV elsewhere, it's probably the latter]).

Figure 4: Figure 4 shows distribution of chapters (4A-B) and pages (4C-D) in MI, as well as average chapter length for each character POV (4E). An equal distribution of chapters would have been 5.43 per character, and an equal distribution of pages would have been 50.3 per character. The 'Other' category included two chapters, both with what I deemed omniscient narration. Declan had the shortest chapters in MI (8.20 pages), and Jordan had the longest (11.4 pages, the longest average for a character for a single book in this series).

Figure 5: Figure 5 shows distribution of chapters (4A-B) and pages (4C-D) in GW, as well as average chapter length for each character POV (4E). An equal distribution of chapters would have been 6.88 per character, and an equal distribution of pages would have been 44.0 per character. The 'Other' category included Nathan's manifesto excerpts (3 chapters), 1 chapter from Liliana's POV, and 3 other chapters with omniscient narration. While Ronan never has the longest chapters, his chapters are shorter relative to other POVs in Greywaren, perhaps as a result of the way his chapters are written during his time asleep/in the sweetmetal sea. I have not yet investigated whether chapters tend to be longer while characters are awake vs asleep or dreaming, but that's something that could be measured from the existing data in the spreadsheet! There is also a dramatic drop in Jordan's POV time in GW compared to the previous two books, perhaps because of her increased divergence from Hennessy and desire to establish a life that follows her own narrative.

Other findings: A major difference I noted between TRC and TD3 was the lack of split chapters in TD3. In TRC, the data analysis was made slightly complicated by having to account for the fact that a non-negligible number of chapters would make a distinct and discrete switch between POVs partway through. While I did not observe this in TD3, I did encounter more ambiguous/nebulous POVs as I previously mentioned. The increased presence of omniscience in the trilogy, for me, contributed to the increased sense of scale and stakes compared to TRC. This increased continuity amongst POV (not amongst core/recurring POV characters, but amongst groups of characters/communities depicted in the omnisciently narrated chapters) also contributed to a sense of dissolution of barriers and identities, perhaps thematically in line with Ronan's character development and increasingly holistic perspective of both his humanity and otherworldliness (although Ronan is not necessarily featured in these 'boundary-breaking' chapters). I also briefly looked at occurrences of back-to-back chapters from the same POV; this happens most frequently for Ronan in all three books, mainly in CDTH, and sometimes featuring a dreaming chapter directly before an awake chapter (or vice versa) in immediate succession. Declan (MI), Carmen (CDTH), and Jordan (CDTH) all have a pair of back-to-back chapters at some point in the series; Hennessy has 2 (MI, GW).

Conclusions: In all honesty, despite this project being quite fun and fulfilling and of course, worth doing, I do not think I have any particularly insightful conclusions about the data beyond what I've already discussed. Ronan took up the largest share of the chapters and pages as expected, although I am not sure I expected this to be true by such a large margin. I also was surprised that Declan did not have more chapter/page time, but it is possible that his notable inclusion in chapters from other characters' POVs increases his prominence in the series (and I suppose this is probably true for all characters who frequently appear in chapters outside their perspective). As with TRC, the number of POVs expands as the series develops, often with the effect of increasing the scope of the story's implications, and perhaps, more importantly, showing the story from additional angles that contextualize and/or distort narrative established by other characters' perspectives. I hope you've enjoyed exploring the data as I have, and those interested in my methodology may continue reading below!

Methods:

Data collection was straightforward in the sense that I simply counted the pages in each chapter and then assigned each chapter to a character based on the POV represented. The POV character assignment was more difficult than it was for TRC, as TD3 has more omnisciently narrated chapters, which in itself is easy to categorize, but they often zoom in on or are 'biased' towards the experience of a particular character, so I had to make some decisions as to what, for me, constituted sufficient focus on a character’s internal narration and expression vs. omniscience. In the spreadsheet, I took notes on these more subjectively driven decisions. Again, you can view it here! It also contains data on whether the chapter is from an awake or dreaming POV, and has the first lines of each chapter, among which are some fun repeating patterns. 

For bar graphs with dots, each dot represents a single chapter. You may also notice that the graphs are missing p-values from statistical tests this time around! This is because, since completing the TRC data, I’ve realized that such measures of uncertainty re: significant differences are not appropriate for my dataset, which is not a sample representing a population, but rather a complete group of chapters (so parametric tests are not necessarily helpful or valid). However, I still like to run the tests for my own amusement and to see what the results would be if this were a dataset for which ANOVA and contingency tests were appropriate, so I have standard deviation bars on the graphs where calculable (but no standard deviations in the text of the results section for legibility) as well as the p-values in tables at the end of this post for anyone also curious. I did still calculate the numbers of chapters and pages that would represent an equal distribution across POV characters, which are represented by the dashed lines on the relevant figures. I think this is helpful to visually gauge 'over-representation' and 'under-representation' of character POVs.

Below are the supplemental figures showing all character POVs rather than lumping some together in an 'other' category. The MI data in figure 4 is not expanded below because the chapters designated as 'other' were omniscient and thus would have remained in the same category.

And finally, here are the omitted p-values, if you'd like to pretend along with me that all the chapters in TD3 are not a complete set but rather a representative sample of a greater population of chapters that's out there in the universe. :) When I give a p-value below the 0.05 threshold but still write 'no significant differences amongst any combination of characters, I mean that the p-values generated for the comparisons between each possible pair of characters were all above 0.05, which are distinct from the overall p-value generated from the ANOVA.

[literalite]

character/story influences tag

rules: write up a blurb or make a visual collage of the people or characters (from books, TV shows, movies, etc.) that inspired your story and/or OC, either visually, personality wise, or just a general vibe

thanks for the tag @tricoufamily :DD i am tagging @gunthermunch @lucidicer @itsmariejanel @orphyd @goldenwaves this is FUN u should do it. thank u

medias/characters meet me in the woods: man in the dark (paul auster), orlando (virginia woolf), lord huron's entire discography, specifically meet me in the woods and the ghost on the shore, the godfather 1972 (barely), age of adaline 2015, the old guard 2020, this specific cc cross, and reading homer's the iliad in my final year of high school. somehow don't go where i can't follow: the raven cycle (maggie stiefvater), his dark materials (philip pullman), adventure time 2010-2018, mitski’s bury me at makeout creek album, next of kin by alvvays, bite the hand by boygenius, matilda (roald dahl) (jokingly), horrible no good homoerotic teenage friendships, the chosen one trope, and this post by tumblr user @/louisegluckpdf. also my life which explains why the aesthetic is completely disjointed RIP violent affairs (with @lucidicer): nbc hannibal, bones and all 2022, arachnids, ethel cain’s preacher's daughter, sir chloe’s i am the dog album, mine and olli's deranged combined mental energies mutually focusing on t4t cannibalism  vinny reign: matt murdock (netflix daredevil), joel miller (tlou), the fallen angel painting by alexandre cabanel, caravaggio paintings, catholic guilt, arsonist’s lullabye by hozier caleb vatore: those italian twinks that renaissance artists kept referencing to paint religious figures, dorian gray, orlando, timothee chalamet (LMAO), the reveal that the noo don’t kill yourself you’re so sexy guy is a twink [redacted] morrow: gojo satoru, howl pendragon (studio ghibli), jay gatsby, kageyama shigeo and also a bit of reigen arataka (mp100), ronan lynch and gansey (the raven cycle), eden's entire discography, birdcage by novo amor, mercy by sir chloe, myself ophelia griffin: ophelia painting by john everett millais, blue sargent (the raven cycle), clairo, phoebe bridger's discography, strawberry blonde and your best american girl by mitski, clairo’s immunity album, the first crush i ever had manny pluto: yotasuke takahashi (blue period), tbh a lot of blue period in general, alhaitham (genshin impact), adam parrish (the raven cycle), a hint of geto suguru, working for the knife by mitski nayef al karim: spiders, abel AND cain, julian slowik (the menu 2022), hannibal lecter (yes obvious i know but moreso the focus on fine dining as opposed to the psychology), stewy hosseini (succession), inbred by ethel cain

[massivechaoticenergy]

doing a re-read of the raven cycle and i have to say i find the use of the different character pov chapters fascinating, mainly in terms of ronan and his relationship to the gangsey.

like, in the raven boys, there’s no ronan chapters — we have to really depend on gansey (and sometimes adam) to tell us what ronan’s all about. it’s sort of a testament to how well they know each other. gansey knows ronan well enough to explain his actions and his way of thinking as well as slipping in glimpses of the ronan he used to know — which then sets up the dream thieves and us actually getting to see inside ronan’s head.

the dream thieves is where ronan finally has the opportunity to explain his actions and thoughts in his own pov, mainly because something so crazy is revealed to us on the last page of the raven boys. we dive in and learn about how ronan thinks and about his secrets and his past and “ronan’s second secret was adam parrish.”

and then, in blue lily, lily blue, we again have no ronan chapters. but this time, post second secret reveal, we have adam understanding and explaining ronan’s actions and thoughts. it shows just how much their relationship has deepened since the raven boys. this time we don’t just have gansey, someone who knew him before, to rely on, but also adam, someone who knows him after. even blue is starting to understand the functionality of ronan.

then it all comes to a head in the raven king: we have ronan chapters again because everyone has finally started to understand him fully. we get to see both how he is perceived and how he thinks. adam and gansey and blue all know him better — they’ve bonded and changed.

i don’t know if this exactly makes sense, i have a visual motor deficit so it’s much easier for me to put things to words out loud rather than written/typed, but i just wanted to put this out there.

[everyframeapainting1991]

Every Frame a Painting — Little Women

In this shot from Greta Gerwig's Little Women, we see Jo March, portrayed by Saoirse Ronan, sitting alone in a vast, open field with rolling hills and autumnal colors. Her small figure against the expansive backdrop highlights her feelings of loneliness and the overwhelming nature of her choices. Jo's hunched posture, with her head resting on her knees, conveys a moment of deep emotional reflection and sadness, capturing her inner conflict and resolve after turning down Laurie's proposal. The visual composition emphasizes Jo's struggle with societal expectations and her desire for independence, capturing a poignant moment of contemplation in her character's arc.