#- they original source material

[roseworth]

i think theres this idea in the general public that the "best" fanfic gets turned into real books like 50 shades of grey. but the truth is that the best fanfic can never be published as an actual book because its intricately woven into the canon material so its inseparable even if you change the names

[divorcedtom]

daniel molloy version of k3nd4llr0y’s logan roy rollin with the lgbt edit

[tangledinink]

she's not like the other girls. (she's a snapping turtle.)

this is what the prompt 'traditional garment' meant, right? week two of @tmntfashioncompetition! me and @cupcakeslushie did a ninja mind meld. extra points (again) for those who find the easter egg :3c

[twig-tea]

Saw the director of Addicted Heroin Thailand had posted this on his Facebook account:

This man looked at the show that was the tipping point of the first big anti-gay censorship wave in China in the 2010s, and decided to remake it and intentionally self-censor, just to see if he could attract the "Chinese BL is superior because it doesn't rely on kisses or NC scenes to show the emotions" audience to Thai BL?

I am so mad about this.

[itslilacokay]

precure beam

wooh, au fanart! thats new

stickfigure precure au and the au designs are by @fuuka101 btw! check out their stuff its pretty cool

[m0rbs]

Also wanted to share that earlier today I got the mysterious and otherworldly urge to draw them as horses. Just so you know

[jaundicity]

i have a lot more to criticize about this show but let me tell you guys the real tea of it all..

the writer's team for HOTD simply does not know how to portray war.

they don't know the complexities of war, nor do they hold a knowledgable grasp of the true horrors of it and how it affects everyone from the powers orchestrating it (eg. the blacks and the greens) to the people at the bottom.

now, i'm not saying that they should put on their soldier helmets and go fight in wars, because that's stupid and as much as i dislike them, i don't want that for them at all, but i am pointing out that they clearly don't understand that the dance isn't an easy heroes v. villains superhero battle that they have written it out to be, because it's not.

it's a criticism of war and its destructive nature, of the powers that basically damn innocent people to die for nothing because of their rulers aka. the people who should be protecting them ultimately letting their desires cloud their duties to the land they're overseeing. for the writers to not understand that and basically glaze over what george was basically saying through the text in favor of producing HBO's attempt at marvelizing the WOIAF is truly gutting, because why even try to make war a winning game? it isn't.

fuck, even movies and tv shows outside of that do so much better at portraying the messages that the OG dance has that HOTD has failed to drive home. come and see, all quiet on the western front, even the hunger games especially in mockingjay— those are fantastic media that accurately or even come completely close to portraying how devastating war can get. so much horror, grief, rage and overall tragedy is shown in the three pieces of media that i just listed, so it is insulting to me and hopefully to others that ryan and co. had not seriously considered looking to them or any other media for inspiration on how to accurately hit the mark on the original story's real themes for the show.

[jo-the-intellectual]

Sonadow fanfic authors who forget how integral Amy was (and still is) to Shadows development and that she was the first one to properly reach him, and then write Shadow like he has no idea who she is beyond “Sonic’s friend” or “the girl who likes Sonic”

[torawro]

guys i nearly embarrassed myself and moaned out loud….in PUBLIC.

[hiemaldesirae]

Alastor manifests a conductor’s hat and dons it. “All aboard! Next stop: Royal Circle and the Morningstar Palace!” His face softens as Vox steps up. He offers his arm. “Shall we? If you ignore the warm, sponginess of the floor, Tim’s insides are quite comfortable.” Vox grins. “Sure. A train ride to an upcoming battle sounds weirdly romantic.” Alastor kisses the other Overlord’s knuckles. “I’m so glad you’re safe.” He whispers. “I don’t know what I’d do if I lost you.”

- Radio Healed The Video Star, Finale I (by Aspiring_Forest_Witch / @slash-is-my-weakness86)

ive been reading and rereading this fic from exams week actually. i dont know what exactly was put into the story but im assuming it was some sort of crack because this might be hands down the best thing ive ever read. i wanted to draw one of my favourite scenes (the train ride on shortline tim.... if anyone questions my taste just know that we all watched the original hazbin so youve no room to judge) ((good luck on ur job search btw author !! hoping u find one sooner than later, thanks sm for making this fic))

[tangents-within-tangents]

Just some things I think deserve a super accurate movie/show adaption in a beautiful 2D animation style:

The How to Train Your Dragon series

Gregor the Overlander

Artemis Fowl

The Adventure Zone

The Hitchhiker's Guide to the Galaxy

Frankenstein or the Modern Prometheus

The Wonderful Wizard of Oz (fr so much was left out of the 1939 film!)

Alice's Adventures in Wonderland and Through the Looking-Glass

The actual Little Mermaid story (there are a ton of adaptations I haven't seen yet so maybe it exists somewhere but we all know Disney’s didn’t even come close)

[critterishere]

Evil weirdo trio that lives in my brain,,

[thunderboltfire]

I have a lot of complicated feelings when it comes to what Neflix has done with the Witcher, but my probably least favourite is the line of argumentation that originated during shitstorms related to the first and second season that I was unlucky to witness.

It boils down to "Netflix's reinterpretation and vision is valid, because the Witcher books are not written to be slavic. The overwhelming Slavic aestetic is CDPR's interpretation, and the setting in the original books is universally European, as there are references to Arthurian mythos and celtic languages" And I'm not sure where this argument originated and whether it's parroting Sapkowski's own words or a common stance of people who haven't considered the underlying themes of the books series. Because while it's true that there are a lot of western european influences in the Witcher, it's still Central/Eastern European to the bone, and at its core, the lack of understanding of this topic is what makes the Netflix series inauthentic in my eyes.

The slavicness of the Witcher goes deeper than the aestetics, mannerisms, vodka and sour cucumbers. Deeper than Zoltan wrapping his sword with leopard pelt, like he was a hussar. Deeper than the Redanian queen Hedvig and her white eagle on the red field.

What Witcher is actually about? It's a story about destiny, sure. It's a sword-and-sorcery style, antiheroic deconstruction of a fairy tale, too, and it's a weird mix of many culture's influences.

But it's also a story about mundane evil and mundane good. If You think about most dark, gritty problems the world of Witcher faces, it's xenophobia and discrimination, insularism and superstition. Deep-seated fear of the unknown, the powerlessness of common people in the face of danger, war, poverty and hunger. It's what makes people spit over their left shoulder when they see a witcher, it's what makes them distrust their neighbor, clinging to anything they deem safe and known. It's their misfortune and pent-up anger that make them seek scapegoats and be mindlessly, mundanely cruel to the ones weaker than themselves.

There are of course evil wizards, complicated conspiracies and crowned heads, yes. But much of the destruction and depravity is rooted in everyday mundane cycle of violence and misery. The worst monsters in the series are not those killed with a silver sword, but with steel. it's hard to explain but it's the same sort of motiveless, mundane evil that still persist in our poorer regions, born out of generations-long poverty and misery. The behaviour of peasants in Witcher, and the distrust towards authority including kings and monarchs didn't come from nowhere.

On the other hand, among those same, desperately poor people, there is always someone who will share their meal with a traveller, who will risk their safety pulling a wounded stranger off the road into safety. Inconditional kindness among inconditional hate. Most of Geralt's friends try to be decent people in the horrible world. This sort of contrasting mentalities in the recently war-ridden world is intimately familiar to Eastern and Cetral Europe.

But it doesn't end here. Nilfgaard is also a uniquely Central/Eastern European threat. It's a combination of the Third Reich in its aestetics and its sense of superiority and the Stalinist USSR with its personality cult, vast territory and huge army, and as such it's instantly recognisable by anybody whose country was unlucky enough to be caught in-between those two forces. Nilfgaard implements total war and looks upon the northerners with contempt, conscripts the conquered people forcibly, denying them the right of their own identity. It may seem familiar and relevant to many opressed people, but it's in its essence the processing of the trauma of the WW2 and subsequent occupation.

My favourite case are the nonhumans, because their treatment is in a sense a reminder of our worst traits and the worst sins in our history - the regional antisemitism and/or xenophobia, violence, local pogroms. But at the very same time, the dilemma of Scoia'Tael, their impossible choice between maintaining their identity, a small semblance of freedom and their survival, them hiding in the forests, even the fact that they are generally deemed bandits, it all touches the very traumatic parts of specifically Polish history, such as January Uprising, Warsaw Uprising, Ghetto Uprising, the underground resistance in WW2 and the subsequent complicated problem of the Cursed Soldiers all at once. They are the 'other' to the general population, but their underlying struggle is also intimately known to us.

The slavic monsters are an aestetic choice, yes, but I think they are also a reflection of our local, private sins. These are our own, insular boogeymen, fears made flesh. They reproduce due to horrors of the war or they are an unprovoked misfortune that descends from nowhere and whose appearance amplifies the local injustices.

I'm not talking about many, many tiny references that exist in the books, these are just the most blatant examples that come to mind. Anyway, the thing is, whether Sapkowski has intended it or not, Witcher is slavic and it's Polish because it contains social commentary. Many aspects of its worldbuilding reflect our traumas and our national sins. It's not exclusively Polish in its influences and philosophical motifs of course, but it's obvious it doesn't exist in a vacuum.

And it seems to me that the inherently Eastern European aspects of Witcher are what was immediately rewritten in the series. It seems to me that the subtler underlying conflicts were reshaped to be centered around servitude, class and gender disparity, and Nilfgaard is more of a fanatic terrorist state than an imposing, totalitarian empire. A lot of complexity seems to be abandoned in lieu of usual high-fantasy wordbuilding. It's especially weird to me because it was completely unnecessary. The Witcher books didn't need to be adjusted to speak about relevant problems - they already did it! The problem of acceptance and discrimination is a very prevalent theme throughout the story! They are many strong female characters too, and they are well written. Honestly I don't know if I should find it insulting towards their viewers that they thought it won't be understood as it was and has to be somehow reshaped to fit the american perpective, because the current problems are very much discussed in there and Sapkowski is not subtle in showing that genocide and discrimination is evil. Heck, anyone who has read the ending knows how tragic it makes the whole story.

It also seems quite disrespectful, because they've basically taken a well-established piece of our domestic literature and popular culture and decided that the social commentary in it is not relevant. It is as if all it referenced was just not important enough and they decided to use it as an opportunity to talk about the problems they consider important. And don't get me wrong, I'm not forcing anyone to write about Central European problems and traumas, I'm just confused that they've taken the piece of art already containing such a perspective on the popular and relevant problem and they just... disregarded it, because it wasn't their exact perspective on said problem.

And I think this homogenisation, maybe even from a certain point of view you could say it's worldview sanitisation is a problem, because it's really ironic, isn't it? To talk about inclusivity in a story which among other problems is about being different, and in the same time to get rid of motifs, themes and references because they are foreign? Because if something presents a different perspective it suddenly is less desirable?

There was a lot of talking about the showrunners travelling to Poland to understand the Witcher's slavic spirit and how to convey it. I don't think they really meant it beyond the most superficial, paper-thin facade.

[faeriekit]

thank you to whoever uploaded so many many many VHS Dic dub VHS tapes onto archive.org

[demonicimagery]

you know now that i’ve finished gomens s2 i could probably write an essay on my mixed feelings. what about when a work is - especially so in some parts - very fucking good. thematically interesting and consistent, characterisation that is so painfully human and told in a fascinating manner. but due to a lack of conclusion - inherent because of the format (tv series) - it feels an inherently different sort of narrative to the original. i do not think good omens season two is bad - not at all, but what i do think is it is now a very fundamentally different type of story than that of the book. not because the events of the show don’t happen in the book but because the style of storytelling is altogether different. it’s inherently going to be the case when one of the original creators has sadly passed on, and it doesn’t necessarily make it bad - however it does make it not what personally made me love the book of good omens in the first place. maybe it’s because i came in with certain expectations given that i have read a lot of sir terry pratchett’s other work and basically none of neil gaiman’s, but it’s just a different format of story. like the difference between an epic poem and a serialised story.

[morggender]

Move Morgott to a new home and the first thing he's doing is bolting for the nearest bed, spinning around on it and curling up to sleep like a dog in a hotel room