#I LOVE THE BOOKS AND ITS GREAT

[ningadudexx]

who up journeying to they west ⁉️⁉️⁉️⁉️ 🚶‍♂️🚶‍♂️🚶‍♂️🚶‍♂️🐎

the first one is a screenshot redraw of this frame cause it freaking rocks 🔥🔥🔥

the show has been out since 1986 and also the novel has been out since the 16th century.... but ill spoiler warninf just in case... anyone in audience from the 16th century tonite ⁉️🙋‍♂️🙋🙋‍♀️

[b4kuch1n]

polymer broadcast signal hijack

[juniemunie]

Broskis ts!underswap is so fun. every single part of it is *chefs kiss*

I went in completely blind and honestly i think it was the best move i could have made

i love how its just swapped roles but not personalities so it leads to stuff like this its so creative

Anyways have some more self insert sansnomaly (and chara)

[r7inyz]

reread into the pit lol (this was funnier in my head)

Kinda based off this scene

[tabooiart]

mr goatman... goat me a man.... make him the goatest that ive ever seen...

[itsmedrawpower]

When do we start?

[pepperpixel]

Initial drawings of that old man… I literally, I haven’t finished reading the book of bill yet!!! I had to stop and take a break for a week to feverishly draw fanart of myself petting fords floofy hair and giving him attention and shit…!!!! The urge was too great….!! I’ve literally. I had a crush on this guy the instant he was first REVEALED in the show, but I did not have the artistic prowess to draw good looking old men back then… but I do now… thank god… thank fucking god

[felassan]

ouugh i just cant wait to return to thedas

[aroaceleovaldez]

just realized no BoO graphic novel means no Nico in his silly little dog harness for the Athena Parthenos this is TRAGIC

[saddest-girl-in-the-whole-world]

Since it'll be a while longer until alecto releases (take your time tamsyn) I think we should try to avoid the usual insanity that befells a starved fandom by doing something unheard of: Reading another book. So uh.

What books would you recommend to your fellow locked tomb fans to help with the urges until we get alecto?

[ratatatastic]

"Funny enough I—like, if street hockey, ministicks, I always wanted to be a goalie too! Like, for some reason I always wanted to go in net. You know, probably because of [my Dad] and then, um, you know, once you get dinged a couple times and the shots get too hard you realise—then it's not so much fun after all so... Yeah, it was great he'd always—" "You probably wanted to be goalie 'cuz you're fucking crazy, man! Those guys are bananas! I actually went as a goalie in morning skate one time when I was suspended in the coast, and it was the scariest thing ever, bro. It's nothing like blocking a shot because you're literally just standing there, and these guys are shooting right at you. It's unbelievable!" "Yeah! You gotta get in the way of the stuff to save it! That's crazy! I know, and like obviously gear is like great and they don't really feel—but there is, like, that psychological thing going on where, like, you know, you wanna move out of the way 'cuz it's gonna hurt! I get—I mean, it must not hurt that much, like, 'cuz Bob's crazy, man! Bob loves taking—Well, I wouldn't say loves taking it off the head, but he doesn't hate it, like he—" "Feels good?" "You know, every once in a while—they hit him in the head and you go up and say sorry he's like, 'No, no! It's all good! I love it, I love it!!' and like, kind-of shoos you away so."

The Buzz Pod | 8.7.24 (x)

so speaking of banking pucks off bobbys head and how much he loves it flashback to that day in october of 23 where bobby was doing that for practise and managed to rope in matthew to the shenanigans to the utter confusion of everyone involved (x)(x)(x)(x)

[tatatatatara]

Aside from your blorbos and OTPs, what's your favorite thing about Tokyo Ghoul?

[sejanusarchive]

There’s so many layers to Sejanus being devastated by Marcus’s fate. He hates how the districts are treated by the Capitol, hates the cruelty of the Hunger Games, he feels the same emotional pain he would have felt being a tribute himself, if not even more, having to watch completely safe from afar, unable to do anything to put an end to the senseless slaughter, while guilt gnaws at him for not risking getting picked to participate himself, for having escaped. No innocent child deserves that, and it gets even worse when one of the children picked is someone he personally knows, someone he used to share a routine with, someone he used to spend hours alongside in a classroom.

And that child isn’t just someone, that child is Marcus, the kind boy who, while not even being his friend, went out of his way to help him when he got hurt, completely unprompted, just out of the goodness of his heart. That boy is a testament to what Sejanus already knows, that everyone seems to keep forgetting, which is that humanity at its core is and can be better than how it’s currently behaving. Not to mention how that was probably the last time Sejanus ever experienced an act of such pure, unconditional kindness. And that simple gesture was so impactful on him, it was enough to cement Marcus’s presence in his heart for all those years and then the rest of his life, and it no doubt helped shape Sejanus into the person he became. Someone as good as Marcus shouldn’t be going through all of that, and it drives Sejanus crazy. If the Hunger Games were too much for him to handle before, now that Marcus is involved, they're unbearable.

But there’s more to Marcus. He is also a safe memory to Sejanus, one who undoubtedly often comforted him when he was feeling at his worst. And he’s one of the main things Sejanus thinks about when he thinks of District 2, his home. Home, which despite the fact that he lived there during the war, despite all the suffering he witnessed, despite the reality of the current living conditions there, is still Sejanus’s happy, safe place; it’s the place he belongs to, the place that could fix almost everything for him. But he can never return there. It has to exist only as a memory, kept safely locked away and untouched in his mind and heart.

But when Marcus arrives in the Capitol, he brings his home with him too, he is the physical manifestation of it. Sejanus’s desperation doesn’t just stem from the fact that it’s Marcus, the innocent, kind-hearted boy, undeserving of such cruelty; but also from the fact that that’s his Marcus as well, the one whose existence is synonymous to his home, his sweet boy from his memories, his comfort. Marcus being there doesn’t only mean the pointless, unjust death of a good person, Marcus being there also means the death of Sejanus’s home, its image no longer far away, safe and untouched, kept only in his mind. Now it’s here and crumbling in front of his eyes. He already knew the reality of things, but it was just that: knowledge. Now he’s face to face with it, face to face with the fact that neither Marcus or his home are or will ever be safe. And, worst of all, he has no way to save them, or anyone else, he’s powerless and completely hopeless against the cruelty of the Capitol, against their fate; and now more than ever, since he’ll have to witness the death of the boy whose memory so often brought him hope before.

In the end all that’s left of both of them, for Sejanus, is a small chunk of marble, made from the same material as his District and carved into the shape of a heart, because that’s exactly where Sejanus’s own is: home with Marcus. We learn he has carried it to his new life in Twelve, immediately before we learn the only pictures he’s taken with him are of his family and his classmates in Two, of him, home for one the last times, standing with Marcus right behind him. That heart is the last physical object connected to Two and Marcus that he’ll have with him for the rest of his life, the last symbol of what he lost and will never get back, of what he couldn’t save or help. But it’s also the one object connected to them that he brought with him when he regained faith, when he felt like he could finally make a difference and actually help people in the districts; the last symbol that things could still get better and not all hope is lost.

For Sejanus Marcus is a kind and innocent kid; he’s the good in humanity; he’s a safe memory; he’s the marble heart because he is hope and comfort, and despair and helplessness, and home, and because he is deeply rooted in his own heart

[zipadeea]

the viscount who loved me is such a fun, romantic and ridiculous book because, at the heart of it all, the greatest conflict in the story is Anthony Bridgerton realizing that he's in love with his wife and i just think it's hilarious

[vivitalks]

Last night I saw the Great Gatsby musical. Before I went, I reread the Great Gatsby book (for the first time since 11th grade!) to get a refresher on the source material and the original story. Having the book so fresh in my mind made seeing the musical really interesting, and now I am going to do something I never thought I'd do, which is post some lengthy meta about The Great Gatsby. If you haven't seen the musical, this post may still be interesting to read, but it does contain some mild spoilers, so I leave that up to you. If you also haven't read the book, godspeed lol.

There's a lot I could talk about here when it comes to the way the book was adapted for the stage. But there's one particular thing I want to zero in on in this post, and that's the "unreliable narrator" of it all.

In the book, Nick Carraway is our narrator. He's an unreliable narrator practically by default - the idea is that he's retelling events that occurred two years prior, from memory. But even knowing that Nick is probably not reporting all events and characters with complete accuracy, it's hard to know which parts exactly are wrong, or what might have happened in reality, because even though he's an unreliable narrator, he's still the only narrator and this is the only version of events we know. We're forced to take Nick as our surrogate and take him at his word. Until the musical.

(I wondered how the show was going to deal with the fact that the story of Great Gatsby is not only told by an unreliable narrator but also by an outside perspective - generally speaking the events of the Great Gatsby aren't happening to Nick, they're just kind of happening around him. Yet he's the voice of the story, so in that way he's central to it, and I was curious how they were going to balance that fact with the fact that Gatsby is functionally the main character.

I think they struck a really good balance in the end. Nick's beginning and ending lines, lifted verbatim from his book narration, frame him clearly as the anchor of the story - I think that's the best word for it; the audience jumps from scene to scene, many but not all of which contain Nick, but we know that Nick is always going to be where the action is, or that he will at least know about it. He may not be the main character, but he's an essential character. But I digress a little bit.)

The difference between the way the story is imparted to the audience in the book versus in the musical boils down to this: in the book, Nick "plays" every character, so all their dialogue and actions, their mannerisms and the way they're described and reported, it's all informed by the beliefs Nick holds about them. Whether he means to or not, his biases paint certain characters in certain lights, and because he is our eyes and ears to the story, we have no choice but to absorb those biases.

But in the musical, every character is literally played by a different actor. Nick can only speak for himself. Nick can only tell his own parts as they happened. He may be "telling" the story, but we're watching the story. We have the benefit of an unblemished perspective on things - we can watch the events the way they actually unfold, regardless of how Nick believes or remembers they went down.

This difference - between Nick as the narrator and Nick as merely his own voice - is crucial in how the musical develops each character, some of them fairly different from how Nick described them in the book. And there's one book-to-stage change - a fairly small one, all things considered - that, to me, illustrated this difference perfectly.

There's a line towards the end of the Gatsby book. Something Nick says in narration, after his final conversation with Tom Buchanan, talking about how Tom gave away Gatsby's name and location to George Wilson (which ultimately led to Gatsby's death). Nick writes:

"I couldn’t forgive him or like him, but I saw that what he had done was, to him, entirely justified. It was all very careless and confused. They were careless people, Tom and Daisy — they smashed up things and creatures and then retreated back into their money or their vast carelessness, or whatever it was that kept them together, and let other people clean up the mess they had made…"

When I read this line in the book, I couldn't help vehemently agreeing. Screw those rich assholes! Money does corrupt! Tom and Daisy ARE careless wealthy people! It was easy to side with Nick, not only because he was the only perspective on the situation that I had, but also because he said this in internal response to a conversation with Tom, who, I think we can all agree, is a major jackass and a deeply unsympathetic character.

But in the musical, this line is spoken aloud by Nick. And he says it to Daisy, in her house, as she's packing up to skip town after Gatsby's death. In fact, he doesn't just say it; he shouts it, visibly and audibly outraged at her audacity to lead Gatsby on, ghost him, skip his funeral, and then move away to avoid the fallout. Nick is angry and highly critical of Daisy. But because we're no longer confined to his shoes, we also get to see Daisy's reaction - not as Nick remembers it, but as Daisy actually reacts. And because of that, we're able to really see, and confirm, that "Daisy is rich and careless" is not the full story.

I have to credit Eva Noblezada for a phenomenal performance (duh). Daisy in this scene is emotional, grieving, and it's clear she has been trying to contain these feelings for the sake of her husband and her own sanity. She's remorseful, not that Gatsby is gone necessarily, but that she allowed herself to entertain the fantasy of running away with him, only for it to be torn from her. She is trying to make the best of her unavoidable reality. And then Nick tears her a new one, calling her careless, accusing her of destroying things and being too rich to care.

And as I watched that scene, I was no longer wholly on Nick's side. I understood that this situation was so much more complex than Nick's chastisement acknowledged. Sure, Daisy wasn't innocent, but she also wasn't the callous rich girl Nick made her out to be. She did love Gatsby. And she also had a whole life with Tom. She had a daughter. She was a woman in the 1920s! That's a kind of life sentence even wealth can't erase.

The way Daisy responded may not quite have landed with Nick (if we consider the kind of fun possibility that the musical is the events as they happened and the book is Nick retelling those events as he remembers them two years later, then clearly Nick's disdain for Daisy's actions overtook whatever sympathy he felt for her), but the musical gave Daisy the opportunity to appeal to us. The audience. Having this omniscient perspective of things allowed us to draw our own conclusions, and I found myself a lot more sympathetic towards Daisy when I could both see and hear how she responded to Nick's verbal castigation.

In the book, Nick is the narrator. In the musical, Nick is a narrator. But he's no longer the sole arbiter of the story. The audience got to make our own judgements on the events as we witnessed them. Every one of us was a Nick - beholden to our own biases, maybe, but at least not beholden to his.

[pup-pee]

no1s mad i drew more konbart right?

last drawing is nirvana au // also i gave up on the 1st drawing mayb? i might return 2 it