#My man kills people for a living

[toxixpumpkin]

Buddy Daddy fanfic writers my gamer heart is in pain Rei has a PS5 not a PS4 I’ve seen so many fics say he has a PS4 and I didn’t suffer for a year and a half because of that console to see it called a PS4

[united-under-skyfall]

leverage is so fucking funny. man manages to find the most mentally ill and neurodivergent group of thieves on the market + an even more mentally ill guy whose literal job description was trying to chase all of them, and forces them into a found family speed-run by trying to blow them all up. they lowkey stage a full fucking country wide coup and are like eh 🤷 just another wednesday. this might be a fun place to vacation tho i guess. sophie shows up to her own funeral twice. they're so good at convincing people of their shit that they make a guy's body start reacting to an illness he doesn't have because it isn't real. go completely out on a limb and basically hand this one guy a new password for his computer so they can get into it and he goes with it. parker and hardison have straight up just "fake it 'till you make it"d into the fbi without even attempting to cover their tracks beyond just These Two Guys. half their clients never asked to be their clients and don't know they're their clients, and the other half are random people who find them who fuckin knows how, meanwhile no government agency can track them down without selling their soul to sterling. they make a point to have a dramatic scene w a Big Bad Shadowy Government Guy who doesn't actually get caught or brought to justice or anything telling them he's going to hunt them all down, and in any other show this would probably earn at least a minor arc later on but he literally never shows up again. an entire season finale hinged on a cake and a bunch of clams. they accidentally made eliot a celebrity not once, not twice, but three times. parker blew up her foster parents' house when she was like. nine. and it's hardly a footnote. hardison is just casually an artistic prodigy but it's only ever brought up for the most background of background gags. eliot's biggest beef with parker and hardison for like two and a half seasons is that they won't stop making weird food with lasers and refuse to realize they can't make a decent beer to save their lives. sophie's immediate response to being shot is to call her shooter a wanker. there's a character who has literally killed a man with a mop and they had the audacity to only put her in one episode.

[pandadrake]

Spider-Society and The Day of Lots of Involuntary Trips to Earth-19999. (Finally finished this, god damn.)

I hadn’t seen any takes on what Spider-Society was like during Spider-man: No Way Home (2021), so I thought about it too hard.

I.e. I pulled up a clip of No Way Home to see what the Peter-abduction spell would look like from Miguel’s POV, then realized he'd have no idea what he's looking at and would probably mistake it for something else.

[bixels]

I'm not getting into The Giving Tree discourse...

[cosmicdenro]

day 190 for the love of RHM

[nandermoenthusiast]

and by the way guillermo offering his hand to his boss to help him down the chair, him calling his boss master, him struggling with the morality of what the company is doing for profit… it doesnt really feel like much has changed in his life and the way he operates

and in the end him hanging out with his coworkers and doing stupid normal shit with them, him feeling validated and valued by his peers for once, or him climbing the corporate ladder, i think its all gonna feel a little bit pointless and a little too easy for him, and humans are ultimately gonna feel a little bit alien, people he cant really be himself with, not all of himself. i am truly hoping he ends up realising living a human life is not what he wants either, that hes not gonna be happy with that in the long run, and he figures out that hes only ever happy when hes around his whacky vampiric found family, and nandor specifically <3

[fatedroses]

Reaper's Bounty.

[governmentmandatedryujinstan420]

I FORGOT TO THROW OUT AFTER THE EPISODE RELEASED NOOOOOOOOOOOOOOOOO

[laurents-secret-diary]

Can we see any of your drawings you may have had for the side characters please??? 👉👈

I only got a couple so far! I think I'm gonna do Nicaise next

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[thestobingirlie]

does anyone else always think about how gale’s primary motivations throughout the books are the protection of his and katniss’ families and the freedom of his people from the capitol’s tyranny.

and then that it was his idea for a bomb that killed prim, scarred katniss for life and ended the war. because ultimately he could never do both. he could never keep all the people he loved safe and free them from capitol control.

[maj0rmayhem]

Love when family dynamics are so horrible and horrific and awful but somehow despite it all there's still love there. and maybe it's twisted or it feels guilty because you KNOW you shouldn't love them but of course you do. love it even more when it pisses people off.

[super-one-tax-evasion]

Now that the dust is settled (at least i hope) in the rtvs community abt this. can I be real that the breaking bad roleplay was the funniest thing to ever decide to do and I treasure it as a piece of media because of how bad people freaked out abt it

[cawsket]

The moral of the arcane season two act three is that if you're suicidal you should just go ahead and kill yourself

[triglycercule]

idea. since askdusttale answered an ask about where dust got his determination from (because dust has SOME determination just so he can remember the timelines and keep going against the human) and said it was totally up to personal interpretation on how he got his determination. so so so like what if what if dusttale's player did something similar to something new's player and changed dust's code to give him determination??? so dust and killer COULD BOTH had their codes tampered with??? the parallels would be INSANE. they both started off as sans and got their codes tampered with by the player but dust and killer went on two opposite paths. dust out of his own voalition decided to go against the human but killer had to team up with the human no choice at all. the opposite parallels go CRAZY oh god im tweaking

killer doesn't know exactly (since i forgot whether or not he can see codes or something like that. i swear there was an image of him describing fell and swap's code and then his own) but he can SENSE that something's off. something's different about dust that he doesn't quite know about. maybe it gets him to ask a bunch of questions that dust is definitely not open to answering because jesus man mind your own damn business but the question that really sets killer off is the way dust answers when he asks "so if you have determination then how did you get it?" and dust just shrugs his shoulders and said that one day he suddenly remembered the resets and then that's when he got it (and then goes back to mumbling to phantom paps or wtvr) and killer's just like. zomg. a sudden change in behavior or mentality that seemingly has no apparent reason related to the human???? like like like when he suddenly had to agree with the player despite literally never wanting to????? killer is over thinking the implications behind this

meanwhile dust is just annoyed now because killer keeps on following him. he keeps asking him strange questions. wtf why is the guy asking to see his SOUL that's incredibly personal???? he just wants to be left alone man he has no idea what's going on

[dittolicous]

If I can be real for a second - what turned me off from BNHA/MHA wasn't even the series itself (though it def has some things I don't care for in the later half) but the fucking real life League of Villains stans who just CONSTANTLY blasted the hero side and acted like LoV were totally in the right just because they have tragic back stories where they were abused or failed by society (it started getting truly unbearable when Hawks killed Twice, like jesus. I will forever argue his actions were entirely valid, if misguided, given the information he had).

Because... it's literally the gif.

The who damn point was that they had valid points, that hero society was fucked up and failing the people who needed help the most... but LoV were not against MURDERING GENUINELY INNOCENT PEOPLE and thus had to be fucking STOPPED. They didn't just kill heros, they'd kill civilians as well. They were actively continuing the cycle that hurt them, just for the other half of society. Their actions weren't about making everyone equal, it was about making others suffer and putting themselves at the top.

Their reasons being understandable and sad DON'T MAKE THEM THE TRUE GOOD GUYS. Just like the heroes weren't purely the good guys because they fought bad guys (fuck Endeavor, all my homies hate Endeavor). It was gray vs gray, not black vs white. Both sides had something they needed to learn or understand, and change as a result of.

I just got so sick of wading through 'LoV is right!' 'Kill Hawks/All Might/etc.' 'All Mights a bad guy' rhetoric, I couldn't enjoy MHA.