#Pipe Lines

[checkthefeed]

[ Pipe Lines 2 | Mountain High X Snowboy Productions ]

Year two of our steel and transition playground on the sunny slopes of Mountain High, CA. Here's a glimpse of what went down over three days in January.

Filmed and edited by Andrew Percival.

Additional filming by Trevor Slattery, Daniel Salazar & Thomas Haraden.

Riders in order of appearance: Irie Jefferson, Andrew Brewer, Casey Pflipsen, Myrie Metzger, J DeForge, Paul Romero, Michael McDaniel, Niall Noel, Tyler Aubrey, Melissa Evans-Gray, Laura Rogoski, Jesse Paul, Mike Gray, Johnny Hancheck, Hunter Butler, Nick Guin, Dilyn Tillie, Ian Sams, Levi Kaseroff, Ryan Pluche & Kolman LeCroy.

Made possible by the support of Mountain High, Arbor Snowboards, Liquid Death, Dragon and Diecutstickers.com.

[pearl-kite]

I made a pillow!

It took four months of non-stop cross-stitching, but I finally finished a pattern I bought from @8pxl a little bit ago, and tonight in a bizarre burst of productivity I finally sewed a back to it and stuffed it into a cute little pillow! It ended up being pretty much perfectly sized for a neck pillow, but I'm a bit worried about it getting dirty that way.

I highly recommend the patterns from 8xpl's shop, there are SO many gorgeous ones to choose from. I might end up getting another one soon o3o

[seefasterdraws]

from the homumiko mines

[yuri-is-online]

Can I request a part 2 for when the guys leave some of their stuff in the guest room? Can it be with Azul, Jamil, and jade please? Thank you!

While cleaning the Ramshackle guest room, the prefect occasionally finds items that remind them of their guests. Sometimes that is because those items actually belong to them and need to be returned, other times it's just a happy coincidence. Either way, the item needs to be delivered, might as well invite them over again? Or just chase them down, whatever is most convenient.

notes: they/them used for Yuu, I was a bit surprised to get this request! In a nice way~ No warnings for this one, just pure fluff. The first one can be found here and more fic can be found on the Masterlist.

Antique Coin

Azul Ashengrotto is a well put together young man. His suits are pressed, his shoes are neatly polished, his rooms are always orderly and without dust.

Which is why he notes immediately when something is even mildly out of place, and completely falls apart once he's in the privacy of his own room. He knew he never should have paid attention to that stupid article Floyd had shared in their group chat, coins being symbols of good luck wouldn't make him relatable to anybody and now he's missing one of his best coins! How stupid could he have been to think that-

"Hello, this is Azul speaking." He snatches up his phone without even checking the caller ID and immediately begins sweating when he hears your familiar breathing (he swears he's not a creep, really! He's just noticed that whenever you speak on the phone, not that you do that often really just when he can work up the nerve and hey this is technically the first time you've called him! Progress he's making progre-)

"Hey there, you got a moment?" Azul can feel the heavy sweat drop on his forehead. He's done enough research to know conversation starters like this are never good.

"I'm a bit busy right now." He tries to lean casually against his desk and glares at the book that has the audacity to fall off his desk and startle you. "Is this terribly important or can it wait?"

You, laugh? Is it nervous, or is it affectionate? Does even know what that sort of laughter would sound, is it bad that he finds your voice terribly beautiful even if it's mocking, even if it's- "Um sorry, but are you missing a coin?"

"A... coin?"

"Yes! I remember you saying you collect them and this one I found in my guest room smelled a bit like the ocean so. Yeah. I thought it might be yours." He smiles.

"My dear, you know I'm just going to say 'yes' and take it from you." You laugh again, how silly that last one was nerves. This one is affection, his hearts are fit to burst with it so it must be. "I'll be there in thirty minutes. If that’s acceptable?"

"Of course! I'll be here." Perhaps that article wasn't completely wrong after all.

Red Feather Accessory

There are few things Jamil hates more than being sick. Assassins don't have sick days, or maybe they do. Maybe they have better benefits than he does. Maybe he'd make a really good assassin in some alternate universie like that one video game series from your world you told him about once, the one with the emblems and gangrene? He doesn't remember much of the conversation Kalim tricked him into having by saying he wanted to hang out in your guest room yesterday.

"But you were so happy to see them!"

Because of course, that had been Kalim's justification. And sure, he probably had been really happy to see you. He'd been running quite the fever and he can't imagine you made that temperature any better.

"Good morning, prefect." He manages it smoothly, you look properly embarrassed to see him this early, your eyes flicker to his hair and linger just a moment longer than normal. "Sleep well?"

"Mostly." You try to focus on his face, but his hair is clearly distracting. Your eyes keep darting back to it, Jamil expected to be embarrassed, but this is oddly empowering. "Is there a reason you're here so early?"

"I think you know why I'm here." You don't, he can tell that much from how you swallow. "Can I come in?"

"Sure?" You move just the bit and Jamil let's himself inside, the doors in Ramshackle always look so damn similar. Just how do you find your way around in here? "Um, Jamil?"

"Yes?"

"Do you know why you're here?" You look lovely

"Of course." He laughs. "I left a hair accessory here yesterday when Kalim decided to visit." How odd, normally you'd flinch if he worded it like that. Instead you just look sort of blurry.

"I see." You're close now, but he can't see you through this weird fog that's filling your hallways. You push back his headband and press the back of your plam to his forehead. "Oof. Well that's not good." Your arm encircles his shoulders and boosts him back up to his feet. He supposes he can afford to lean towards you, there's enough plausible deniabilty in what he's said already to keep his feelings to himself.

"C'mon." You do your best to boost him and march back towards the door. Jamil is smiling similar to how he does when he gets one over on Azul, but you doubt he's planned this. He's so feverish that his skin has gotten clammy. "I already took your hair pin back to Scarabia, ok? Let's get you back to bed."

"That's so kind of you." His hoarse voice tries to purr. "Perhaps you'd like to stay for breakfast?" Thank the seven Grim isn't awake yet. You'd never hear the end of this from either of them.

Encyclopedia of Tea

Books are expensive, you can count on one hand the ones you own unrelated to your school work scattered around your dorm. They are precious to you, signs of your life in a world you don't belong in. A way to tell something about you if someone decided to look at the little shelf you had finally put up in your guest room.

And someone had, because you know damn well this book isn't yours, the process of returning it is guaranteed to be a headache but the longer you hesitate the more ammunition the book's rightful owner will have to accuse you of stealing it. Assuming that's what Jade's goal was anyway, it seemed like something he would find funny to do. You could picture him slipping the book onto your shelf with that calm look on his face.

Jade's face isn't what you would call wildly expressive. He smiles pleasantly most of the time, seldom do you see him frown. Even now when his forehead is knit in concern there's nothing really resembling the scowl you saw during Azul’s overblot.

"Hello Jade, forgotten something?" You hold the book up and shake it slightly. His eyes widen, and his smile drops into something more nuteral. This expression is adorable, it stays as Jade speaks, allowing you to admire it longer

"Oh?" He blinks, Jade wakes easily enough so your own expression flickers to concern at how slow he seems for just long enough to give him back his confidence. "It seems the simplest solution was correct. Thank you, prefect." He reaches for the book, hands lingering near yours as his eyes focus on the title of the book. He is painfully slow in taking it back.

"Do you really take this everywhere with you?" Your hand involuntarily flexes as you retreat back into your personal space. Sometimes you wish you could read minds, it would make this heavy feeling in your heart more explainable. Let you notice the way Jade's teeth display for you and not hide inside your own insecurities, how he wishes you would keep your eyes on him.

"Of course, it helps to have some light reading on hand when things get slow." He wishes you had kept the book long enough for it to retain your scent or some of your warmth. Perhaps now that he's set this precedent, he can fake it. Leave his jacket or his scarf? But no, that wouldn't be believable. He's Jade Leech, the Vice Warden of Octavinelle. You would never believe the real reason the book ended up where it did. His dreams are his to dwell in alone.

"Perhaps as thanks I could prepare one of my favorites for you? To clear the debt so to speak." For now.

[lovemoroporo]

not enough time skip masha imho..............

[eldritch-bf]

I love Dan with internalized homophobia bc it’s like “Herbert I’m willing to desecrate corpses and be an accessory to murder after the fact but I’m too afraid to act on my attraction for you”

[reality-detective]

Go Copper. 🤔

[magicicephoenix]

this scene stuck out to me in a reread and suddenly i was drawing it. whoops?

it’s from chapter 5 of Born From the Same Ink by @starry-eyed-toucan! very awesome fic, would definitely recommend :)

specific fic lines referenced under cut

[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.

[daddy-long-legssss]

Love Is A Laserquest

"I’ve never listened to country music before, it was just something I totally didn’t get until pretty recently. I’ve always been, ‘Nah, not into that world’, but I’ve started to get something out of that now. The sort of sounds of that music I’m still not crazy about but the words are really good. Like Hank Williams, George Jones and Roger Miller and even like Johnny Cash – they’re just smart-arses, those guys, who write good country tunes, y’know. It’s really funny or really sad. And they do that thing so well. This tune is the closest to that. Not like in the sound, but in the lyrics."

[x]

[thecurtainswereblue]

I shall dream of it tonight, I find its words… almost seductive

[msue0027]

i watched dp&w only last week, and yet my main ship for the last... 3 months? has been cherik

[jitterbugbear]

sometimes i think about ditches

[pianokantzart]

GUYS

THE FULL JAPANESE DUB

[spoomkeearts]

Literally such a perfect image

[cultoftheswag]

Wip and concept doodle