#and I told her I love him too much

[sashi-ya]

𝐊𝐮𝐜𝐡𝐢𝐤𝐢 𝐁𝐲𝐚𝐤𝐮𝐲𝐚 🌸 𝐌𝐚𝐫𝐜𝐡𝐢𝐧𝐠 𝐨𝐮𝐭 𝐭𝐡𝐞 𝐙𝐨𝐦𝐛𝐢𝐞𝐬 [2]

[2 of 2]

[introspectivememories]

sorry but do you ever think about the fact that the bernard we have today is a direct amalgamation of everything that happened in his past and i know that sound like such an obvious statement to say but it actually kills me to know that you can draw a direct line from who he is today all the way back to that sixteen year old boy who watched his best friend bleed out. like it is the defining moment in his life. it fundamentally shaped who he is and the person he's become. he is the bernard we know and love not despite the grieves shooting but because of it. because the gangs all got together and shot up his school. because tim walked out of that room with nothing but a baseball bat. because his darla got shot. because he watched her gasp and cry as she died. because he watched the blood coagulate around the wound. because he sat there and held her hand as her life drained out of her. because he walked into school that day with a joke he knew would make her laugh and her nose would scrunch up and she'd snort a little and tim would roll his eyes at him and call him ridiculous and instead he walked out with a bloody white shirt, blood under his fingernails, and two friends less. because, even now, almost half a decade out from the shooting, he thinks that if he closes his eyes, he will always be that stupid, scared little sixteen year old, holding the cooling body of dead best friend.

[cassandracain52]

My Batfamily piercing headcanons

(note: these are just my personal headcanons)

Dick: Has thought about getting a piercing but always ends up deciding against it because he doesn't like needles

Jason: Got his nose pierced when he was 14 and never told Bruce(don't ask how he hid it idk readers choice). Was pissed to find the hole had closed after his dip in the Lazarus pit, so he got it re-pierced but doesn't wear it often, usually just at night. And no of course it doesn't have anything to do with the fact he still hasn't told Bruce. Nope not at all

Tim: Got his left ear pierced when he was 15 because Steph told him a bunch of other skaterboarders were doing it and he ended up liking it. (she lied she just thought it would make Tim look hot. She was right) He doesn't wear it on patrol or for important meetings, but he still makes sure to wear it often enough to not let it close

Stephanie: Has both her ears pierced as well as a double helix piercing and a smiley piercing. She wants to get more but keeps changing her mind as to where.

Cass: Only has her ears pierced and that's only because Steph and Babs did it for her. Doesn't trust needles (see Batgirls #2)

Barbara: Has both ears pierced and got her belly button pierced when she was a teenager. Her belly button piercing ended up closing after she kept it out too long when recovering from getting shot and hasn't gotten around to getting it redone.

Duke: Has no piercings or a particular desire to change that fact, but he isn't really against the idea either. (Stephanie is determined to get that boy an eyebrow piercing because he would "totally own that look")

Damian: Went kinda crazy with it after Alfred died and he went off on his own. First Nika convinced him to get his eyebrow pierced and it just escalated from there. At present he has a grand total of 7 piercings with plans to get more. His piercings currently include his ear lobes, snake bites, his eyebrow, his nostril, and his septum. When Dick first saw him with all his piercings in he nearly passed out

Bruce: Had some wild teen years and got his ears, tongue, and septum pierced. Stopped wearing them when he traveled to train and they ended up closing. The only evidence they ever existed is a few stray paparazzi photos/videos and Alfred's word(he is sworn to secrecy)

Alfred: Everyone thinks the answer is a big fat "NO" as to if he's ever had a piercing but in reality he has had exactly One. When he was very young, before he met the Wayne's, he lost a bet and let an army buddy pierce his nose. A great deal of alcohol was also involved. He took it out after a few weeks when it got infected because the needle hadn't been sterilized and they were still out traveling around North Africa with little supplies. They never spoke of it again.

[kaiser1ns]

You thought it was over? It's not. I'm not done yet, understood. (Imagine Endo saying this like aaaaaaaa)

i think i have a type nom nom men with tattoo sleeves. APPRECIATING ENDO'S ARMS BECAUSE HE DESERVES IT. also adding my other man jeon jungkook because why not (⁠｡⁠･⁠ω⁠･⁠｡⁠)⁠ﾉ⁠♡

LOOK AT THOSE MUSCLES LOOK AT HIM OH MY GAWD IM IN THE OUTER SPACE SCREAMING HIS NAME UNTIL MY VOICE REACHES ANOTHER GALAXY, ANOTHER DIMENSION, ANOTHER MULTIVERSE.

[allyriadayne]

i've been getting a lot of comments on my post about how the writers have "ruined" jace and rhaenyra's relationship. but. my guys. it's never been a good or healthy relationship anyway! or at least it hasn't been for the past six years since jace found out he wasn't laenor's son. this hasn't happened to me but i can imagine it's difficult to have a truly good relationship with someone who has lied to you from the start and who /to this day/ still doesn't dare admit the truth. it's not a lie to say rhaenyra and jace love each other but it's not a lie either to say rhaenyra doesn't respect jace and is unable to put himself in his shoes, while jace resents her and is just now realizing she has more than a bit of guilt on all that has been tormenting him.

they both have put an opaque screen in front of them and through it they've been interacting and seeing each other since harwin died. jace's just barely realizing he has one and it's cleaning the glass while rhaenyra has known it since the beginning and doesn't wish it to go away. it's a really complex relationship but to say it's only /now/ that's been ruined when in most of their interactions rhaenyra is shutting him down or gaslighting the hell out of him......... sorry i just don't see it.

[mysicklove]

i told my coworker that gojo might be alive again (she stopped reading the manga cause she was so upset over his death) and i literally have never seen her so happy LMAOAOAO

[skecherss]

"He knows I'm not the possessive type. I'm totally cool with him having other friends." Girl twenty issues earlier you stole your mom's scrubs to sneak into a hospital and spy on your boyfriend's female friend after he repeatedly told you they were just friends. ARE you cool with it

from Robin (1993) #101

[gen4grl]

halloween in pallet

[danwhobrowses]

For anyone else who is gonna struggle surviving the next 3 weeks with the angsty and tense situation of Callowmoore here's a few things from the last 2 episodes that I feel were underrated and will assist in trying to keep me sane/emotionally stable: - Matching messed up hands built for holding - Fearne nervously playing with her hair as she approaches Ashton - Ashton wanted Fearne to be either the last thing they saw if they died or the first thing they saw when they succeeded - Fearne's admittance corroborates Ashley's 4SD revelation that Fearne is in love with someone in the party but doesn't know how to process the emotions - Fearne wanted Ashton to be happy, while Ashton wanted to feel whole so they would be worthy of the Hells - Ashton twice tried to lead a search for Fearne, and instantly clocking onto Chetney saying he followed Fearne - Fearne making herself look as radiant as possible before giving Ashton the cold shoulder - Ashton only rose to Chetney's provocations until he said 'You hurt Fearne' Use how you will

[mccallhero]

favourite ouat scenes: 34/?

[joejoeba]

He/him lesbian Josuke who has curves like a supermodel but only wears leather jackets and gets weak in the knees if someone calls him Sir

[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.

[mariatesstruther]

okay but a version of events in which tommy takes ellie to the fireflies, but NEITHER of them come back. and maria joel have to work together to get them back

[erytherion]

Reading the webtoon and…

Does this imply that Kim Dokja also tried to write a questionnaire for her to fill in since she wouldn’t speak to him, that either he 1) never gave her in the end (especially if he couldn’t find her after she was released) or 2) gave it to her and she STILL refused to answer?

Because that is so so so so awful. It was already bad but if he tried so many ways to get her to speak and she still gave him no response, regardless of her reasoning… isn’t that still directly choosing to cut herself fully out of his life? Why in the hell did she lie for his sake and allow him to visit her if she wanted to never speak to him again?

I know everyone claims Kim Dokja is just like her in sacrificing himself for loved ones, but at least he tries his best to stay with them and to keep them in his life. He still chooses sacrifice, but it’s not because he intends to never return. He always returns (even if much later than planned).

The only time this differs is with 51%, when he STILL tried his best to stay with them - at least as much as he could.

I sometimes like Lee Sookyung, but I am mostly still SO mad at her for completely ignoring her child since he was 8 years old. Especially when he must have looked like shit any number of times from being mistreated and bullied by family, friends, army, employers.

But maybe that’s just the fragment in me being eternally pissed with her. She DOES love him, but like he says in the webtoon in this chapter - maybe such truths are painful enough to be false anyways, because they’re just SUCH bullshit. That’s not how affection should work, if you actually care about someone and want them to be happy.

[iguessitsjustme]

Me to Atom when he sat beside the trash can instead of getting in it

[faaun]

we sang in the aeroplane over the sea tgth ☆