#at this point it may as well be my idea

[firefl1ezz]

guys is it lawful to take ur ex friend's au idea after you've written 90% of it, spent countless hours fixating over it, come up with at least half of the cool plot points and general ideas and overall poured your heart and soul into it?

[excali8ur]

Weird dream.

[meamiki]

vtuber loop !!!

[reverse entry au? the reverse isekai part of it? tangentially related to this post here, and also the last part of this post too]

[eastbluecrewed]

things you can't get back

aka i've been waiting so patiently to see kidd get his ass beat by shanks (affectionate)

[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.

[the-scarlet-witch-22]

little rant, came to the realization today that when I eventually get married my mom definitely will not go. I don’t know why that hurts as much as it does. I’ve always known, like I’ve known for years and thought that I internalized it, but it’s just becoming more of a reality. I’m not even close to her but wow it sucks :)

[n0tamused]

This is not a drill, my Dottore brainrot has once again returned, I feel like writing some dark "romance" or something help. THE VOICES THE VOICESSSS

[brethilach]

I know Gandalf never said what the names of the Blue Wizards were in that one part of AUJ because they only had the rights to use information from the Hobbit and LOTR, but I think it's much funnier to imagine that Gandalf DID actually forget and really just didn't know their names

[elftwink]

one thing thats so interesting about being a vegetarian is you get to hear all about everyones hypothetical activism that they care about very deeply when talking specifically about your diet and why it's stupid, but literally will never bring up ever again in any other context

[lesbiancarat]

want to give my two cents on the AI usage in the maestro trailer--

i think seventeen doing a whole concept that is anti-AI is very cool, especially as creatives themselves i think it's good that they're speaking up against it and i hope it gets more ppl talking about the issue. i also understand on a surface level the artistic choice (whether it was made by the members, the mv director, or whoever else), to directly use AI in contrast to real, human-made visuals and music in order to criticize it. i also appreciate that they clearly stated the intention of the use of AI at the beginning of the video

however, although i understand it to an extent, i do not agree with the choice to use AI to critique AI. one of the main ethical concerns with generative AI is that it is trained on other artists' work without their knowledge, consent, or compensation. and even when AI generated images are being used to critique AI, it still does not negate this particular ethical concern

the use of AI to critique also does not negate the fact that this is work that could have been done by an actual artist. i have seen some people argue that it's okay in this context because it's a critique specifically about AI, and it is content that never would have been done by a real artist anyway because it doesn't make sense for the story they're trying to tell. but i disagree. i think you can still tell the exact same story without using AI

and in fact, i would argue that it would make the anti-AI message stronger if they HAD paid an artist to draw/animate the scenes that are supposed to represent AI generated images. wouldn't it just be proof that humans can create images that are just as bad and nonsensical and soulless as AI, but that AI can't replicate the creativity and beauty and basic fucking anatomy that's in human-made art?

it feels very obvious this was not just a way to cut corners and costs like a lot of scummy people are using AI for. ultimately it was a very intentional creative decision, i just personally think it was a very poor one. and even if some ethical considerations were taken into account before this decision, i certainly don't think all of them were. at the very least i feel like the decision undermines the message they want to convey

i would also like to recognize that i myself am not an artist, and i have seen some artists that are totally on board with the use of AI in this specific context, so clearly this is not a topic that is cut and dry. but generative AI is still new, and i think it's important to keep having these conversations

[spoopy-nevermore-dump]

Hey pssst hey. Have you ever considered: Montada?

I hate it, and it nearly killed my hyperfixation

But I understand my opinion on this may affect others, and many may be hurting from this episode soooooooooo

Art requests open

[moeblob]

What Deacon thinks: what did that mean? did he want me to wear a collar too? why else would he mention my neck? i mean, if he /asked/ me i would wear one but he didn't so would wearing one be weird?

What Ymber meant: It's nice to be near someone who isn't tethered to this world to serve it with a physical reminder for all to see.

[sn0wbat]

sparkle on, tiberius ✨

[justanotherhh]

THE STRIKER AND ALASTOR ASPEC4ASPEC RELATIONSHIP SAGA

off the back of this post

@justletmeon12 this ought to exist outside of notes honestly:

justletmeon12 said: Now I suddenly want them to meet in S2. They hate each other because everyone in Hell hates everyone else when they meet, and whatever convoluted plot has caused the crossover has them briefly on the same side. Striker starts griping about everyone making it seem like a sex thing, because most of life ISN’T SEX, and Alastor looks at him like he’s the only rational person in Hell and offers to buy him a drink later. justanotherhh said: @justletmeon12 striker and alastor go out for drinks and it’s absolutely chill and there’s no tension whatsoever and they both sigh in relief (and then they go on their villainous ways, content that they can try to kill each other next time without anyone making it weird!) justletmeon12 said: @justanotherhh The next time someone (definitely not Vox, no sirree) wants to put a hit out on the Radio Demon, Striker volunteers to do it cheap, because succeed or fail, at least it won’t be awkward. justanotherhh said: @justletmeon12 sdfghjgfdsdfhj alastor and striker having a sort of chill “we can be enemies who try to kill each other” situation that makes everyone around them ??????????? because their framing for relationships is so alloromantic and they don’t understand this 5d galaxy brained dynamic at all justletmeon12 said: @justanotherhh “Sooo, are you two…” [awkward, vaguely obscene gesture] “Et tu, Angel Dust?” “That tears it. Free booze isn’t worth it. Next time, we’re getting drinks somewhere nobody knows either of us.” “Ha! Good luck with that, Strikering. There isn’t a bar in the city where I’m not a regular or banned!” justanotherhh said: @justletmeon12 ET TU ANGEL DUST!!!!!!!!!! cannot tell if it’s harder being aspec irl or in hell 😂😂😭😭 justletmeon12 said: @justanotherhh Well, murder isn’t an option in real life… justanotherhh said: @justletmeon12 *alastor grinning shiftily* … noooo…. sure…. isn’t……………. justletmeon12 said: @justanotherhh (I was hoping you’d do that)

@creepysora and I were also talking about how in all likelihood Striker wouldn't really be able to kill Alastor, because of the sheer power-difference (but, you never know... Niffty killed Adam after all), but it just becomes their way of hanging out. "FINALLY violence that's understood on both parties sides to be completely un-erotic and non-romantic!"

creepysora: I keep thinking that veeeeery slowly, Striker taking jobs to "assassinate" (unsuccessfully) the Radio Demon just start to morph into excuses to hang out with someone who Gets It. Neither knows how this happened. They start getting breakfast before trying to kill each other. Maybe this overlord can survive the class war actually. Mutually "hes useful so I cant kill him yet" delusion. Do they become better people through this? No. They encourage each other to kill people hitting on them. But everyone else surely is unhappy about this weird and unexpected development. not friends not enemies not lovers not rivals not a qpr but a secret fifth thing (aspecs desperate to connect with someone like them)

it's a good thing they both enjoy murder and violence so much, really gives them something to talk about

[shima-draws]

Also it really sucks bc I want to draw but I CAN’T bc I’m in a lot of pain rn. Sitting here like

[lotrmusical]

My high school did a yearly poetry recitation contest (Poetry Out Loud), so Oh Boy do I know some poems. My favorites are Ozymandias and "the world is about to end and my grandparents are in love," by Kara Jackson. Also in 8th grade we had a Poe unit and had a class contest to make the best music video of the Raven, so I still know a good chunk of that.

i hadn't heard of the kara jackson one! just read through it and enjoyed it, particularly these lines > 'grandma returns to her love like a hymn, marks it with a color. // when the world ends will it suck the earth of all its love? /will i go taking somebody’s hand, / my skin becoming their skin?'