#could just be some person in authority

[drenched-in-sunlight]

saying this as respectfully as possible but. Do not put fandom content creators on a pedestal. We are also just fans contributing to a community just as you are. We have boundary on our own work and that’s it. What I say is not and should not be considered sth the whole fandom should listen to. I’m just a normal ass person ranting about things on my blog. If it does not have a fandom tag for others to engage in, do not make it out to be me trying to start fights or addressing the whole community. Because it’s not.

I’ve said it before and I will say it again, my art, my lore talk, is biased. I’ve never tried to hide that I view Marika a certain way and will always develop my theory following that base assumption.

Aside from translation stuffs and pointing out in-game items, everything else I say you can look at it, agree or disagree, and move on to form your own opinions. Just because I draw stuffs doesn’t mean you get to saddle me with responsibilities about managing fandom expectations. What the hell? I’m a fan artist, I’m the last person who you should look at for “leaderism” (?) WHAT?

I can and will be a hater in my own space, like I know sometimes other artists will just post their stuffs and not engage too heavily with fandom, and for a while I did try to do that here (because I’m already a dramatic ass on twitter), that’s just not me though.

You will get art and you will get my opinions as well.

[tanjir0se]

Every time I think Sasuke’s clear and obvious homosexual obsession with Naruto might be maybe a little one sided, Naruto will do something absolutely insane like walk into his childhood room after two years, grab his dusty picture of Sasuke, gently brush it off, fingers lingering for a moment over Sasuke’s face, and lovingly whisper “Sasuke…I’m home…”

[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.

[fate-defiant]

malenmalenmalenmalenmalenmalenmalenmalen

[benveydraws]

i can't love you in this skin

[batcavescolony]

I was talking to an idiot and I need validation.

[piningpercussionist]

transfem scott getting lots of support from ramona and kim in the early 2000's when shit's very taboo but they all 3 have a fire forged bond and lord if they aren't going to make sure they're all as happy as they can be because they've come this far and I dunno it just makes me happy all three of them

YES YES YES

It makes me very happy as well,,

Like I've said before. General Trans Scott enthusiast here- I love the idea of their little support network *violent coughing* I (we?) mean polycule *violent coughing* so fucking much.

Ramona I think has a bit of a more gentle hand with reassuring Scott with gender issues, but sometimes she just can't help herself from some pointed banter or teasing- how could you with someone so dense? (Said w affection)

And then Kim I think is more blunt. But like, in a good way mostly, you know? The kinda blunt that makes you snap to attention and go "Oh. Yeah that was silly of me." And if Ramona's started some sort of banter? Kim is SO piling on. Maybe sometimes she's a bit TOO blunt with it- but it's only because she's so firm in her support. She wants Scott to Get It Together- and be happier for it. So if some ribbing now and again is in order, then goddamnit she will do so! Anything to crack that shell.

And ohhh can you imagine how they would react to some transphobic bullshit?? Unholy terror would be driven into the offender before they walk off with an absurd amount of coins between them. I can feel it in my bones. Scott doesn't even have to lift a finger (if the transphobe is even noticed/processed at all, bc I honestly can see Scott just. Not realizing someone's being transphobic.) Kim giving someone a lashing with her tongue as distraction and then Ramona coming in with the hammer- BAM! Free Money! Paying literally with your life for your transphobia. A Better And Just World.

And of course (transfem Scott more specifically, here,) the way Scott would start to flourish under their support... cagey and maybe a little (perhaps a lot-) resistant to start- but Kim's blunt affirmations and no nonsense attitude for bullshit (which is what Scott insisting on "being cis" would be, c'mon now,) and Ramona's also low bullshit tolerance but less Stabby (bc I won't lie, that's probably how Kim's comments would feel,) assurances? Ough... My Heart... Be Still-

I would Kill for them, Your Honor-

(Ran out of tags so putting this in the body of the post- I am SO tired someone pls sound off if this isn't as coherent as I am hoping this is. I WAS trying to nap and get the extra sleep I desperately needed but the writing bug... it Bit Me.... only a little but enough to stop that process-)

[caligvlasaqvarivm]

wanna ask how you feel about the eridan bpd headcanon/theory(?? not sure what to call it!) you're so good at your character analysis and i'd love to see your outlook on it

Since I don't have a degree or any formal training in psychology, I feel deeply uncomfortable diagnosing characters. I've made an autism joke before but only because I'm on the spectrum. He's definitely traumatized and anxious, but I mean those as descriptors of his behavior rather than capital-D Diagnoses. I try to focus on those when I can - the cause and effect of cognition, self-image, and behavior - and those factors may very well match up with DSM criteria, but I try not to touch an actual diagnosis with a ten foot pole unless the author has explicitly stated that X character has Y condition.

[peteytheparrot]

It’s always funny when random people authorize me on Toyhouse, like why do you trust me lol

[agnesandhilda]

how to tell my mom that while I love her I am skeptical of the systemic and societal forces that give her near-unchecked authority over me

[glownery]

wishing everyone who celebrates a happy easter and an even happier transgender day of visibility 🐣🪩🫶🪽

[buds-and-baubles]

(the authority 1999-2002 issue #21)

this single panel to me both visually and with words is a big clue into just how important apollo is to midnighter.

in a world where his brain screams at how to kill his targets a million different ways from the crosshairs of his eyes, apollo is without a mark on his head.

what does this mean?

this means his love overrides that concept. he is not an enemy. he is someone who can cradle his love's face in his bloodstained hands and think only about how much he loves and wants to kiss apollo. about how he can watch apollo's sleeping face at sunrise to see his peaceful expression. about how he couldn't ask for a better other half.

that his journey to being a person is always miles behind apollo, where he's taking off and knowing himself while midnighter is still stuck trying to work with a computer brain that never shuts the fuck up.

that it's quiet with apollo and jenny. the thousands of statistics to maim or kill doesn't reach them, it's like traffic outside. those thoughts, those statistics go on mute around them.

how he trusts and loves and works to be better for apollo. apollo could easily kill him, but his computer brain is quiet.

apollo to midnighter is home. home to love, home to return to and repair the damage of mistakes, home to cherish. apollo's an angel, the sun god, the sun king, the sunshine to him.

apollo first was his teammate, aquaintance, friend, best friend, and boyfriend. he's still his teammate and best friend, but he's also his husband and other part of parenting their child together. his other half.

he loves apollo more than the words he can express, more than the nonverbal gestures and gifts he can give. it's hard but fucking hell, he'll try for him.

apollo was there on the start of the fight for a better world but along the way he time and time again made midnighter want to work at being a person. at being a better man. at repairing his mistakes from when he left them.

in a world where there's thousands of code and results for how to break and dispose of a person piece by piece in red x's, apollo is seen through a red spotlight. through a red colored camera lens.

[hearts401]

We need to start treating bad writing like bad art and im not kidding

[cloud-somersault]

when people make posts about what they want to see more of in fics, i'm kinda like 🧍‍♀️ ....what is the expectation, like what does that do....

other than other people agreeing and being like "YEAH i'd love to see that too!" like what else does it do......

[aroaessidhe]

2024 reads / storygraph

Kill Your Darlings

a depressed author struggling to finish the last book in her bestselling fantasy series lucid dreams into the protagonist in the midst of the narrative and can't get out

she uses her omniscient knowledge to help them win the war and survive, despite not having any of her protagonist's magic powers - but when she starts to change things she can’t predict, and starts to forget her life before, things get more and more chaotic

explores mental health & suicidal ideation

ace MC

[anglerflsh]

a robot's childhood memories