#defend us in battle

[myremnantarmy]

"𝘞𝘩𝘰 𝘪𝘴 𝘭𝘪𝘬𝘦 𝘶𝘯𝘵𝘰 𝘎𝘰𝘥? 𝘕𝘰 𝘰𝘯𝘦 𝘪𝘴!"

[blade-liger-4ever]

Hi Michael!

Saint Michael the Archangel

[ruporas]

wolfwood redraws (ID in alt text)

[cubbihue]

POV: You just got apprehended by your own lawyer.

Chimmy Changa spent his early years as a Public Defense Lawyer. He had to get really into shape because. For some reason. He kept getting clients who'd bolt from the court room.

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+ bonus sketches i tossed out becuase i couldnt draw them to my satisfaction >:I !!

[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.

[ragnarokhound]

For the au ask game!

OKAY I wanted specifically to get to the pokemon au from the ask you sent, it's been cooking a bit so it's time to see what comes out of the oven, so... @azol-otl ty for the ask!

Crossover au's are all about the fused worldbuilding for me and speculating on how characters from universe A would fit into universe B heehee hoohoo - and for Batfam especially it's fun to think about the equivalent of their roles as vigilantes! What kind of people have the same level of celebrity, the same sideways seeking of justice?

Naturally this leads you to the gym leaders because a) it's the most fun and b) they are like. Quasi-law enforcement/educators/professional athletes depending on how you try to translate the innate child's perspective on the pokemon universe into something that makes sense as an adult lol ilu pokemon. [insert 'compels me though' gif here]

SO with this in mind, here's 5 fun facts (that are mostly backstory lmao) from a jaytim pokemon au I would write

I'm deeply ill about pokemon so this one goes under the cut lol:

Jason Todd used to be the Champion. He won the role after Dick Grayson quit a year or two before (Dick had been getting older and chafing under the League rules - meaning he'd been chafing under how Bruce ran the League) and was a fierce competitor who didn't believe in going easy on anyone. His Houndoom was a force to be reckoned with, and despite running a mostly Dark-type team, his Honchkrow cleaned up anyone thinking their Fighting-types could sweep. He looked after the League and Gotham with a cocky, self-assured attitude and the win record to back it up. .

Jason disappeared suddenly at the age of 15. Many assumed him dead, after a Rocket (Or whatever Gotham themed gang name we want to go with lol could be Team Joker) bombing in the area he'd last been seen, but he's officially declared missing. Bruce Wayne took back the duties of interim Champion as he once did for Dick Grayson, but he's not quite the mentor he once was. It's obvious he's grieving, and that he doesn't want to mentor any more twelve year olds. Dick signed up to be a Gym Leader shortly after this, returning from his trip about a year early to help out in the chaos following Jason's disappearance. .

Enter Tim Drake. Tim's gym challenge wasn't all that interesting in the circuit at first; he had a rocky start and had to retake a few gym challenges. He wasn't exactly sweeping on his first try every time like Jason had done. He didn't have the meteoric rise that caught the Champion's attention early, didn't get one-on-one mentorship or face-to-face meetings, cautionary advice and congratulations all rolled into one from Bruce Wayne himself - but Tim had patience and grit, and he paid attention. He was gunning for the Championship, and it wasn't just so he could prove himself. Team Rocket/Joker was still out there, and Bruce needed all the help he could get. He was always better for Gotham when he had a Robin. .

Dick had been nicknamed Robin for his all-Flying-type team and especially his Natu-then-Xatu; Jason followed up with his Murkrow-then-Honchkrow; Tim's Rookidee was one among many (Robin-esque pokemon were popularized by Dick and the trend remains through Tim's day) so he wasn't considered a possible Robin successor until it was a Corvisquire and he was about to face Dick Grayson himself, a badge away from Victory Road. By then, Tim and his team were a well-oiled machine (he runs mostly Steel-types lol but also Normal-types for the unexpected adaptability and the 'underestimate my rattata i dare you it's in the top peRCENTAGE--' of it all. FEAR.), and his loss-record had all but frozen while his win-record ticked higher and higher. .

Shit finally goes down about three years after Tim has become Champion and all but bullied Bruce into mentoring him (he basically said 'if you don't watch me, i'll go find Team Rocket/Joker on my own' and triggers all of Bruce's child endangerment traumas simultaneously) and the mysterious Rocket/Joker leader Red Hood shows up, bringing the gang out of the shadows in pursuit of a hidden agenda. Identity shenanigans and "wait is that a Houndoom? But he's only been using Ghost-types, it CAN'T be..." and heel-face turns abound. .

(BONUS FACT: Something something, Jason went into deep cover with Looker or whoever he is, that Interpol guy from X & Y (WAIT. LOOKER MIGHT ACTUALLY BE TALIA AL GHUL IN THIS AU HOHOHO), infiltrating the Rocket/Joker gang and going public as Red Hood is the first step in the last phase of the sting. Cue a million tense Jaytim interactions in which Tim is legitimately trying to take Red Hood down and Jason desperately tries to shake him so that he doesn't do anything that forces Jason to blow his cover. There is at least one 'tugged into a tight space to hide them both from the actual bad guys, "wait, did you just HELP me...?" "Think whatever you want, babybird"' interaction because I am a slut for the first sprinkles of a redemption arc that is rife with UST fufufu)

[deltarunebt]

Well, we've gotten plenty of Spamton (which is wonderful amazing showstopping incredible-), but for the sake of fairness... What, er, changes Jevil?

When Frisk meets him, he seems genuinely concerned about the King, but judging by the fact that 1) you said he (like Spam when we first meet him) hasn't had a Fourth Wall Moment™️ yet, and 2) he used his spot in the meme to encourage overthrowing the government...

Does Jevil just find a shadow crystal? Or meet that certain Mystery Man? Or does something else happen that sends him down a weird path?

Aha my bias shows a fair bit... admittedly, its also just because I have a better grasp on Chapter 2 than I do chapter 1, though. There's more to work with and that makes it easier to work with!

As for Jevil, no, nothing like that, its actually pretty simply just.. his view of King changes over the course of his adventure with Frisk. Or, I suppose, his opinion of King changes when he gets the reality check that no, King isn't going to make an 'exception' for Frisk and is Super going to Kill Them, and also that King considers Jevil a traitor for siding with Frisk and orders for him to be locked up while he deals with the Lightner and their 'Pet Flower' .<.

Jevil is aware that King is behaving irrationally and is concerned, yes, and he believe at first his job as Jester means he needs to fix it through 'cheering up' King, more or less. Eventually he realizes that that just... isn't going to work. Of course, Spade King isn't just straight up evil, he does believe he's in the right, but just like in base Deltarune, its not something Frisk or Jevil can just change his mind on. And Jevil is especially driven to make things right in that his naïve belief that Frisk will be able to change King's mind leads Lancer to ALSO believe that, which gets Lancer in trouble (same as it does in base Deltarune.)

I've kind of been referencing the song 'The Court Jester' in my head for the mentality turn Jevil has, albeit less... intense than that song sort of implies. Jevil goes from 'kids cartoon idea of what a court jester is supposed to be' to an Actual Court Jester- that is, someone who's job is to bully the King and call him a dunce to keep his ego in check.

Jevil actually doesn't get a fourth-wall moment at all (at least, not within my current outline of things), which arguably means he's more stable than Spamton is here... albeit Spamton's fourth-wall moment doesn't actually fully sink in for him, it's just sort of a Glimpse into something more that triggers a full-scale mental break down because he's kind of been teetering on the edge for awhile. Guy already has a puppet complex, having literal strings attached to him as NEO didn't uh- help, with that.

[valewritessss]

“Annabeth had so much internalized misogyny for hating Rachel”

This is one of those times you keep that mouth shut

[spotinthespiral]

So apparently I never posted him, but here's my Pitty npc because I think my pirate would be far more attached to her Bear Family in Grizzleheim than her birth parents :) (His name is Dain Ironside)

[bikananjarrus]

trying to figure out where cassian could be knowing that he's flying a TIE interceptor and trying to connect it to rebels somehow

[myremnantarmy]

"𝘍𝘰𝘭𝘭𝘰𝘸 𝘵𝘩𝘦 𝘭𝘦𝘢𝘥𝘦𝘳."

[swan2swan]

Had the realization last night that one of the main reasons why Zuko had to take a lightning bolt for Katara was because he wasn't used to fighting on a team.

Pretty much every battle he'd fought before was a one-on-one or a free-for-all. Even before he went rogue, it wasn't like he was worried about his soldiers, or facing anyone who was an actual threat.

So it didn't even enter his mind that someone else was in lightning range.

He goaded his sister into attacking him, forgetting that he wasn't a lone wolf anymore, and that every attack he allowed Azula to make was a danger to those around him.

[loveroflolth]

— in tremendo iudicio.

[highfantasy-soul]

So I've seen some (I assume) show-only people really, really upset about Hopper's death. Like, calling the show runners sick, awful, disgusting people for it. So, insane as it is, I'm here to defend the murder of fluffy canines.

Wolves in the Wheel of Time world are not cute little companion puppies that are just so sweet and innocent and perfect. Killing a wolf is not killing a helpless creature that is relying solely on human kindness to survive, nor is it done just for shock value.

Wolves would be VERY UPSET if you viewed them this way! They are just as independent and capable as any of the human characters - they have their own society, lives, and beliefs. They fight in battle.

Hopper wasn't just standing next to Perrin as his little dog on a leash and then was murdered out of the blue - he chose to join the battle and attack an enemy. The enemy then killed him as he was seeking to kill one of them. Hopper died in battle just like any human would have (and did many times over in the story).

Yes, the Whitecloaks and people at large do only view them as animals - dangerous animals that can kill them - not as equals to humans, but Perrin does understand their importance as beings in their own right. He was reacting to Hopper's death not as a 'you just killed my pet out of the blue!' but as a 'you just killed a member of my family (pack)'.

Does it suck to see canines killed on screen? Yeah. Does that mean that if a story includes the death of a canine that means the writers are disgusting, sick, cruel people because 'killing the dog' has gotten a bad rep in media? No.

Including wolfbrothers means including their role as beings who are also fighting against the shadow. That means some are going to die in battle. Just as Uno's death was significant and meaningful to our characters, just as Rand's mom dying was meaningful, Ingtar's death, Karene and Steppin's death, etc, are all meaningful to the story and the characters, so is Hopper's death.

If the death of a canine is triggering to you, I get it. Torture scenes and graphic depictions of violence are triggering to me. But that doesn't mean that I thought the showrunners were disgusting, sick people for having death in the show, or lingering on people's last moments and giving them their due rather than brushing right past the death.

If the death of any being other than a human - especially canines - really gets to you, then The Wheel of Time probably isn't for you as the wolves play a very important role in the fight against the Shadow. They're warriors just like the people are which means they're going to fall in battle too.

I know this post is probably only for a very tiny fraction of people who watched the episode, but I felt it needed to be said. Calling writers bad people for wolf death is just wild to me.

[goldiipond]

im a modern papermario apologist but i gotta be honest after playing ttyd i do kinda understand why some of its fans are Like That