#feel like shit just want her back etc etc

[darnell-la]

𝗧𝗔𝗞𝗘 𝗜𝗧 𝗙𝗢𝗥 𝗬𝗢𝗨𝗥 𝗠𝗔𝗦𝗧𝗘𝗥

pairing: the wolverine x assassin!reader

warning: Wolverine struggling to regenerate, stabbing, brutal killing, manhandling, pinning, trapped, cutting clothes off, breaking skin, rough sex, begged, hard orgasm, etc.

request: After Logan gets taken back to Japan for his old friend buddy's last goodbye, idk if you've seen that movie but you know how their interaction goes, and then the old friend dies. Basically, people start going after his granddaughter uh sorry anyway after the old friend's funeral Logan gets away with the granddaughter and heads to the safe house. Once there Logan gets to relax for a few days till more bad guys show up and try taking the granddaughter. It makes Logan angry and as he ends up fighting one of the bad guys he discovers it's a female and that's when female y/n comes in place. Maybe Logan is just too tired and overall angry he takes it out on y/n in a very aggressive nsfw fashion of course

note: this story is a bit all over the place because of how angry the Wolverine is in here. He isn’t as nice as usual. He takes what he wants, and of course, y/n’s going to take it all.

Please comment, like, reblog, request, and follow us!

———

How do you guys feel about a x men story with reader? Logan being rude Logan at first, then slowly shows small affection towards the reader. Jealousy and things of that sort. They soon hit it off, and after Logan starts acting rude again, because he’s scared of the love he grew for her. It’ll be a long story, but something to read at night. ALL ON WATTPAD! Comment below, please!

———

“Mariko?” Logan growled as he woke up on the couch he chose to take so the princess could take the bed. “Hey — Mariko!” Logan groans, sleeping from the well-needed nap after all he’s been through for the past few days.

“Hey?” Logan heard Mariko speak as she opened the front door. Logan quickly leaned up from the couch, remembering that there were people after her.

“Shit,” the man groaned under his breath as he got up, falling at first, but got back up and ran to the front door. She was speaking to someone who he couldn’t see.

“Alright, talk time over,” Logan said as he pulled Mariko from the door. He went to shut it until he saw who stood in front of him. A woman.

“Hi, I was just wondering if you were interested in some fruits?” The woman asked, making him look down at the covered basket she had in hand.

“Come on, Logan — We haven’t eaten a good meal in a while,” the princess spoke behind Logan. He had jumped at her voice, almost forgetting she was there. He was too focused on the woman standing before him in a white wavey dress.

“Uh- Sure, sure — Two for the lady and one for me,” Logan said as he dug into his pockets, looking down to see if he had changed on him.

As Logan locked for chained, he saw the woman open the basket. He saw the fruit, but under the few was a knife. A sharp snide that looked like it was made out of carbonadium. Something that can kill him.

“Shit- Princess, safe room-“ before he could finish as he turned around, the woman kicked open the door, making the man fall to the ground.

Mariko screamed as y/n ripped her dress off, showing her in a suit. The wavey skirt and the tight shirt that was swordproof, made Mariko’s heart pound. She knew this was the doing of her father.

Y/n jumped onto the man’s back as several other men came into the house from different angles.

Y/n quickly stuck the man in his upper shoulder, causing him to yell out in pain. She twisted in carbonadium knife, smirking at the pain he finally could feel. “You won’t be healing soon,” she said before getting off of the man to go after Mariko.

“No, no!” The man tried grabbing after the woman, but he couldn’t. The pain that went through his shoulder only angered him. This whole fucking situation angered him.

Logan growled as he struggled to get up onto his knees. It took him a while, but he finally got to his feet, almost tipping over, but he held himself together.

The man reached behind his back, struggling to find the knife until he did. The man gripped it hard before pulling it out with an animalistic yell.

“Hurry! He’s coming back!” Y/n, the woman yelled at her men as they tried breaking done the steal door Mariko was hiding behind. She was quick to run, giving Logan time to get up and active.

“Who sent you?” Logan asked, slightly knowing who it could be, but he needed to know for sure. “He’s back! Fight!” Y/n yelled, making her men turn around and attack Logan.

Y/n stayed behind, trying to cut the wires to the key, but it would take a while. She needed to cut the right ones.

The noises Logan made as he fought the men with carbonadium swords, slightly scared y/n. She told Mariko’s grandfather that she was ready, but she knew nothing about Logan.

He was an animal. An animal that has been holding anger for years, and these past few days have been bottling up inside of him.

The carbonadium wasn’t working on the man. Yes, it cut through his skin, making it sting worse than usual, but he still slightly healed. The adrenaline in his body was the danger.

“Retreat! Retreat!” One of her men said, making her turn around to see Logan rip apart the last few remaining. She jumped at the way his claws sliced one’s neck.

Logan was on one knee, in a superhero landing position as he breathed heavily, claws out and to the side as he tightened his fists.

“Shit,” y/n took off and ran towards the back door that was open after Logan looked up at her. His eyes were dark, his fangs showed, his mouth quivered and his growls were deep. She was the last one left. She needed to get out.

Y/n almost made it to the front door, hoping she could make it to the van they all came in, but she was caught and thrown back in the house.

Y/n whined as she grabbed her side, feeling pain in an instant. She was no mutant. She was a human. She’s trained almost her whole life, but she would never stand a chance against someone like the Wolverine.

“I’ll give you a chance like I gave you men. Who sent you!?” Logan asked, walking over to her as she slowly crawled backward on the floor.

“Please, spare me,” the young lady said as he held a hand out, still not willing to give up her senpai’s name. “Who the fuck sent you woman!” Logan yelled as he hovered over her.

“Logan! The fight is done, just let her go! This is not her fault!” Mariko yelled from inside the safe room. As Logan heard her pushing the codes, he ran over to the door and roped out the outside keypad, making the inside malfunction.

“Logan? Logan! Logan!” Mariko yelled, feeling his anger from inside the room. “Stay there, princess. I’ve got some business to take care of,” Logan said as he looked back at y/n.

Y/n quickly got up in pain and ran. She yelled, hoping someone would maybe hear and help her, but even if they could hear her, who would want to go against the Wolverine.

“You ain’t gettin’ out of here,” Logan lunged after the young lady until he got her, picking her up and slamming onto the hardwood table in the dining room.

Y/n yelped, trying to move and get rid of the pain, but Logan picked her up and slammed her back onto the table.

“Ow!” She cried out as he stared down at her in anger. One hand retracted his claws as he pushed her shoulder down and the other stayed out, hovering over her face.

“Don’t make me hurt you if I don’t have to, Bub. Who sent you?” The man asked as his blades slightly stuck at her neck to scare her.

Usually, he would’ve killed her but now, the way she looked at him in fear and struggled with his one hand on her shoulder, made his breathing slow down. She wasn’t alarming. She wouldn’t stand a chance against him.

“You were badass just a second ago. Climbing in my back and stabbing me with that carbonadium or adamantium shit,”

“Please, just- Just let me go,” y/n begged as the blades broke the skin, making tears slip from her eyes. “Why can’t you just tell me, kid. You’re risking your life for someone who doesn’t care for yours,” Logan said, feeling a bit sad for the young lady, but he couldn’t show that. At least not at this time.

“I will never give his name. I serve him with all my life,” y/n said, eyes so glossy, she could barely see Logan. “That’s a shame, princess,” Logan traced his blades down the girl's neck, making viable scratches.

The man watched the woman’s mouth part, trying to keep in the pain, but she was human. It stung like hell.

“You’ll do anything for your master? Anything?” He asked as his blade stopped in the middle of her shirt, at the top of the collar. “Anything,” she tried seeming tough, but that soon faded as the made ripped at her suit.

Y/n’s tits flashed the man, making him groan low. “No bra on a mission? What did you expect when you got here?” Logan said, making it seem like she dressed this way for him.

“W-Wolverine, please,” y/n sobbed low as his eyes trailed down the rest of her body. “Pretty girls shouldn’t be out on missions. Especially for me. Do you know what I do to those girls?” Logan asked as he slowly lifted her skirt.

Mariko had no idea what was going on from front the outside. He had destroyed the speaker on the keypad. He can tell himself he didn’t plan this, but distorting the speaker could argue against that.

“P-Please — Take her, and I’ll leave. I won’t follow,” y/n said, feeling her heart rate speed up. “But I haven’t told you what I do to pretty girls like you,” Logan said as his blade trailed down her stomach until it cut her panties.

Y/n whined as she bucked her hips, trying to get from under him, but there was no use. The man chuckles as he rips the rest of her panties off.

“I teach them a real lesson,” Logan said as he began tugging on his belt. “W-Wolverine, stop this. Spare me, I swear I won’t follow,” Y/n said as her eyes kept switching from his eyes to his crotch.

“After I’m done with you, you’ll be coming with us. You’ve fucked yourself over,” Logan said. “N-No — No, I can’t,” y/n finally began pushing at his arm and pushed her shoulder down.

Logan retracted his last claws before he reached into his jeans and pulled himself out. Y/n had stopped moving for a second, eyes widening as she scanned his length.

The man was painfully hard, cock red and slightly blue as pre cum slipped past the slit of his tip. “N-No,” y/n stuttered as she slowly began to fight again, kicking and clawing at him, but nothing was working.

“You said you’d do anything for your master. Let’s see how much you’ll do,” he said as he moved up in between her legs, making her legs part wide.

“N-No, sir!” Y/n pushed at his lower stomach as he pushed at her entrance. “C’mon, princess. Let me in,” Logan growled, hands coming to her waist to grip and pull her into him.

“S-Sir,” y/n stuttered with a whine as she threw her head back. The young lady's back arched as her hands grabbed his wrist, trying to grab onto something to help the pain she felt in her lower stomach.

He was huge, and he knew that. He was just too angry to care about it. He needed to take it out somehow, and this random assassin that was sent to kill him and take Mariko was perfect. She was perfect.

“Should’ve quit, baby. Should’ve said no to this mission,” the man began moving at a fast hard pace, watching her body jolt at his strokes.

“P-Please, stop!” Y/n cried out, feeling her orgasm near. She was going to cum by the Wolverine pounding into her. How could she? How could she do this to her people?

“You sure, Bub? You’re about to cum — I can feel it,” Logan growled as he snapped his hips faster, watching her grip his worst tightened and shake her head.

It was getting hard to hold in her moans. He used her so well, and she couldn’t lie and say she hated it. Her body said the complete opposite. She was going to gush around him, and he was going to shoot it.

“Names Logan, by the way, Bub, and I’m gonna use all my anger out on you,”

Logan pulled back and picked the girl up, throwing her over his shoulders, and made his way into the spare room he let Mariko have last night.

“L-Logan,” y/n said the man’s name, not actually knowing why. The man threw y/n on the bed, instantly hovered over her, and turned her onto her stomach.

“Please, spare-“ y/n went to beg again, embarrassed that she wanted to explode, but he ignored her as he forced his way back through her slit, stretching her at a different angle.

Y/n cried into the pillow as her hands flew back, trying to slow his thrust by placing her hands on his lower stomach.

The man was shirtless when he opened the door, and at first, y/n was thankful for that because she could stab him better, but now, she was glad that she could feel him.

She was a struggling mess, giving him a hard time, but she knew deep down she loved this. She loved being taken just like this by him. By the Wolverine.

“C’mon, baby — Take it,” Logan grabbed both of her wrists and pinned them on her back before pushing down and snapping his hips.

Y/m felt like her back was going to break. Her vision had already gone blurry and her legs had started trembling.

With no words, only moans, y/n came around Logan’s cock, soaking him and the bed. “Ah huh, ah huh,” the man groaned as one of his hands gripped her hair and pulled her head back to hear her.

“Don’t fuckin’ hide it, kid. Cry on my cock proudly. Keep sickin’ me in for your master,” Logan said with a smirk, knowing she’d feel embarrassed if he knew what she was up to.

“Assassin my ass — Look at you. Fuckin’ weak. So fuckin’ weak, you can barely talk,” Logan teased before pushing her head into the pillow she was just crying in.

“Take it, take it! Fuckin’ take me, baby,”

[simbistardis]

The erasure of Blackness from 'stemme' & 'stud' and why it bothers me

This is more of a vent post/social analysis then 'what is stemme 101' but to summarise stemme stands for stud-femme lesbian. A stud in basic terms is a Black lesbian with masc presentations and roles. A stemme is a Black lesbian with fem and masc presentations and roles. Stemme is a Black lesbian term but according to tiktok it's 'just being masc and fem' and 'has nothing to do with race'. And that pisses me off.

Black gender nonconformity is barely represented. There isn't a 'how to be GNC whilst Black 101' and it gets really isolating tryna figure yourself out with no one to help you. Tomboy and androgynous representation is predominantly white. Being tomboy or andro is associated with having short straight hair or a buzzcut on a white body. Black women in hip-hop and R&B helped to shape Black masculinity and femininity in pop culture. Aaliyah, Queen Latifah, Left Eye, Da Brat etc. helped shape the Black tomboy aesthetics we see today. A large chuck of queer masculinity borrows off of Black, especially Black American, masculine aesthetics. The durags, the chains, the caps, the trainers, the AAVE etc. it all goes back to hip-hop culture.

Black women aren't allowed to be masculine. We're masculinised but we can't be autonomously masculine (people don't get this distinction when this topic comes up but that's another post babes x). Despite Black women, especially darkskin Black women being called mannish and strong we don't actually get to reap the benefits of being masc. We don't get to be the positive masc traits like being smart, brave etc it's only the negatives. And this is 2x harder if you're trans. It gets really confusing as a dark-skinned Black girl excluded from femininity growing up whilst also being so feminine and girly apparently you're on the end of misogynoir. Stem(me) basically summed up my relation to gender pretty well. There was never a word for this experience growing up.

So when I go to look up stemme and it's predominantly white lesbians in snapbacks I don't get a good feeling. And when I see shit about how stem 'had nothing to do with race' I'm fuming. Even more so when people say STUD had nothing to do with Black lesbians. Huh?? Black women's representation is already lacking in most areas even for cishet Black women. But Black GNC identity is SO rare. We can't even have a niche of a niche. That's how little Black culture matters in society's eyes. 'What do we use then?' Chapstick. Tomboy. Tomboy femme. Butch. Masc. The dozens of representations that have always represented your experiences. You're gonna be fine I promise you.

The main thing that set off this vent was seeing some tiktok user make a video crediting herself for defining stem as being masc and fem and ignoring all the Black lesbians that called her out and the audacity for her to say it 'used to mean that' and that 'terms evolve' .

Taking Black lesbian terms and changing their meaning is not evolution. It is theft. Erasing Black tomboys and erasing the literal stud from stud-femme, stemme, is just continuing the erasure of Black LGBTQIA identities in a society that already doesn't want us around. Stemme has always been stud-femme and I'm gonna always honour that, even if I stop using the label for myself, even if no one else will.

[soshadysoquiet]

The Subway book, The Hug, and what I thought would happen as I watched S4

I wanted to know the story of the subway cipher-book, one of the bits I'd have loved to see in S4 was them solving or working to solve the subway.

I thought when they found the cipher / Five brought it to Strawberry Land that it would play an even bigger part than just a deus ex machina

Here's a few different things I thought was going to happen once E5/E6 hit us:

*Going to insert my unpopular opinion here that I don't feel it was majorly off-brand for Five to have left when he did at Diego & Lila's house or all the other Five's to be in the diner:

He's resorted to escaping awkward and emotional situations in the past at the drop of a hat because he thinks he can solve the situation / just doesn't want to be there anymore. (he implies in S1 that he was going to use a briefcase to 'start over' ergo abandoning 'these' siblings potentially for a different set?)

He's always looking for ways to buy himself time, in the subway he theoretically has endless time to sort shit out. (He's typically made bad, seat-of-the-pants decisions about this too when backed into a corner - The Handler, typically)

*Granted, I only watched S4 the once and can't remember if there's more to it. Happy to be disagreed with if I've forgotten something!

*Second unpopular opinion is that I don't really care about the cheating after the length of time it had been as much as how it didn't feel like that length of time / build up of the relationship looked Very much like they were both into 'not-sane-consent' ish territory / the relationship being in-character itself wasn't conveyed well enough personally.

**Edit - as I'm having another resurgence of rage over S4 atm I was watching a review vid on it and had completely forgotten that Five blipped out on his whole fam in the middle of the life and death Ben Blob match. I rescind my above opinion on how this is in character.

So, without more rambling:

First Thought:

Five x Lila happens as it did but when they get back and Five sees Lila with Diego and her family he realises that what they had was a distraction / a crutch etc and he leaves. He goes to the subway (Lila has the cipher). He realises that in order for them to ever get back home, which he ultimately wants because he cares for his family and what he had with Lila, that someone needs to make the cipher. So he stays and makes it. He stays in Strawberry Land for the rest of his life and dies there alone, creating the way that his family can be safe.

Lila realises he's missing and before the whole thing comes out to Diego (or after, whichever you prefer) she goes to find him in the subway, she sees he's gone, looks in the cipher for an answer as to where he could be / to go find him (she might be choosing to stay with her family and Diego over him, but they shared precious trauma time in the trenches down there) In the back of the book there's a note, for her, that she would only understand now (something like 'family has always been our start and end point dear one, don't lose yours now that you've found what I once took away from you' - or something sappy / romantic and eloquent, let's not kid ourselves that Five would be an absolute sap about it)

Lila breaks down crying. At which point because the Timeline is so very fucked right now Five from a few days ago (for him) years ago (for her) appears on one of his first forays into the subway when his powers first start to fuck up. He sees her crying like the world is ending and comforts her (like we see him do with the hug).

Five, for his part, just accepts and believes her that she's been time travelling and has solved things because they have an intellectual respect for each other, and maybe she realises that she still has that?

Either way they go back and the ending could be whatever you prefer at that point, Diego and her making up, not, him finding out, not, them all dying together, not.

Now, the idea of this being how OG Five's life ended (alone, again, at the end of the world, but with having dedicated himself to his family, after losing everything) is completely tragic, it's an awful ending, I'd have been sick with grief. But I'd have felt a hell of a lot more about it than I did the ending, by which point I just wanted the show to end so I could stop watching it.

Second Thought:

The Diner Five's worked together to come up with the solution to save the world / that it can't be saved (enter preference of choice I'm ambivalent) but with more meaning than just 'you turned up and we told you'. I want Five to rail at the news, I want him to break down, I want there to be one last fight before the acceptance if the end is what is coming.

Third Thought:

Diner Fives direct Five to Off The Rails Oldest Man Five who wrote the cipher, and they have the same sort of thing as the above with the saving / not saving of the world.

Later Fourth Thought:

Very similar to 1, except that Lila on looking at the cipher realises it changes handwriting half way through to hers. The sappy message is from Old Five that he tried to finish it so that she could save their family, it was both of their goals after all, but he was so sorry that he couldn't, and has to put it on her. She breaks down, realises what she has to do, she stays in the subway and finishes the work, sacrificing herself to her family's survival as he did, but she leaves a big note in the front to the Five that's going to find this (some Lila-esque insult that the pair of them need to use this cipher to get home now don't stop don't pass go etc, and she leaves it where she knows they'll find it the first time when they go to the cottage, maybe leaves their younger selves some advice). Then it's a bit like 'The day that wasn't' in that we see younger Five and Lila retrieve This book, maybe wonder at the odd messages in it that are in turns insulting and heartfelt, and they make it home after long years but back to their family. They could either hug because of the relief that they have a way home, or because both Old Five and Old Lila realised and wrote that the world can't be saved, or because Lila sees that she left / cheated on her family and realises what she had to lose and Five realises what he nearly let himself lose too / how he's been pushing his family away and insulting them and that was never what he spent his life searching for.

Not saying any of these would have been better, but I kind of like them as options :)

[sage-nebula]

It's been so long since I've played the original trilogy that I honestly couldn't tell you which of the three is my favorite, but at this point I'm starting to think that it might honestly be the first one, if only because the first one doesn't have a single case that makes me want to concuss myself. (Which isn't to say that T&T does, but just that I really don't remember T&T well enough to say for sure.)

The four original cases in the first Ace Attorney game are all excellent, both in terms of story / character content, but also in terms of gameplay. Although I hadn't played in so many years, I didn't pick a wrong answer even once in the first four cases, because the puzzles were laid out so masterfully that the answer became clear with only a minute or two of thinking. I want to note that this is different from hand-holding; it's not that the game told you what the answer was, but that logic allowed for puzzling out when it was time to show this or that evidence. You also didn't have to Press on every single line of testimony usually, because pressing on just the ones that it was intuitive to press on was usually enough.

Now, that's for the first four cases. The same can't really be said for "Rise From the Ashes," but that's because RftA was written after the main trilogy was already completed, and thus suffered the same issues that JFA (and I'm assuming T&T) had: extremely finicky cases which were incredibly picky about when and where they wanted you to show this or that evidence, or requiring you to backtrack to rooms because it refused to make a crucial piece of evidence appear during an investigation sequence unless you had talked to some completely unrelated character already beforehand.

This might sound like griping because I am just not good at these games, but I don't think that's the case. Again, the first four cases in the original game didn't have this problem, at least in my most recent experience. Both the trial sections and the investigation sections made sense with very little nitpicky "this must absolutely be done in This Particular Sequence" bits. It's just RftA, and so far each case in JFA, that seems to have this issue. This could be because Takumi or Capcom wanted to up the difficulty in the later games, or at least increase the length of the cases (both RftA and the cases in JFA so far have significantly more evidence than the first four cases in the original game), but either way, it's noticeable.

Having said that though, although RftA had numerous parts where I had to look up a walkthrough because I didn't interact with the exact pixel of the evidence room at the exact right moment in the investigation and thus couldn't get the evidence I knew was right there, I still forgive it because I love the story and the characters. Although there is legitimate critique to be made about it (most notably how they retconned Edgeworth having ever forged evidence because of his popularity by that point in the series timeline), I still enjoy the story and the characters so much that it doesn't matter as much to me. Plus, tbh, it explains even more why Edgeworth would make the drastic choice he made between games, even if you don't take the retcon into account. The man was really going through it for those few months. (Though having said that, Phoenix being like "all prosecutors are evil scumbags" in light of him knowing Lana is still . . . lmao. You really can tell that RftA was made post the original trilogy.)

So at least, thus far into my replay of the OG trilogy, I rank the first game (with all five cases present) as above JFA, since while JFA has what is quite possibly my favorite case in the entire series (Farewell My Turnabout), it also has Turnabout Big Top, which just . . . well, you know. I feel like TBT is probably the most universally hated case in the fandom, lol.

But we'll see how I feel when I get to T&T, since that's the game from the OG trilogy I remember the least. I do know that I loved playing as Mia and I also love Dahlia as a villain, and getting to play as Edgeworth vs. Franziska was also delightful. So it definitely has aspects I am looking forward to. We'll just have to see if I find all of its cases enjoyable like I did the original game before I can make the final determination on that.

[smultronviol]

Ppl going "waaahh unpopular opinion but Alice is kind of annoying and obnoxious and I don't think I'd like be her friend irl" is so funny to me bc like.

God forbid a cast of characters be multifaceted and have actual flaws and unpleasant aspects other than "grr angsty hero" and "whoops i'm so clumsy". Sometimes character dynamics and arcs need to be prioritized above "who would i personally be niceys with irl"

2. bro just WAIT until you hear about season 1 jon lol

[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.

[skrunksthatwunk]

ok soooo im like 5 episodes into dear brother and i need you guys to know how much i love rei so far if only for her staggering around like a rain-soaked stray dog just haggard and unseeing all the time. like we know very little about her thus far except that every scene she's in she steals the show by flopping and wilting all over the frame

[simmyfrobby]

@sergeifyodorov present 4 u

[faaun]

ok let's catch up quickly

[yabagofmilfs]

Seeing g in that purple jersey with his penguins shorts.... i miss him so much 😭😭

YEAH 😭

[watermelinoe]

my niece once got upset w my dad bc he wouldn't buy her some overpriced drunk elephant skincare product. she was freaked out about getting wrinkles. at age eight. i wish her mom had never bought her that damn smartphone

[kayvsworld]

day one thousand nine hundred and seven of missing the little red star on bucky’s arm </3

[zouisalmightie]

.

[wavesoutbeingtossed]

.

[needleworm]

cheerleader gerard was in my dream i can't keep living like this

[musical-chick-13]

.