#go off my liege

[crow-cello]

ok before i ramble on these rarepairs i pulled out of my ass, what do you think of Lucifer x Lute?

or even Lucifer x Adam x Lute? 👁️👁️

👁️ 👄 👁️

You are opening my eyes to a new ship because these three are all my faves....how it didn't hit me before is insane.....

[bilbotargaryen]

Aldhelm's No was such a smack

[unkindledliege]

Gwyndolin picked up smithing, I'm so proud of them

[problematicraccoon]

EVERYONE SHUT THE FUCK UP THEY SHIFTED

EVERYONE SHUT THE FUCK UP. SHUT THE FUCK UP I SHIFTED

[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.

[akaruiakiki]

Still thinking about this person who's been on Hatokare for 7 years straight

[aran-morinorea]

HAPPY TEMPORARY FREEDOM FROM ACADEMIC HELL! Please tell me more about Maglor's No Good Very Bad Roadtrip Funtimes

Thank you so much! It took me so long to get this stupid document to talk to me that my temporary freedom is already over. And it's not even consecutive with the previous snippet.

“I’m absolutely not bringing you into the city like that, you’re meant to be making Tyelpe less angry with me. You need to freshen up a bit,” said the Golden-king. I grit my teeth and prayed (to the Silver-king, without much hope, because He alone can compel His husband to mercy) that He was going to deal with that Himself.

No such luck. I was bid, with the dismissive little wave the divine king considers regal, to “Make that happen,” while He went to do more important things, such as menacing the others about proper conduct for a formal return to the city.

I looked at the Elf. He looked at me. I think we were both pondering our life choices with some consternation.

[aceywaceyy]

FUCKING SLAY YOU PURPLE BITCH !!!!!!!!!!! /aff /SLAYYY

Day 2: Dress up!

I took it a bit too literally, and now I'm wearing a dress. I'm kinda slaying it, though!!

[loadsofcats]

These live in my head rent free

[philiponmycracker]

[tiredassmage]

GET 👏 HIS 👏 ASS, BABY!!!!

Ahhem. I finally stopped ignoring Rivix.

[telangana-official]

ehhhh understandable

Bite people. :D

[binch-i-might-be]

when a little hut or hammock is vibrating intensely and you know there's a rat in there doing the most insane scritch scratches >>>>>

[littlestpersimmon]

Am caught in a death spiral my lieges. I don't feel entitled to anyone's time, effort or resources but I feel so beat down. I am disabled, I am working so much I genuinely developed a hunched back. I am alone responsible for my autistic sister, her parentified sibling, and my two parents who are disabled with extremely limited movement. I have three jobs. I can't ask for help on twitter because people I work for follow me there. My work requires me to draw every day, without a day off, ever. I have a "morality clause" which means if I or the author I work with are deemed to be acting in any way the company thinks inappropriate, we are immediately fired and would have to return every single cent we have made. I feel at my wits end. My employers are american- but I am not. I live in the global south- government assistance in the Philippines is *nonexistent*

Last week I asked for help to pay for electricity. The other week I asked for help with my sister who had to be rushed to the ER.

I doxxed myself and posted medical info to this blog, so many strangers know my address, my legal name, everything just for me to be able to seek mutual aid- Wallah I do not want to be this person, but if anyone could please, pick up a print from my inprnt, or subscribe to my patreon, I already have 300+ drawings up there and I upload thrice to four times a month, or if you could send direct tips it would make a world's difference. I will try to open commissions next week but as the world is being plunged into wherever it is we are headed, it's getting harder and harder to get clients.

Currently myself dealing with housing insecurity- we only have a year or two to fix our traditional filipino house as it is falling apart due to the philippine storms and termites- *please* help me and my disabled family of three. I feel I am rambling now bc there's so much on my mind, on my plate, I've asked friends and my partner for help, my sister and my cousins and my friends are all I have. My mom's side of the family cannot help as they are all extremely poor themselves, and my paternal side of the family have emotionally abused me and have members that committed routine csa on me. I do not take any of the help I receive here for granted, and I'm sorry. Reblogs are off as I am asking for help from followers as I feel very ashamed / embarrassed/ humiliated to still be stuck in this dark place . Sorry and thank you again

Inprnt is having a sale rn, everything is like at 40% off!

And my tipping jars:

Sorry and thank you again. If you can't donate or purchase its OK, just please please please include me in your prayers, make mi shebeirach for my health so I csn continue to work, or any prayers at all for me. Thank you

[hellfridge]

Hard disagree personally because I think he should become the horror he always feared as a treat, but that's so valid

I’m gonna be so honest I really hope the eye creature in TMAGP isn’t Jon

At least not the TMA Jon

[morganbritton132]

Adding a bit more to this post and this add-on:

“What the fuck?”

“I know,” Gareth says, stopping short right next to Eddie in the middle of the cafeteria. They both stare at their table where Steve Harrington is standing. “I’m still getting use to it.”

“What do you mean ‘use to it?’ Gar, what-“ Eddie trails off when Gareth keeps moving. His hasn’t got his voice back in full yet from being sick and Gareth is right. You can’t stand still for too long in the cafeteria without getting your lunch knocked out of your hands.

Eddie narrows his eyes at King Steve’s hunched shoulders and his crossed arms. The way he’s hovering over Jeff…menacingly.

Yeah, no.

No one messes with Eddie’s sheep.

it’s a dick move and Eddie knows it when he throws his weight into an arm around Steve’s shoulders. He’s seen the way the jock has been carrying himself. His ribs are broken. Steve squeaks and Eddie smiles with all sharp corners, “What do we got here, my liege?”

“Huh?”

“The high life too boring for you that you got to…” Eddie trails off, ignoring the gesture that Jeff makes telling him to stand on Steve’s other side because - “That’s a character sheet. That’s a character sheet for D&D.”

Sitting next to Jeff with Steve crossed out for the character’s name is a D&D character sheet which is - “What the fuck?”

Steve’s demeanor completely changes in a moment of realization, shoulders going loose and smile bright enough to weaken Eddie’s knees. He’s like, “Heyyy, you’re like, king of the nerds, right? That’s perfect. Sit with us.”

Steve shakes off his arm and sits in Eddie’s chair, offering him a seat at his usual table. All Eddie can say is, “What the fuck?”