#goddamn will i dream about it

[bipolareffigy]

Currently obsessed with Grey Jedi Deadpool and Jedi Knight Howlett (with lightsaber claws) who are forced to work together during the Clone Wars. Like actually this has consumed my entire morning thoughts.

[stefisdoingthings]

silence

also this is from Wolfwood's POV (in case it isn't clear) i have 0 normal thoughts (every song ever is VW)

[novelconcepts]

wait wait wait, so we had: a gorgeously diverse, complicated story about the folly of the Jedi, set against the backdrop of truly fascinating Force witch lore and a potential deep-dive into the real fallout of suppressing emotion, complete with totally rad lightsaber fights, grayscale characters all around, and the coolest fucking helmet in the history of the franchise, all tucked into the world of Star Wars, which makes money simply by existing--and they cancelled it?? i am going to explode

[littlestkoi-n]

the rage I feel when reading Blood of Olympus chapters 45-56 is almost equivalent in magnitude to the absolute joy I experience when reading The Last Olympian chapters 1-23.

remember when percabeth was good? when they meant the world to each other but had other people they cared about (nico, for one. both of them. so much), other worries and other storylines aside from their romantic plot? and when nico's completed arc wasn't repeated for no reason other than to dump more trauma on the youngest character in the series? when background characters were included in the story not for all the unnecessary last minute romantic subplots but because they were fun and fascinating to learn more about? and were actually friends with main characters? remember when grover was percy and annabeth's best friend forever? and antagonists were actually interesting and intimidating and had compelling goals? and the story revolved around friendship and family and loyalty? and death was definite and loss was palpable and battles were thrilling?

yeah. good times.

[morsmortish]

evan accidentally cuts his finger with a scalpel and draws blood, and barty starts salivating and foaming at the mouth, staring him up at him with wide eyes and begging to ‘kiss it better’. evan looks at him with utmost horror and doesn’t remove his surgical gloves for two weeks out of fear.

[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.

[eddiemunson-reader-shame]

Eddie Munson would dead ass be a chubby chaser that’s it that’s the post.

[badn3w]

"finally"

I've convinced myself Mac wasn't aware of his crush on Dennis until his dream in PTSDee. It's all in his eyes when Dennis first goes in to kiss him, even if it's only a moment concocted by Mac's unconscious mind. His eyes tell us everything.

So much is said in the way Mac looks at Dennis here. It's like something clicks. Dennis is holding onto Mac's face and Mac sinks into Dennis' touch, realizing this is something he has been wanting to experience for a while, even if he has not always been consciously aware of it. While I do believe Mac has had feelings for Dennis long before this dream, I don't think these feelings had ever been fully realized until now, even after coming out.

But then Mac wakes up from his dream as if it were a nightmare. It's as if the idea of having feelings for Dennis shocks him awake, causing him to gasp for air. He is being suffocated by his own realization.

He wakes up in bed with Dee and Old Black Man. This is how he knows he's no longer in a fantasy. In his dream, he was back at the apartment, waking up in his own room. He was back to living with Dennis, the pair of them alone together. Mac looks around for Dennis but finds that Dennis is not in bed. He gets up to search for Dennis, ultimately finding Dennis practicing his dance in Dee's living room, just like he had been doing in Mac's dream.

Mac watches Dennis dance, confused yet intrigued. It's like he's waiting to see what will happen, or more likely he's waiting to see if his dream will come true. Dennis dances towards Mac and throws his hands up on the doorframe. Mac's no longer looking at Dennis in confusion but rather in desire. He knows what he wants now. He knows he's always wanted it. Mac smiles when Dennis comes closer, evidently excited at the prospect that Dennis will make a move. He wants Dennis to kiss him.

But then Dennis doesn't. Instead, he slams the door shut in Mac's face. His dance wasn't meant for Mac. Mac's dream would not come true, at least not entirely. Dennis doesn't love Mac, but hell, Mac certainly loves Dennis.

[transingthoseformers]

Seeing the slight differences in Ratchet between tfp, rid15, and RBA actually tells us an amazing story about healing.

Also the idea that he's easier on cybertronian younglings than he is on the adults.

[ethemreal]

"an untitled portrait by Van Dyck, 1621"

(watercolor on paper, 9"x12", 2024)

also on ao3: https://archiveofourown.org/works/57560983

inspired by this post/fic by @cuubism

https://cuubism.tumblr.com/post/699751218188353536/a-van-dyck-dream-drawled-dragging-a-light

https://archiveofourown.org/works/42802623

[becauseplot]

Anyway for entirely justifiable reasons (<-is a glutton for angst) I need Chayanne and Tallulah to be present when the hummingbirds come around or a note about the 'wise old crow' appears in their house, causing qPhil to have one of his derealization/reality-questioning episodes. I need it. I need it to happen SO bad. Because they’ve seen Phil get roughed up in a fight, they’ve seen him angry, they’ve seen him wary and even nervous, but they have NEVER seen him doubt like that.

People have already made posts talking about how the cage-for-a-cage/child-of-the-sky stuff has been particularly rough on qPhil, who relies heavily on his constant vigilance, keen senses, and hyper-awareness of his surroundings for reassurance. He's the kind of guy who walks into a room and has already charted at minimum two escape routes by the time he takes a seat, you know? He sees and processes and stores information on everything, at all times, and he uses this to act in the best interest of his and his loved ones' collective survival.

His kids see this side of him too, most significantly in the ways that he looks after them: always keeping an eye on the back of the group, never far from Tallulah, and constantly analyzing Chayanne's fighting style to give helpful critique to optimize his attacks. Chayanne and Tallulah know that everything he's ever done was to protect them. Also, he's always there to offer them advice when they're feeling lost, and even if he doesn't have all the answers they need, he gives enough reassurances and promises to put their minds at ease. Phil is confident in what he knows. In their eyes, he is strong. He is a fortress, safe and impenetrable.

You could say that about a lot of children's perceptions of their parents/guardians/mentors. The older, guiding forces in our lives always seemed strong and infallible to us as kids. That's why it was always unnerving to see them get sick, or get stressed, or cry. Observing weakness in those people felt so, so wrong because we never considered the fact that they were capable of it; it was just impossible.

So, the situation: Phil is suffering in a way that makes him question the very same reality that he was a master of not too long ago. Whenever it happens, he goes quiet, looks around, mutters to himself, breathes shakily, fidgets. He is visibly unnerved and uncertain.

If Chayanne and Tallulah are there, they're gonna notice---they're perceptive, just like him. I'd imagine they'd try to ask him if he's okay, and he'd reassure them that he's fine, and maybe that's enough the first time. But, as more incidents arise, and as time goes on, they start to see more of this out-of-nowhere uneasiness, fear, from him, which is worrying, especially because he won't tell them why.

NOW. Phil has been upfront about a lot of things with Chayanne and Tallulah in the past. For example, during the height of the code attacks, Phil told them everything he ever learned about the codes, every single new development, to ensure that his kids were well informed and prepared. He was frank about the threat on their lives because to sugar-coat anything would be doing them a disservice. It was important they knew all of the cold, hard facts, even if it took away even more of their precious childhood innocence. He values their happiness, but safety comes first. It has always come first.

But this is different. It's not cold hard facts. Phil doesn't know what to believe anymore. When the hummingbirds come around and his reality comes into question, he doesn't know what is real, what he can trust, what is fact. His senses have been compromised. Hell, he's still trying to convince himself that he's not going crazy when all evidence seems to suggest that he's losing his goddamn mind. He doesn't know what to tell his kids, so he tells them nothing.

So now here stands Chayanne and Tallulah. There is something that is scaring their dad, and he won't tell them what is, so on top of the knowledge that their unwavering father is, in fact, capable of true, genuine fear, he's suddenly keeping things from them. Their dad is keeping things from them because he is scared. And I can't imagine a realization more terrifying than that.

[spocksgotemotions]

my mom tried to baby trap me … with my sister’s baby. She said maybe my plans had fallen apart and changed so I could keep living at home and help take care of my sister’s baby. My sister. Who lives an hour and a half away.

[cdroloisms]

I think Dream in prison was always going to go poorly because it would require Sam to be as infallible as Pandora's Vault itself, and he's not. He has way too much personal stake in what Dream is doing, and in trying to force himself to be an emotionless machine that abides only the protocol he became a hypocritical wreck that only indulged his vindictive emotions and spiraled out of control trying to keep the situation steady. That's not even addressing how keeping someone in the prison would never be ethical because it's a psychological torture box designed by the psychological torture guy

I mean, I can see the argument that it would've been hard to like. Not make Pandora's Vault unethical, considering the size of the server and the fact that he was the only prisoner etc leading to a situation where yeah, he would've been left alone for long stretches of time no matter what, solitary was kinda inevitable, etc. Like I can see an argument for that. But on principle I feel like the influence that protocol had on the prison arc and on c!Sam specifically tends to be heavily overstated...because a significant portion of the prison arc, honestly, is making the point that the protocol was entirely based on what c!Sam determined.

Like, sure, the prison was always going to suck. c!Dream was never going to come out from it entirely unscathed. But there's a huge fucking difference between what he was prepared for (isolation + shitty food for an unspecified amount of time) and what situation he ended up in (his life at the mercy of two people that showed absolutely no damn qualms about literally torturing him). I think it's very fair to say that yeah, c!Sam was far from an unbiased party, and he was very much emotionally affected to his detriment during the prison arc. But...ultimately? I feel like we really don't see c!Sam struggling to maintain protocol over the course of months only to slowly break down. I don't think we see him "snap" and "lose control." necessarily, in the way that people often act is the case. (The strongest argument, in my opinion, in favor of c!Sam being greatly affected by some stressor that then has him turn to extreme cruelty has little to nothing to do with the prison itself and more to do with his brief stint with the Egg, but with so little attention drawn to that as a cause in the story of the prison itself, I feel like this mostly remains in the realm of speculation.)

Like, if we look at the facts, c!Sam's behavior day one was already weirding people out. Day one and c!Dream is already throwing himself in lava and c!Sam does not seem to give a damn. Of course, both of their behaviors had a myriad of reasons behind them, but it's important to note that there's like literally never been a single moment in the prison arc where c!Sam hasn't been, like, off.

We never see any of c!Ranboo's actual prison visits, but we know these happened very very early in c!Dream's imprisonment and that they were terminated quite early as well, once c!Sam discovered c!Ranboo writing in ender in the prison contracts. However, considering how the inside of the prison was the same between his dream and the real world, it is reasonable to say that c!Sam's behavior in the dream could've also been taken from reality, and "he knows what happens [when he disobeys]" is a hell of a statement to make.

c!Bad's prison visit is when things seem to be seriously off. Even if you consider c!Dream's behavior in this stream as entirely an act, c!Sam is noticeably tense after the prison visit and very demanding about what c!Dream said once c!Bad leaves the cell. c!Dream commenting on food being withheld is consistent with what we know happened in the prison arc later on. c!Sam says that c!Dream has been tossing himself in lava for attention. Several comments are made about "behaving" and "behavior," c!Sam is looking into the installation of an automatic feeder, and visitation is facing restrictions.

Pretty crucially, we see that c!Sam is very comfortable with making changes to the prison. Major changes to the prison, even. Installing an automatic feeder isn't exactly an easy process? And it obviously wasn't outlined in any kind of preexisting protocol. But c!Sam is perfectly willing to change this, just as he's perfectly willing to make all kinds of rules on visitation and limiting visitation because of c!Dream's behavior, etc, (which can reasonably be inferred as not being preexisting rules because that would mean that c!Dream, who allegedly helped with the creation of all of these rules, would be intentionally sabotaging his chances of visitation...when he very evidently wanted people to visit? like sorry but that doesn't make any sense) because he's the Warden and therefore the sole authority of Pandora's Vault and allowed to do literally anything he damn well pleases.

Further, sure, c!Dream might be acting in all the prison visits. Sure, he might be acting In General during this time, etc. But despite disobedience (disobedience with the explicit expressed purpose of trying to get c!Sam to spend more time with him...?) I would hardly characterize almost anything he does during these early days as being anything for c!Sam to be reasonably vindictive over. Even if you consider hopping into the lava (something c!Sam could've solved literally as easily as just raising the netherite barrier), tossing the clock into the lava (also preventable if c!Dream can't access the fucking lava????), and a couple alleged escape attempts (the only one that we know of being him trying to use the lectern to create a nether portal, something hardly easy to do and an attempt that c!Sam very evidently put down quite easily)--like. I can understand him being angry because of what c!Dream had done in the past, and obviously being angry because of c!Dream telling him about exile, but c!Dream early on in the prison arc hardly behaves badly. (Not that bad behavior would justify abuse, but you know.)

By the time of c!Sapnap's prison visit, c!Dream isn't the only one acting weird. c!Sam is strange in ways that are never fully explained and uh heavily imply shady shit??? He's not abiding by protocol when he suddenly interrupts the process of helping a visitor out of the prison by forcing c!Sapnap to respawn in order to check on c!Dream for Some Reason. He's once again very persistent about the question of whether or not c!Dream "said anything" and then reacts strangely when c!Sapnap was able to get him to say a word. He's replaced like a quarter of the obsidian in the cell with crying obsidian, which again, is an instance of c!Sam making BIG changes to the prison without protocol or anything dictating his actions. At most you can maybe make the argument that he's being moved by the spirit of the protocol, that being security should be prioritized over everything (hence potatoes instead of steak, hence no courtyard, hence--in this case--crying obsidian to make the escape attempt ineffective) but it's clearly nothing that they explicitly wrote down.

Also, around this time (I forget the exact date) he explicitly bans c!Ranboo from visiting. Also something we can reasonably assume isn't something that was included in any protocol that c!Dream wrote considering his uh, vested interests in continuing to have an informant.

c!Tommy's visit and that ensuing debacle, of course, is one of the first times we see c!Sam clearly, explicitly acting AGAINST the protocol that was established. The protocol outlines that c!Tommy should have stayed in there for at most a week, and c!Sam explicitly denies him from leaving when the time comes??? Even if you argue that he's doing it "for security", he's doing it in a manner that is going directly against the letter of the law of the protocol that he created with c!Dream. This is a clear demonstration that c!Sam sees himself, and acts as if he is above the law of Pandora's Vault, because, of course, he is the law. He is the Sole Authority. He is the Warden, and he answers to no one but himself. c!Tommy's death obviously ensues in quite the emotional fallout for him, and wanting revenge on c!Dream for this matter motivates his actions later on in the arc...but it's important to consider that mistreatment beyond the scope of what c!Dream expected long preceded this point. c!Sam, immediately after c!Tommy dies, describes himself as thinking that c!Dream's will was too broken to do anything like that. Describes himself as having punished c!Dream in every manner that he could think of. He doesn't go in to feed c!Dream for WEEKS after c!Tommy's death, directly leading to c!Tommy himself being isolated and starved post-revival. He bans visitation. All of these matters hardly seem like matters that c!Dream would have included in the prison protocol that he created when he was planning to be put in that prison, where he specifically had a vested interest in keeping himself (and the book) safe + having, like, FOOD + being able to have visitors in a safe manner + NOT being abused?

And even if we dismiss all of this as c!Sam acting in the best interests of security because c!Dream told him that the security of the prison is more important than anything else (which, even though we know that c!Dream did have this perspective to some degree, still doesn't eliminate c!Sam's responsibility as the one carrying out the existing protocol and making all of these Big Decisions and Big Changes etc to the prison) -- the decision to let c!Quackity into the prison stomps on all of that. That decision completely goes against not only the letter of the damn law that they established together, but the spirit of what the prison was ever meant to be in the first place. He compromises the security of the prisoner and the prison on the DAILY by letting in someone in full gear! With items! And plays a game with chance with c!Dream's life (and the revive book) every damn day. He hardly had enough of a system in place to keep c!Quackity from taking c!Dream's life, and he was certainly unable to stop c!Quackity from landing what would've been a killing blow on c!Techno before he got tp-ed out, like. He completely fucks over EVERYTHING that Pandora's Vault was meant to be, and that was...entirely his decision. Sure, c!Quackity manipulated him, true, but he was not beholden by any protocol or any element of his duty when he made this choice.

This isn't to say that c!Sam wasn't very much emotionally affected and making clouded judgements--he was! Especially if you factor in the stress of other events such as the Egg, etc. But I hesitate to ascribe any element of c!Sam's...c!Samness in the prison arc as him "cracking under the pressure," so to speak. The implications of mistreatment just start too early and are too calculated for me to say that he was simply reacting badly to stressors. I think he was absolutely trying his best to keep the situation "steady," in a sense, but keeping it steady never meant simply being an emotionless guardian to an impenetrable prison who couldn't cope as everything began piling up--keeping things steady, as early as that first month, meant breaking c!Dream into something docile. That was intentional. That was something he was making an active effort to do. Nor do I think that the claim that c!Sam was simply abiding by protocol holds any water, as I outline above: c!Sam has always acted above the protocol established in the prison to the point where even from the first time we see him acting as Warden during that first damn questionaire a specific point is made that he is the ultimate authority on the grounds of the Vault and his word is law. He acted within protocol when convenient to him and trampled over it when convenient to him, and I feel that people can overemphasize the role that protocol played in the decisions he made the same way that he himself did when he was shifting the blame of his own abusive actions onto c!Dream when he had the power, and always had the power, to amend the protocol established in any way he damn well pleased.

Of course, this isn't to say that the protocol was good. It, uh, wasn't--and plenty of people have criticized c!Dream for them even though the prison, as it ended up being used for his plans, was never anything more than a place for him to put himself because of the danger that the rest of the server presented, a base for him to hide in after the prison arc because of its security measures, and a "just-in-case" measure for them to hold their enemies if need be (which he never actually does, even when given golden opportunities to do so: inconsolable differences and the finale come to mind. Even if we're talking about his saw trap in the finale, the plan was to kill one and let the other go free (????????) while also giving them the exact items that could've easily been the keys to their escapes. after c!Tommy and c!Tubbo kill him. but I digress). But c!Sam goes so damn far beyond the protocol established by the "psychological torture guy" that he literally wasn't even beholden to when he was the Warden of the Vault on account of said guy being his prisoner. I don't really see any arguments about c!Sam's behavior having to do with him being too fallible of a man for the job he was given--he does exactly what he wants to do, how he wants to do it, using the job that gives him the power to do so. It's just that "what he wants to do" is not exactly what c!Dream had in mind when he and c!Sam were coming up with the plans for the prison and the protocol that they worked together to create because what he wants to do is, apparently, own a guy and keep him in his hell box. You know?

(i hope this didn't read too aggressively!)

[wardennthorne]

he has transfixed me

[blufox234isadumbname]

Ratings are great, but the studio's empty,

I'm fading away from the few who have kept me,

Getting replaced by a beautiful memory,

Channel one, the view for the many

- Channel 01 Clown by Teddy Hyde

VOTE FOR FUNDY IN THE CRINGEFAIL POLLS, WHILE HE WATCHES HIS LIFE GO BY

EDIT: VOTE FUNDY NOw FOR tHE FINALS

stills and gif ver under the cut :-)

[mjfass]

Throwback Thirstday

I bet his skill with that tongue is truly mind-boggling

I mean, he is speaks 5 languages, so I just KNOW he is GREAT with his tongue.