#great northern way

[emborami]

Hi so in case anyone was dying to know, this is what i think some of the cast of the terror would look like as animals :3 notes under cut

From left to right:

Crozier- Irish Terrier

Silna- Polar Bear

Goodsir- ryeland sheep (known for tasty mutton ;3)

Hickey- red fox

Franklin- old english game rooster

Fitzjames- red deer

I had fun coming up with them :) and I kinda wanna doodle some screencaps but with like a lil short sheep goodsir and his bestie the giant polar bear lady silence whom he thinks would love England. Or like hickey on his bullshit but with more flair bc he would have a fox body and tail to really fuck up that line of action

Anyways heres some closeups and sketches

[willowedhepatica]

watching the northern lights 💫 got this fantastic commission by @notenotenotenote3 for my fanfic death doesn't dream

[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.

[sparrownnax]

anyways sometimes i wonder if i'm meant to be connected with people. don't get me wrong i appreciate my friends, but like my quality of life wouldn't go down too much if i hadn't met them. i like digging information out of people. they lose a lot of appeal once i know too much about them. i don't really have any kind of interest in pursuing any kind of relationship with people, romantic or platonic. i could take people or leave them. dunno

[20th-century-railroading]

Snowshed construction on the Great Northern Railway line near Stevens Pass in King County, Washington. Shows freight trains, lumber piles, a traveling construction crane, timber cribbing and a snowshed. August 21, 1917

[phoenixcatch7]

What I'd really love to see is a svsss au where shen yuan had the immense powers from saiki k.

Like, svsss is already a romcom of a guy shunted into a fantasy world with meta knowledge and immense power for no reason apart from 'make a happy ending' as a fairly thick veneer over an absolute hot mess of a tragedy with a happy ending, red flags galore, complete with a protagonist completely removed from the concept of romance and resigned to his fate of being abandoned by the people around him because of the circumstances he was 'born' into, but he's funny about it.

The disastrous life of saiki k is a fast paced crack comedy about a guy granted immense power for no reason with meta knowledge of the world as a thick veneer over something a little darker and traumatic with a happy ending, complete with a protagonist completely removed from the concept of romance and resigned to being ignored by the people around him because of the circumstances he was born into, but he's hilarious about it.

Now I don't think it should be a 1-1 transplant of saiki to the svsss world, but to imagine an sy with those powers who didn't manage to find loyal friends, who moved out to live alone as soon as possible to avoid issues with his powers, who gravitated to web novels because of their regular updates as opposed to being constantly spoiled for books with finished endings. An sy who despite his ridiculous levels of power died alone in a stupid way and woke up in a world filled with people who also had immense and varied powers, dealing with the prospect of immortality when his own powers are still constantly growing and interfering with his life, but be silly about it.

I want to see a sy with telepathy still failing to understand what lbhs deal is because of his own denial, a sy with the power to crush mountains with a finger trying not to blow down walls with a sneeze because someone put him on a mountain FILLED with plants in SPRING, an sy who deleted an entire country from the planet aged four trying to dodge overly enthusiastic maidens he keeps saving because he doesn't want to steal from the protagonist and also no, lady, please. Shen yuan sitting in the water prison absolutely deadpan as people try and scare him with 10 iq stories about the acid waterfalls. An sy who hares around the peak trying to avoid being spotted on valentines day as he redirects unwanted admirers and improves his disciples dates just so they can all have a good day.

An sqh who really, honestly truly doesn't know how pidw was made real, honest!! All he could do was see ghosts! It's not his fault the story he wrote to make rent turned into all of this!! But because you're here can you pretty please make some ice, I'm in desperate need of air con and my king hasn't showed up in weeks!

Sqq and sqh playing telepathic chess during boring meetings and sqq leaving him to suffer when sqh is asked a question even though he himself knows the answer.

Lbh trying everything to get shizuns attention and discovering his total weakness to his cooking. Like, will let you cheat in class levels of bribery.

Sqq stalking dourly through fields of aphrodisiac plant because he's raised his body temperature high enough to burn out any pollen before it gets too close and the system just despairing at getting this man to do something interesting.

Cat!sqq transforming back as fast as he can because he's got a meeting in half an hour and having to rush around trying to find something to cover the cat ears he didn't manage get rid of.

Shen qingqiu pulling out his limiters and dropping the mask to reveal a deity in the shape of a man, something crafted purely of psychic energy and burning fury, determined to hold maigu ridge together and keep the realms apart with his will alone, to save luo binghe if it killed him again. A shining aura stretching miles, glowing like a star, halting the earthquake with his bare hands.

Sqq seeing a bug and freaking out so hard he teleports to the northern demon realm and lands in a slushy pond, and sqh nearly giving him away because of how hard he's laughing.

[seriousbrat]

What do you think the marauders voices sound like?

In terms of pitch or accent? lmao a difficult question to answer through text but I'll give it a go.

Remus is perhaps the most obvious in that he's Welsh. Personally I always have him as being from north wales but that's just my bias because that's where my family's from. And obviously wales has a variety of accents, in my official character guide I have him as being from Flintshire. Which again, that's roughly where my family's from so I'm used to it lol. Personally, I don't believe that he'd speak much welsh and I don't inject random welsh words into his speech when I write him because even though I love Cymraeg as a language I don't think that's realistic. Mae’n ddrwg gen i I guess. Diolch!

James and Sirius I'm going to group together because they have pretty generic southern accents. Sirius might skewed more RP as a kid, as befits a posh pureblood, but I think he'd have adapted quickly to speaking the way James did. I also see Sirius as trying to sound a bit more working class than how he was brought up lol. I'll be honest, I have a great time writing Fleamont Potter and his best friend Dedalus Diggle as basically two Bertie Woosters but that's not the voice I hear for James in my head. Let's say just a generic estuary for James and Sirius.

The thing is all these children were together for most of the year, so whatever accent was predominant in their peer group would probably be mostly adopted by a lot of them. For this reason I think even Remus's accent would have become more southern over time. Though he'd always say words like "bath" the correct way

Peter's the wildcard. One can go crazyyy with Peter. In my official character notes I have him as being from Somerset but I'm not wholly attached to that. Like let's just have fun. Let's go wild. He could be a geordie or something

As for pitch, I don't think anyone has extremely deep or high pitched voices. I feel like Remus and Sirius would be on the lower end, whereas James and Peter might be more nasally and higher. But not a huge range. Lol I haven't thought about this as much-- I do hear their voices in my head when I write their dialogue, and generally I enjoy writing different accents.

Btw one major gripe I have with JKR's writing is that she often writes out accents phonetically and I hate that. I believe Hagrid's meant to have a west country accent and whenever I write Hagrid I dutifully follow her conventions but I'm seething constantly. However I personally do enjoy trying to capture different accents. My main advice (I'm mostly spanish and haven't lived in the UK for many years so take my familiarity with different british accents with a grain of salt) is to make sure that you can hear the exact cadence of the particular accent that you're trying to write in your head, and try to capture that while sprinkling in a few specific terms rather than writing it out phonetically. Like in my head I can hear a perfect scouse, for example, but scousers still generally spell words the same as everyone else. In general. Alright la?

[flovverworks]

gah i need to ramble. i dont know how itd work/how to not make it push things too far/itd be useless anyway since akira knows 0 about fighting/does noooot have the stamina most ppl who end up fighting does<3, but taking the whole "can help oz use magic at night" into a buffer concept.......cuz i dont find a way to use that stuff/the sages book/etc in aus enough T_T something something when akira forms bonds with ppl............. so i was like "ig their evol could be something where i can work around it into that" BUT I DONT WANT THEM TO HAVE ONE........my normal little guy............who somehow can enhance u should the need come......

BUT it means i end up thinking about the time oz killed someone in front of akira. cuz it was at night/dawn. 'have u seen a wizard turn to stone' 'no' and holding them in a way so they wouldnt see auughhhhhh...........->figaro who ALSO has killed someon(something) in front of akira. and how quiet akira is after. no further comment i should reread that spot story now that its voiced

[phagodyke]

I will say while I've loved most of elden ring I'm really glad I'm down to just 2 more main boss fights (malenia + maliketh) before I start the endgame boss fights... whew 😮‍💨

[sadsongsandwaltzes]

This does bring forth a question about the worth of remaining connected to the mother country or land of origin, as we understand it.

Does it matter to care about the country (as a nation) your ancestors came from when you have no stake in the game? And really, does a specific chunk of land and the governing forces on that land really matter, considering throughout history borders have shifted, governments have changed, people have migrated?

Do you believe you can uphold the legacy and culture of your ancestors regardless of the piece of land on which you stand?

[so-you-melted-22]

It’s not even piracy anymore, I got the download link from one of the producers and the show hasn’t even aired…

[circuslollipop]

sara sn0w is a Weird Girl TM (affectionate) in my head btw

[crusheswhimsandfancies]

This whole show is electric! I think UK audiences are pretty good but South American audiences go all out! I love how everyone is dancing and into it. I’ve seen it before with The Killers when they play there.

But Rick is so funny and cheeky! Had to make some clips, posting later. But the way he just launches into Happy Birthday to Ray at the end during the thank-you to the band, and says “I wasn’t really supposed to do that because we’re on live telly”😅😂😂😂 he’s so naughty. And during Hold Me in Your Arms, he tells the fellers to hold a woman - “it’s doesn’t have to be your woman”😅😂🤣 Rick, you cheeky devil!

Also the kiss he gives Dawn after Cry for Help, I had to rewind it a couple of times. The way they sing looking into each others’ eyes is so romantic😭😭😭 I want him to sing to me like that🫠

[dukeofriven]

So often alt-Earth worldbuilding falls apart under the slightest bit of pressure: what if every human on earth from birth had a sentient, speech-capable, physical manifestation of their soul that could shape shift and eventually settled on a form that revealed some inner truth about your person would that not radically alter the course of human history? To which the answer, apparently, was 'not in any meaningful way, no.'

Live theater in the His Dark Materials universe must be wild. Surely an actor's daemon also has lines to recite, so their daemon's form probably also factors into casting decisions. Maybe some plays have vague character descriptions for daemons, but I bet other plays have really specific or central daemon characters. And sure, big-budget theaters can afford to hire a separate actor with a particular daemon to stand backstage while their daemon plays its part onstage, but community theaters don't have those kinds of resources.

Like if you're casting for Julius Caesar, surely the real historical Caesar had a pretty iconic daemon, right? Are you going to cast an actor with a pigeon daemon as Caesar and just have everyone suspend their disbelief that it's Caesar's lioness, ἁμαρτία?

[relto]

i love those color words that end with -빛 (light), it gives me the impression that something glows with that color. vibes.

[20th-century-railroading]

GN car Outfit cars X-769 and X793, former passenger cars. Photographed: Minot, N.D., July 11, 1956.