#he’s tragic and I want to explore that

[canadian-pug-cartel]

I really wanna talk about how tssm Electro is probably in Chronic pain

He’s hungry but he can’t eat He’s tired but he can’t sleep He’s Thirsty but he can’t drink

He simply isn’t human anymore but he still feels

He can still feel the exhaustion tugging at electric eye lids but he just can’t sleep He can still feel the dryness of a throat that isn’t there anymore Sill feel the ache in bones he doesn’t have

He’s a monster on all accounts but he’s sill painfully human

And all the simple joys of his life have been stolen by a god like power that he never asked for

He can’t even watch the damn TV without it turning to static Can’t go outside without getting weird looks or people running for their lives cant go to college cant find someone cant have a life all because of a freak accident that stole that all away

Sure he was never a saint before but what had he done to deserve this? Doc Ock said this was a gift a power that he could harness and make people afraid but it sure as hell dosent feel like a gift when his teeth hurt and his nerves feel on fire it dosent feel like a gift when he can never be normal again when he can never watch his favorite team play or see his favorite band

He can’t sleep anymore the electricity making his restless and awake but he can’t kill the time with TV or a video game because he always shot the power

It wasn’t fair that he was so powerful but felt so powerless

Midnight walks become his only friend because the rest of the six tell him hes lucky tell him hes powerful

But he sure as hell dosent feel lucky he feels like he’ll never drink another cup of coffee again never sleep again never not feel pain again

If this is a gift-

What the hell is a curse?

Was he ungrateful for this power he never wanted? Doc said he was…and he never lied to him right? Maybe the pain was normal- really I’d been so long since he hasn’t felt the pain maybe it was always there?

Maybe the rest of the six felt the pain in their teeth and bones too maybe he was just over dramatic?

I mean really who would want to hear about a problem everyone has? he was just over reacting

It was nothing

Really

[macdenlover]

we don’t acknowledge enough how dee used to be a pageant winner when she was a kid and how much damage it did to her. she worked her ass off and got recognition for being pretty and talented at a young age and it was the only source of self esteem she could garner in a family that constantly berated and talked down to her. she sought after that external approval because it was the only way she could prove everyone around her wrong. her dream of being a performer didn’t come from a self-aggrandizing delusion— she genuinely showed a lot of potential when she was younger. but she went through an unflattering puberty and her spinal condition got worse and that natural talent she had as a kid plateaued way too early. the “former gifted kid” dilemma. she slowly lost the thing that promised her that she was good, but she was so desperate to keep holding onto it that she tried anyway. again and again and again no matter how much people made fun of her because it was always about proving them wrong. but after a while she couldn’t jump anymore without anticipating the way it feels when she hits the ground face first. self-sabotage became her way out, choosing to rather live in the fantasy of her own unrealized potential and blaming those around her for her lack of success, than having tried and crashed again. she’d rather buy lottery tickets over and over and never scratch off the numbers than to see that she lost. that self-sabotaging behavior bled into other aspects of her life too, from friendships to relationships to therapy. her own short lived success is what made her grow into embodying the cycle of failure.

[salty-an-disco]

I disagree with Narrator in a very fundamental and philosophical level, but you know, even if I agreed 100% with his worldview and the reality he wants to bring about, I’d still think he’s wrong for taking matters into his own hands and changing THE VERY FABRIC OF REALITY affecting people in the entire universe, simply because HE thinks he knows what best for the world.

Like– that’s why I find him so fascinating, it’s not only the fear of death or disgust towards the very concept of change (tho that is very funny and interesting in its own right), but the utter arrogance to champion himself Savior of the World without EVER considering that maybe– just maybe, people might not agree with what he plans to do.

Like. Hubris indeed, and he even has the gall to say, “you can still do what you must and kill her” when we call him out on it. Like. Wow. I want to study this guy under a microscope.

[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.

[hylialeia]

not going to bug people in the tags but it is (legitimately!) interesting to see a character in asoiaf who is so clearly meant to be the traditional fantasy red herring chosen prince, and to see people - including the readers! - gravitate towards that romanticism, often unquestioning. I think one of asoiaf's major motifs being "ruling is hard" (see GRRM's thoughts on Tolkien) and that consistently showing up across every pov regardless of their morality or ideals or circumstances, yet both people in universe and in fanbase stalwartly believing that surely this does not or will not apply to their ruler... now, that IS fascinating

[amelikos]

Something so interesting to me about the way they are depicting Gibeon's close friendships, while Amethio still doesn't have such bonds with others yet.

[mummer]

whats fun about barry as a protagonist vs other Morally Complicated Guy Shows is that he seriously has no ambition lol, his wildest dreams arent like becoming super rich or relishing in holding power over people, like all he wants is simple happiness, maybe career success, normal life stuff, his wildest dreams are like…. being able to have a wedding. having a kid or two. and theres something reasonable about that, it makes him relatable for a while until the show is very clearly like No dude, that is a fucking serial killer, you should not gaf! and you’re like oh right lol. it’s crazy to make such a simple desire seem so malicious but still human

[fortune-maiden]

I've always liked this line of dialogue from SQX, because it does feel like at the end of the day, no matter how much SQX says he can't stand PM, he does still have a decent grasp of his character.

And on the other side of this, these words are just especially pointed towards Pei Xiu, who does have a good relationship with his boss/ancestor, and also going off his backstory, Pei Ming may well have been the first person in his life to acknowledge him and his talents.

So the whole thing just feels extra sad.

[tewwor]

barely coherent ramblings

[zipzaptoastainthebath]

Also update: currently deeply obsessed with httyd it came outta fucken nowhere. And now i have fanfiction in my google docs thats basically writing itself

[spock-smokes-weed]

One thing I’ve been struggling with in my AU is that since I’m primarily pulling from soap operas, I had to have some kind of more extreme B plot going on.

I feel like the story would be kinda boring if the focus was only on Sanji and Zoro 100% of the time. Like I’ve said before, there’s only so much plot you can create from two idiots getting pregnant, and you need some space between the drama to let it breath and simmer.

I knew I’d want to shift to Nami and Usopp for a bit with their “I’m stuck going in circles” kind of predicament, but even that felt more suited for C plot stuff.

I knew the B plot had to center Luffy because he’s still built like an anime protagonist, and it had to involve him being a menace to society somehow. And I think I figured it out.

Since the setting is a small tourist town, I could go the “big developer is trying to move into town and give the residence a bad deal to pave over their homes” route cus it’s a tried and true classic of cheesy soap type stuff. Also I have a lot of personal experience of seeing my home get bulldozed for big expensive development.

Luffy essentially terrorizes this business guy (Sir Crocodile) away from trying to take a hold of the town. And the business guy being very powerful, tries to stomp out Luffy through any means necessary. I also wanna do some stuff with Luffy vs. local law enforcement because again he’s seems a menace to society.

Also yes I am making Crocodile the main villain cus A. It’s a similar situation to Alabasta so Croc seems like a good fit. and B. soap operas love a good secret parent twist, and I love the Dadodile theory :3

There’s nothing quiet like soap operas where the main plot is the slow burn romance, and the B plot is dark money and organized crime.

[stardustdiiving]

My friend today was like you know fern I think your genshin favs are really funny because to me they’re all very tame green flags that have good vibes and then there’s zhongxiao which everyone hates. And I was like. WELL…..YES….SNUCHFJFJCNC

[mirchloe]

to whoever wrote donatella's pn wiki, i just wanna talk.

[redeemed-wren]

Classic Who explores ideas, New Who explores morals

classic who is like 'i see this trend, lets explore what might happen if that trend continues and let the audience figure out what it's talking about and come to their own conclusions.'

new who is like 'this trend is BAD and i'm going to PREACH A SPEECH about why it's going to RUIN EVERYTHING' and it's so much more exhausting

[sunsetzer]

Using this template I present: Vincent's profile! His biography is a shortened, more canon-compliant version of the backstory he has in my own personal writing. For the profile picture I used this avatar maker. If I could I'd draw him myself but I can't really draw anything that isn't cat or dragon-adjacent lmao so this is the best I can do.

[angorwhosebabyisthis]

i keep having Thoughts about how in so many ways LL has so much potential to be a really hard-hitting, messy, no-punches-pulled exploration of what i call moral agency: not the agency to act on your beliefs, but the agency to have those beliefs at all. like, if you're being abused into internalizing a set of beliefs, or indoctrinated in such a way as to make you resistant to outside perspective, or having relevant information withheld from you even if you would be looking for it... you don't have nearly as much choice in the matter of what you believe as someone who isn't stuck in that position.

and like. the central antagonists alone are literally a massive, horrifically abusive cult that spans generations. and i really wish they had actually followed through on that, and done so with compassion for victims who might need to be held accountable, instead of treating them with hatred and dehumanization.

(and also, y'know. hadn't treated some characters who did bad things as if they had much, MUCH more agency, moral or otherwise, than they did at literally any point. COUGH FIVE COUGH COUGH COUGH)

there's just. so so so much interesting stuff to be dug into there, in a way that's deeply fundamental to the narrative where even a lot of stories about moral agency aren't, and i really wish i could scrape enough brain cells together to talk about it properly