#i don't know who op is but i love them

[introspectivememories]

buggy who turns to shanks one night after they've reunited and says softly, with indecipherable look in his eyes and says, "i'm not in love with you anymore." and shanks, shocked beyond belief, heart aching with a want he didn't even know he had, with a need he hadn't even realized was there, thinks quietly to himself, i didn't know you ever were

[princessefemmelesbian]

Transandrophobia truthers are so damn racist and white oh my fucking god y'all actually piss me the fuck off every time you tokenize Black and brown men for your stupid as fuck "mra but make it trans-inclusive" ideology created by a creepy guy with a corrective rape fetish(something I'll never let up on for as long as I live, btw). If I ever see another one of y'all say "Black and brown men face discrimination because they're seen as overly masculine and that's why masculinity in men is oppressed in this society" I will literally kill myself. Stop using Black and brown men as brownie points for your bullshit arguments about misandry being real when you don't have the slightest idea how racialized oppression works. White boys are so annoying and dumb istfg.

@punkeropercyjackson @punknicodiangelo @pinkpinkstarlet

[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.

[psychomusic]

so. I've been reading some posts on the jedi order tag AND i won't talk about my opinion on "are jedi good or bad discourse" BUT i wanna point out some lore to everyone who's complaining about the jedi taking kids into their order: (in the EU) it wasn't always like this.

if you take swtor era (more than 3000 years before the prequels) there were many jedi who joined at an older age. like, for example there was a guy who broke his engagement to become one. most jedi remember their families because they were old enough when they decided to go.

THEN in darth bane's book trilogy (circa 1000 yesrs before the prequels) there is a passage where two sith lords are talking about taking bane, already an adult, to study at korriban. one doubted him because he was too old, ans the other told him he sounded like a jedi, and that ONE DAY jedi will have to accept only kids into their ranks if they really want to find "pure" people that can learn their lessons quicker.

one day!! so it wasn't always like that!! the ongoing wars with the sith, who corrupted and killed many of them, had pressured them into taking always younger people into their ranks.

also, consider a thing that this video explains super well: training to become a jedi is not like exercising, because there is a transformative lesson at the end of the training that changes everything. you can't just do as much as you can, but not finish.

the transformative lesson, as the video explains, is that through the force, everything is the same - from rocks and ships to life and death. at the end of the training you have to understand this fundamental truth.

yoda says "you have to unlearn what you have learned". during times where they were constantly killed off or corrupted by the dark side (and if you haven't learned this lesson you are more susceptible to this corrupting), younger people were taken in to actually finish their training (a training that was ultimately about being a good person AND that you could leave at any point if you weren't sold on that, too)

(remember that for the sith failure = death. like. that was the alternative for force sensitive kids. it's not like sith had any moral problem with taking kids away without consent. sith don't have moral problems: they believe that them being stronger in the force means they can do whatever they want as long as their strong enough to go and do it. there are MANY passages in many different star wars stories, even in different mediums, that say this out loud)

AND (this is more of a critical thought than just stating the lore) the fact that they started doing it out of necessity doesn't mean it's 100% good BUT you know. the whole set up of the prequels is that we're starting off the story in a period of crisis and decadence all around. most of the systems of the times were about to fall. OF COURSE they had problems. if they didn't, we wouldn't have the story to begin with.

that doesn't automatically mean jedi = bad and sith are better, tho. you wouldn't take the last, chaotic and decadent period to jugde something, would you? it's like deciding that the athenian democracy sucked because people at the times of Demosthenes failed at recognizing the new schemes in which the world was evolving into, and still believed that their city would be important as it had been in the previous century. They just didn't fucking expect the Macedons would conquer half the world known and more, and have the subsequent political power. Still, their experiences in the 5th century with democracy were very good, even better than ours on many fronts, if you contextualize a little. the jedi had flaws, and most importantly, they didn't fucking know the future and everything that ever happened, ever, so they made mistakes. that doesn't automatically make the system ill, or bad, or not-working. systems can have setbacks when the world changes. (just like athenian democracy had one when they lost the empire that was funding the democracy. they even had a tyranny for a while and then fixed the problems. that doesn't diminish retrospectively their democracy)

[kaurwreck]

oh, i figured out aya's skill.

[moongothic]

Honestly I think crocodile/dragon and crocodile/Doflamingo are only interesting when treated as failed relationships spinning off into increasingly petty grudges and instigations. Become a warlord to piss off one ex by working with his hated father only for the OTHER ex to ALSO become a warlord to drive you insane. Etc.

I am now going to take his as an opportunity to rant about Dragodile because I unironically think it's an interesting ship if Crocodad Real and I don't think I'm ever going to find a better excuse to rant about it unprompted lmao SO HERE WE GO

But yes like. Dragodile is so fucking interesting to me

A marine and a pirate falling in love with each other is already some starcrossed lovers kinda BS. But then it's like, a FORMER marine and pirate who is WORKING FOR THE GOVERNMENT. That's EXTRA JUICY, it adds layers to the starcrossed lovers shit, and I am not immune to it, it's FACINATING, like what was the dynamic here

But also we don't even know when Dragon left the marines and when he and Crocodile first met, so for all we know it could've been some real enemies-to-lovers-to-enemies shit AND THAT'S SO INTERESTING

(Also the mere concept that Dragon could've been chasing Crocodile around kinda like Smoker tried to chase Luffy, only for Crocodile to become a Shichibukai and Dragon having to give up because they're on the same side now (kinda). Like. That is so fucking funny. And then he leaves the Marines to start a revolution. Or just out of spite dshgjdgs)

Then there's the absolutely hysterical part where Crocodile is the meanest, most intimidating, standoff-ish asshole around. So the idea Dragon was fucking into that is INCREDIBLE. THIS MAN LIKES BEING BULLIED DFSHFKGHFGJHDS (It's possible Young Croc might've been less mean but it's funnier if he wasn't)

And yeah. Somehow. In complete secret. A romance blooms.

And then there's a baby.

And Crocodile transes his gender.

And there's a divorce.

And 17 years later Crocodile has commited dozens of unforgivable warcrimes that are almost exactly the kind of things Dragon wanted to stop the government from doing to begin with.

Mind you, I don't actually think there's coming back from that, this relationship was burned to the ground and the ashes blown away by wind, there is nothing left

But could you imagine if despite the anger and the hurt and the warcrimes they still somehow loved each other

I would just

[terrainofheartfelt]

Liz's definitive track assignment list that nobody asked for (but I know I'm right)

"Fortnight" (featuring Post Malone) -- DAIRFAIR DAIRFAIR DAIRFAIR

"The Tortured Poets Department" -- derena breakup track. derena divorce track. take your pick. serena pov <3

"My Boy Only Breaks His Favorite Toys" -- 🪑

"Down Bad" -- changing course because this is rwrb firstprince alex post lake house I'M RIGHT

"So Long, London" -- same for above. acd-coded

"But Daddy I Love Him" -- blair waldorfian. i'm having his baby jk lmao. unhinged.

"Fresh Out the Slammer" -- calling it another post derena divorce. pov both of them. dan floats to blair, serena gravitates to carter. and. fuck it. 🪑divorce. "I served my time" and all that shit

"Florida!!!" -- ivy/charlie. florida woman. fuck this city i'm getting fucked up in the gulf. yeah. she could have been so much more.

"Guilty as Sin?" -- BLAIRRRRRRRRRR s5ep4 if you want to get specific. reading steamy book scenes. gurl.

"Who's Afraid of Little Old Me?" -- JENNY GIRL. "I am what you trained me to be." I MEANNNNN.

"I Can Fix Him (No Really I Can)" -- 🪑

"Loml" -- dan. sad dan. sad lonely boy

"I Can Do It With a Broken Heart" -- serena. always. constantly. (though cherry & I also agree it's firstprince coded)

"The Smallest Man Who Ever Lived" -- louis divorce yeehaw

"The Alchemy" -- serenate reconciliation

"Clara Bow" -- blair & jenny and the girls that are destined to replace them.

[amiharana]

how old do you think revali and mipha were in botw?

i keep seeing fans trying to find proof that they were teenagers and most of it is chocked up due to them being on the shorter side compared to older characters in their respective races, i mostly see it w/ revali and older rito tho coupled w/ the markings under his eyes, and idk it doesn't feel like they were that young to me, they're definitely not around the ages of urbosa and daruk but they don't feel like actual teens either? i got vibe that they both entered/were around their early 20's, or the zora equivalent to early 20's in mipha's case, and them not being similar height to older rito and zora doesn't really have to do w/ their ages (i say this as a 5'0 person in their 20's lol)

hope you don't mind, just a little curious on the subject 🙏

oh man sorry to this anon cuz this ask was sent literally almost a year ago 😭 as a fellow 5'2 20 year old i totally get where you're coming from LOL

this lowkey a call out post for me HAHAHA because one of the first posts i made when i started being more active on tumblr again in 2023 was Literally about how i think about revali possibly still being considered a child or youth among the rito because he never outgrew his cheek feathers, IF we consider that as a marker of childhood. so i'm a little biased here and i do like to hc as revali being closer in age to link n zelda. perhaps not 17, but maybe 19, just on the precipice of hitting his 20s but never getting the chance because he gets Windblighted </3

as for mipha, i do think in relative to hylian/human age that she seems more like she's in her 20s, perhaps early-mid 20s from the way she carries herself. but that can also be a result of the Eldest Daughter Curse which i am also a victim of so perhaps her disposition doesn't contribute to her possible age either.

[valyrfia]

guys if i reblog a post to add an opinion/discussion and say 'don't go into this person's askbox we're just all having a friendly discussion' that's not in fact code to go into that person's askbox telling them how they're wrong

[fitzselfships]

Okay well yhe other ask was another anon being weird about a post I rbed like. About 2 weeks ago fhat was Literally just stating a boundary and acting like I'm close friends with the op (who I have Never interacted with outside of seeing them in the tags and occasionally rbing their posts??? I don't even follow them lmao) so ummmm I'm not even going to acknowledge these asks anymore. Next anon to send anything like that I'm just going to delete it

And btw if you're still stalking my blog fuck off. Get white smurf jumpscared <3

[bumblingbabooshka]

hiii im in the middle of watching voy for the first time (i just finished watching 6x6 riddles actually) and ive always recognized you as That person who Loves tuvok and i wanted to know your thoughts on neelix and tuvok's relationship? its my favorite aspect of voy personally but im interested in hearing how a massive tuvok fan like you feels about them

Tuvok & Neelix Thoughts (Fractured): Man who grows flowers for food loves a man who grows them purely for beauty, Annoying4Annoying, Comedy routines, Intricate rituals and the playing up of roles, Aliens amongst humans - to assimilate or remain stubborn?, Bringer of water/Bringer of life, Seeing an angel through the mist, Two people who have difficulty communicating and come off as off-putting to those around them, Unrequited love, Love is stored in the food + kitchen, Family men left without any family, People from impossible moons, Jokes that go too far, Horrific loneliness being masked by something else, I won't leave you alone (pos&neg), Cracks in the facade, People pretending and pretending and pretending, Leolaroot I Can't Help It I'm A Moth To The Flame Required Viewing, I can only admit I like you when no one else is around - when the situation's as bleak as can be - when we're seconds from death - only then will I admit that it's been fun. Apologies in the form of sliced apples instead of words vs Apologies in the form of long and tearful contrition. LET ME IN!!! LET ME IN!!!! Locked door you keep bruising your hand banging against. People who love too much so they: keep knocking, keep their ear against the door.

My thoughts are that Neelix is a silly goofy little tragic clown of a man and Tuvok thinks he's so much better than him but in actuality whatever they're up to makes them both look stupid <3 /affectionate Neelix having a crush on Tuvok is canon to me - what Tuvok's response to or level of knowledge of that is changes by the day.

[emdotcom]

Hey, treat content creators online like they are wild animals -- you need to keep a respectful distance from them. They are not your pets or your friends, & you do not & never will Fully know them, nor what they can do.

[lord-squiggletits]

*grabs your head and holds it tightly between my hands*

Do you ever fucking think about the ending of the Unicron series. Do you ever think about how it wasn’t a weapon or a battle that saved Earth from extinction but empathy? Do you ever think about how it was a single organic being at the center of Unicron, aching for the billions of lives (of his own species and others) that were slaughtered by Cybertronians and how Unicron is a representation of vengeance but also grief. Do you ever fucking think about how Optimus walked right up to that aching soul and said “you’re right to hate us and maybe we do deserve to die for what we did to you” despite how easy it would be to hate this person for nearly eradicating all Cybertronians? Do you think about how the moment of Unicron’s defeat happened not because Optimus defeated this lonely being by attacking him, but because Optimus embraced him and told him to remember the name of his long dead daughter-- to focus on love for a person he cared about rather than hatred and perpetuating the cycle of violence? Do you fucking think about how Optimus had every reason to hate this person for slaughtering innocents of his own kind but chose compassion, and choosing compassion is what saved the remnants of Cybertronians and Earth from extinction? Do you think about how Optimus sacrificed himself to save his race using the power of love? Do you ever fucking think about it????

[moongothic]

So the Seraphim only take orders from certain people they've been programmed to follow (namely the Vegapunks and the Gorosei), but also they do take orders from individuals who possess an authority chip. Between that and the knowledge that the Seraphim are cyborgs, it makes me wonder...

Like, do they have somekinda control chip installed somewhere in their bodies (brain, spine?) that acts as the thing that forces them to follow orders and not act (too much) on their own will? 'Cause would the existence of an authority chip, a thing that essentially "sends out orders", not also imply the existence of something that recieves the order (like other than their brain) and forcibly puts it into motion? Something similar to whatever visual scanner+database combo Vegapunk installed into Kuma that allowed him to instantly recognize certain people and whether or not they were enemies or allies to him (at least as far as the WG thinks)

'Cause if so, like. I wonder. Could you remove that chip and basically free the Seraphim from being just borderline-mindless flesh robots?

In that scenario... what would they become?

Because, like, we don't know how much Free Will the Seraphim even have, how developed their minds are? Are/would they be fully functional human beings (if immature because they're still kids) who have just had half their mind essentially turned off so they don't think about anything else except following orders? If you freed them from the WG's control would they be able to live and function freely just like Stussy's clone can? But when being under that kind of control is all they've ever known, would they know how to function? Like what do you do, where do you go, who do you become? Who are you to begin with, does that even matter? What about your relation to the person you were cloned from, what does that mean? Are you doomed (🐊🦩🦇) or expected (🦈🐻🐍🦅) to become just like the person you were cloned from? Do you even want that? What will having that kind of freedom to do and become whatever you want even mean to someone who has never known what it means to even want something for themselves?

(But also, depending on who you were cloned from, would people even trust you enough to allow you go free and live your own life, or would you be deemed a threat by simply existing because you are the clone of a horrible, heinous person?) (Of course, we know existing is not a crime, and no one is born into this world a criminal. But we also know the World of One Piece does not always think this kindly)

[cebwrites]

kirins, kirins, kirins!

some doodles of the lad in his different universes owo/

[warmpants]

I hate when I'm just having a normal, decent day and I'm sufficiently distracted by other things and then I suddenly remember and it's like. okay. fuck me then