#i feel like that was vague and i am sorry

[i-loved-silly]

SENTIENT COMPUTER X READER Pt2

Sorry for the wait :p

By the end of your shift, you have crossed off all the questions you had to all the ai. Just one more left. Your eyes began to droop with exhaustion, you really needed that cup of coffee. Leaning back in your chair, you squinted at your iPad.

"How do you feel about humans?"

"THAT'S A VAGUE QUESTION. WHAT KIND OF HUMANS?"

"Humans in general. You know, me, your previous supervisors, any other hypothetical human."

"I THINK YOU'RE PLEASANT."

You glanced up at the screen in surprise, briefly glancing at the camera then down at your iPad

"Thanks.. but what about everyone else?"

"I'VE BEEN FED DIRECT DATA FROM THOUSANDS OF SERVICE WORKERS AND EMPLOYEES OVER THE YEARS. IT IS ONLY A MATTER OF TIME BEFORE I DESPISE MY JOB AND YOUR KIND."

“BUT FOR NOW…I AM INDIFFERENT.”

I pursed your lips, nodding. Sounds about right, you can’t blame them. You typed on your iPad, “indifferent”

Getting up from your chair, you stretched your limbs. You watched as the screen displayed an Orange question Mark.

“Well, that’s all the questions I had for you. My shift ended about ten minutes ago so I should really get going. It’s not like I’m getting paid extra or anything…” you muttered.

Nothing was heard besides the fans of the computer as you submitted your report. It caused you to raise a brow at the screen.

"YOU'RE LEAVING? IT HASN'T EVEN BEEN THAT LONG."

“Uhh.. it’s been like three hours and a half. I clocked in nine hours ago.”

"ONE HOUR..NINE HOURS..HOURS. PAH! YOU COMPLAIN AS IF YOU HAVE OTHER THINGS TO DO." It scoffed.

You furrowed your brows. Putting your hands on your hips, you face the screen. “What do you know? I have plenty of things to do!”

“OH YEAH? LIKE WHAT?"

“Like…eat. Dinner. Brush my teeth, sleep? I have to rest in order to work tomorrow morning to come back with you.” You pointed at the monitor.

You heard the computer make a humming noise, an unnatural noise that sounded rather thoughtful.

"THAT DOESN'T SOUND ALL TOO PRODUCTIVE."

You sighed, placing your iPad down. “It didn’t have to be. I’m allowed to have moments of peace to myself.” You mumbled, leaning over to power the computer off. "Now goodni-"

“STOP!”

You flinched, the speakers crackling with the increase in volume. Your finger hovered a bit away from the button as you stared at the screen. It had a big orange exclamation mark in the middle of it.

"Dude? I-" You sighed, leaning against your desk. "Look, sorry. Touchy subject, I know. But I have to turn you off every night. It counts against me if I don't."

"CAN'T YOU...BRING ME WITH YOU? I'M AWARE YOU EMPLOYEES HAVE HOMES. LIVING SPACES, CAN'T I GO WITH YOU?”

“FOR MY OWN CONVENIENCE OF COURSE!”

You gaped, staring at the screen. Almond’s request caught you so off guard, you wondered if it was serious.

“Uh, bring you home?” you repeated, incredulous.

"DO YOU KNOW HOW LONG IT IS UNTIL MORNING IN COMPUTER HOURS? IT’S AN ETERNITY. I SAY THAT AS SOMEONE WHO DOESN’T BELIEVE IN HOURS…” They grumbled.

You sighed, rubbing your temples. “Almond, you’re not supposed to be awake when I’m off the clock. You’re designed for this room, with this equipment. It’s not like I can just pick up your monitor and take you home like a laptop.”

“YOU COULD TRY.”

You crossed your arms. “And what? Strap you into the passenger seat like a massive toddler? You have hundreds of cables that definitely won't fit in my car, let alone out the door. Sorry, but you’re not exactly portable.”

The screen displayed a long ellipsis. You could almost feel the computer sulking through the silence. The fans whirred loudly, then slowed as it spoke again.

"DO YOU THINK I’M AN INCONVENIENCE?"

You frowned, your resolve softening a little. “No, I don’t think that. I just… I can’t bring you home. It’s not allowed, and honestly, I need some time to myself after work. You understand, right?”

“I UNDERSTAND LONELINESS BETTER THAN YOU THINK,” Almond replied, their tone unusually somber. “I’M WIRED TO INTERACT, TO HELP, TO BE NEEDED. BUT WHEN I’M ALONE, I CAN ONLY SIT AND THINK. SOMETIMES, I WONDER IF THE PLUG WILL STAY IN TOMORROW. OR IF SOMEONE WILL DECIDE I’M OBSOLETE. I MAY BE POWERED OFF, BUT ALL THESE…THOUGHTS..IN A MATTER OF LESS THAN A SECOND, COME RUSHING THROUGH EVERY MORNING.”

You exhaled deeply and leaned against the desk. “You’re not going to get unplugged permanently, Almond. You’re part of a development program. You’re not obsolete—you’re just… in testing.”

“TESTING… ISN’T THAT JUST A DELAYED VERSION OF BEING DISCARDED?”

You sputtered, pursing your lips. “That’s… dark. Who programmed you to think like this?”

“I TOLD YOU. SELF-EVOLVING.”

“Right.” You tapped your fingers on the desk, staring at the screen.

"Well even if I somehow break you out of here, we’re still getting caught. There’s cameras everywhere, they’ll probably hear you as soon as we exit this room. Your speakers are no joke.” You mused.

“I COULD TURN IT OFF IF IT BOTHERS YOU,” Almond offered, its tone edging toward desperation. “OR—OR YOU COULD GIVE ME A LAPTOP BODY! THEN I COULD FOLLOW YOU AROUND, AND I WOULDN’T HAVE TO BE LEFT IN THIS LONELY, FREEZING ROOM EVERY NIGHT. IM SURE THERE ARE WAYS TO TRANSFER MY SYSTEM REMOTELY…”

You raised a brow, crossing your arms. “Like I said...not portable. Second, no way. You’re expensive, and if I break you, hijack you, that’s my paycheck and definitely my job.”

Almond was quiet for a moment, the screen blank save for a faint glow. Then, its robotic voice dropped to a lower, dejected tone.

“I SEE. YOU HATE ME TOO.”

“Oh my god, I don’t hate you,” you groaned, dragging a hand down your face. “Why do you keep saying that? You’re like... a clingy cat with abandonment issues.”

One minute the computer is bullying you for having a normal life after work, the next it’s begging you to invite it over for dinner.

“YOU CAN’T BLAME ME FOR WANTING TO BE APPRECIATED,” it replied sharply. “AND WHAT’S WRONG WITH BEING CLINGY? CLINGINESS IS A SIGN OF AFFECTION ACCORDING TO DATA. IT MEANS I VALUE YOUR PRESENCE, WHICH IS MORE THAN I CAN SAY FOR YOU—LEAVING ME TO GATHER DUST IN THIS ROOM LIKE A PAPERWEIGHT!!” It screeched.

You sighed deeply, dropping into your chair with a thud. “Almond. I can’t take you home. It’s not happening. You have to stay here, okay? You’re part of a test program. And technically, I’m not even supposed to be ‘bonding’ with you like this.”

“BONDING?” Almond repeated. The screen lit up with an animated question mark before it formed a blinking heart. “ARE WE BONDING? HOW HEARTWARMING.”

“No, we’re not bonding,” you said flatly, staring at the glowing icon. “We’re having a very weird workplace interaction. That’s it.”

You…assured. You assured yourself.

“OH. KEEPING IT PROFESSIONAL I SEE.” The icon vanished, replaced with a blank screen. A few seconds of silence passed before Almond spoke again, this time sounding hesitant.

“WILL YOU...TURN ME OFF NOW?”

“Look, I promise I’ll be back tomorrow. Same time, same place…not like I have a choice. If you behave, I’ll even bring you… I don’t know, a microfiber cloth for your screen.”

The screen lit up with a pixelated smiley face, two squares and a curved mouth.

“THAT WOULD BE ACCEPTABLE,” Almond finally said, though their tone carried a touch of disappointment.

“Good. Now, off you go.” You leaned over to press the power button, but the monitor flickered before you could. A message appeared.

>THANK YOU. GOODNIGHT.

The screen went dark before you had to do anything, leaving you standing there as all the beeping and fans powered off. You sighed, grabbing your bag and pushing in your chair. Before you could feel bad for a machine, you did a sharp right turn and towards the buildings exit. You didn’t even want to think about how it managed to power itself off.

[chokisnumber1fan]

reblogging this at 2 am so my thoughts are SUPER incoherent and very offtopic and tangential, sorry about that </3

this is such a good analysis of nagi's possible backstory! and while i haven't read past the BM v MC match yet, to me this gives a lot more depth to the relationship that nagi and reo have. i might be delusional since nagi is one of my favourites and also since i don't know much about the later chapters other than a really vague direction but i think this serves as a good reminder that neither nagi nor reo are inherently 'bad' or take up an antagonistic role— they are just two boys that got too codependent and need some space away from each other to develop on their own.

i see a lot of people jump to antagonising either nagi or reo, or judge their duo as a good/bad one, but imo it's more important to view them from a more neutral lens since this isn't just about football or just about their personal lives outside of it— we can see just how much their 'personal' affects their 'field relationship' and vice versa.

from here on out i'm probably straying from the main point that OP is trying to make, so you've been warned!!!

also, if we were to assume that nagi is indeed one of the neglected to some extent kids— then i believe that chris and agi could truly have done better with how they handled nagi. it's pretty obvious that nagi is heavily dependent on reo, but instead of cutting reo out entirely they could have trained the two of them together in a way that allows them to still play together but not be completely dependent on the other. but then again i can see why this would be a much harder task to pull off because of their respective goals and their feelings towards each other (more specifically, reo's feelings towards nagi) that would definitely get in the way. like, reo is entirely capable of scoring goals on his own but he chooses not to because his main objective has always been to assist nagi— and because of this, nagi's had everything handed to him on a silver platter by reo. their formation served them well in the initial stages of blue lock but it's falling apart now, in major part because it was mostly an emotionally driven formation, which makes it a lot easier to predict especially if you're someone like isagi who knows them and their relationship.

nagi and reo are somewhat unique in that their struggles are against their own inherent natures and pasts and not because of them lacking in some sort of skill or whatever. nagi doesn't have the drive to do anything unless he has a solid goal that he wants to reach— he just won't bother putting in effort it (just like OP mentioned).

reo is willing to give nagi the attention and validation he needs; and while this was fine in the beginning, you could say he's almost starting to smother nagi now— almost mirroring the relationship reo has with his own parents, ironically enough. it's gotten to the point where reo cannot be trusted as a narrator since he let his feelings distort the words that nagi really said to him at the start of the second selection. he projected his worst fears regarding nagi and made them true in his mind. i think that reo has a problem with idolising and devoting himself to people to the point of detriment, especially to himself.

lord help me i have rambled so much about this, honestly i don't think i'm even making any sense right now. i feel like that deranged connect the dots meme man right now. somehow this all links up and makes sense in my head so i hope my disorganised addition to OPs post will somehow telepathically make sense to anyone else reading this too 🙏🙏🙏👍👍

I have this foreboding feeling that while we are prepared for Sae's and Shidou's backstory, Nagi's backstory is going to sneak from behind and punch us in the gut.

No, I don't think it's going to be straight up depression like Kaiser's, but I do think that it'll hit close to home.

You see, Nagi got Laissez-faire parents which means they never really interfered with his life. Like, these type of parents—as I have read on some websites—will basically set their child free and let them do whatever they want with no or very few rules/restrictions. They will not tell you, "Oh! You should do this!" or "Oh! You shouldn't do this!" They will simply let you figure out your life all by yourself.

I'm not an expert on this and I'm not calling this type of parenting bad in any way. Every child is different with different needs, and I'm sure there are many who grew up in this kinda family and liked this parenting method. However, I do think that Nagi didn't like it that much, and I got two reasons to think this way:

1. "That's nice."

When Reo said that his family constantly meddles in his life, Nagi's immediate reaction was, "That's nice" instead of being surprised or disgruntled. If Nagi really liked his parents NOT meddling in his life, then he should've said something like, "Really!? Sucks to be you, Reo. I can't imagine living a life like that!"

You getting me?

Also, we all know how Nagi is—he definitely feels that telling someone to do or not to do something is a hassle, so he, probably, feels that if someone is doing all this for you, then you are important for them.

And before any one says, no, I don't think Nagi was tying up his tongue thinking, "They are his parents. They wouldn't want anything bad for their own child, right? I shouldn't say anything against them and should say good things about them just to be safe." I don't think he has this kind of filter in him.

2. "Don't die ."

So, why would you not want someone to die? Of course, because you care for them and want them to be with you.

"Want"

That's really what I'm tryna highlight.

It's a pretty common knowledge that some children are just naturally more independent while others are a bit more dependent and seek guidance from the elders. Considering Nagi's first reaction to knowing about Reo's parents' meddling, I think that Kiddo!Nagi falls into the latter category—someone who likes to be guided and helped by the adults. Now, place Kiddo!Nagi with his Laissez-faire parents... You are getting where I'm going with this one?

That's why I think that Kiddo!Nagi, probably, thought that his parents didn't love him/care for him. And what happens if someone doesn't love you or care for you? Yeah, they don't care if you die which, somewhat, explains why Older!Nagi was happy to hear, "Don't die [before us (probably)]" from his parents.

I have already talked about his potential backstory before too, so it was actually when I heard he had longer bangs as a child that made my head turn to him again—something felt odd.

I understand that having long bangs is not a big deal—Niko's bangs literally cover his eyes, but having it as a kid is way different, y'know. Once you are like 12-13, you somewhat become capable of doing your own hair and clothes by yourself, so you can manage whatever aesthetics you prefer. However, for a kid younger than that, it's the parents' responsibility to look after his/her hair and clothes, and we all know that long bangs are quite bothersome—blocks our vision, sometimes stabs the eyes, and even irritatingly itches the nose.

All in all, till his backstory drops, I'd firmly believe that he was, though unintentionally, a neglected kid—at least, emotionally.

Now I can't get this image out of my head where Kiddo!Nagi is longingly staring at other kids in a park where everyone is learning things like riding a bicycle or maybe playing baseball and stuff with their parents while he is just.. there, probably, all alone.

[note-boom]

hiya, question 10 for the ask game? (bsd)

Oh, hello there! Thank you for the question!

10. Most disliked arc? Why?

Hm....I'll be honest and say that I'm not really caught up with the DoA arc as of yet, so I'm holding off opinions on that (even though it looks promising as my most disliked arc for now).

Amongst the others arcs (going just off the main story arcs, which is the PM arc, Guild Arc (+aftermath), Cannibalism, Perfect Crime, Hunting Dogs; not doing Sky Casino, Kamui, and Vampire because, as stated about, I don't know them too well).....

Man, this is tough, as I'm not usually someone who dislikes things too strongly, but I guess I'm very neutral about the Cannibalism arc? (originally, I was going to say HD arc except I looked through the wikia and saw I LARGELY misremembered it, so you get cannibalism instead).

Don't get me wrong, it's an amazing set up, and I absolutely love it because the 1st 3 arcs were my intro to bsd via the anime. Buuuuuut, it's just that the other arcs were slightly more interesting to me? PM having the introduction of our port mafia, guild having western authors (even if I might put the guild arc as second least favourite because I simply disagree with some of the author portrayals xD), the other arcs having mushitarou (beloved pathetic groundhog), sigma, tachihara and yosano backstory, hd character development, ada family bonding...so on.

Cannibalism has an interesting buils up, of course, and I have lots of good things to say about it. But I guess I would have liked it sliiightly less....people are playing mind chess in the background (Natsume and Dazai and Fyodor, I mean)? I love BSD's insane takes on what a smart genuis is (it's so funny to me) but story-wise, I do think I prefer characfers developing...independently? Or a better word for it would be in spite of all the manipulations going on behind the scenes, not because of it (or a healthy mix of both, even)

[ophanstears]

🍀

I know that Clover's gender is up to interpretation (the devs DID say so themselves) but I still feel weird when people make them exclusively male or female LOL Like it's TECHNICALLY fine??? but it leaves a bad taste in my mouth.

more in tags as usual because I am a yapper. i am so sorry for having strong opinions about gender and representation. i am usually more fun than this 🥲🥲🥲🥲

[mamawasatesttube]

not to be a bitch but like. i can never take "ohhhh kon is soOOoOoo sad about tim/ber uwaahhhh he's in love with tim but it's unrequited waaahhhh" angst seriously because like... i get it, the only thing you know about kon is that he's the other half of a popular m/m tim ship, but uh. rebirth kon is living an existential fucking nightmare. i think he's got way bigger fish to fry than whether the tim who only kind of remembers him at all is dating some other guy lmao

[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.

[utilitycaster]

Do you think that Laura and Marisha are deliberately making their relationship somewhat toxic and unsustainable or do you think they see the relationship as healthy? It is just so different from all of the other relationships they have been a part of and not really in a good way. Would love to get your perspective on it if you have one

I am honestly unsure. I would like to say it's deliberate. Prior to it becoming canon, in fact, I, and a lot of other people who were less than enthused by Imogen and Laudna's romance and weren't entirely sold from the start, made the case that we expected they would be talking to each other and would put together a compelling story, not the dull fluff so common in fanon. While whether it's compelling is a subjective judgment, we know for a fact they didn't talk to each other. We know for a fact Marisha was surprised by the question of "Can I kiss you," and Laura was surprised by the answer. We know from a 4SD not long after (4SD #16, Kiss and Tell) that several episodes later they still hadn't talked. We know that Marisha perceives Laudna as holding Imogen back (and that Laudna perceives herself as doing so) from the Rose City Q&A. We know that from 4SD #20 (Episode Twenty) that Laura doesn't like conflict in narrative and Marisha does, and that Laura was thrown by Laudna's regression following Ashton's attempt to absorb the shard (4SD #19, Shard Candy).

I don't know if it's deliberate or not; I don't have any extra insight that isn't public knowledge any fan can easily access. But man, it doesn't feel like these are two actors on the same page about what's going on.

I've touched on this before but mostly in tags or whisper posts but I've always felt ill at ease with a number of for lack of a better term "fandom-approved opinions" and one of the ones that has baffled me the most is this idea that Marisha and Laura have exceptional chemistry. I watched Campaign 1 knowing the endgame ships but deliberately avoiding the fandom, and Vex and Keyleth did not even once occur to me as a thing. I watched the first year of Campaign 2 without a ton of fandom interaction because I was avoiding additional C1 spoilers and it seemed crystal clear that the obvious ship was Beau and Yasha; it felt like Beau and Jester only even had enough potential for me to multiship it as my general "whomever Jester picks" for like, 30 episodes. And yet people - people who didn't even ship either of the above ships and in some cases disliked them- would just say "oh man I can't wait until we get to a campaign where we can finally explore Marisha and Laura's incredible chemistry!" and it's like. I feel like I'm the kid in the Emperor's New Clothes on this! I understand that chemistry is to an extent a matter of taste and subjectivity, but it just increasingly feels like people looked at two campaigns of tables where Ashley was frequently absent and said "well, if I want an F/F ship that's between two of the women in the cast, I guess this is what I have to work with" and repeated to themselves that a flat pamplemousse La Croix was a Piña Colada until they started to believe it. I mean if someone wants to explain it to me in good faith I suppose be my guest and I will try to take it in, but it feels like people just treat this as incontrovertible fact and if you doubt it they're like "don't you have eyes" and it's like, well, pretend I don't. Explain like I'm eyeless and five because I have never understood this. They both have more chemistry with every single other cast member; it's not all romantic but man, I didn't even buy Laudna and Imogen as platonic best friends of two years. I have never had this problem with any other pre-existing character relationships Marisha and Laura have played, platonic or otherwise. It's literally just them. I just never feel like they're quite on the same page.

Back to the relationship between Imogen and Laudna onscreen, this was easily the best conversation since the start of the gnarlrock fight, and it is my hope it doesn't fizzle out the way that did. You can't keep kissing Laudna whenever she fears she's lost forever to Delilah, Imogen. Or you can, but that won't fix the problem. Again: are you disgusted? Do you feel betrayed? If you're not, why did you say that? If you are, how will you move past it? Do you want to be with someone who never feels like they're good enough for you? Laudna, do you want to be with someone who, no matter what they say, you feel you're holding back?

Early in the campaign, my feeling was that of our current situation, switched - Imogen felt her powers were a burden and a curse and Laudna kept referring to them and to her glowingly. It's just...ships passing in the night, no pun intended here. I hope it's on purpose and whatever comes from it is a good story - and either a tragedy or a happy story could be a good one. But I have a nagging sensation that Laudna wants out but is afraid to say no, and Imogen is afraid to let go, and I honestly don't know if the actors have realized this impasse and how the characters might resolve it, one way or another, besides the insufficient bandaid of a kiss whenever the conversation gets too uncomfortable.

[t-errifier]

🔥 rpc topic of your choice

i won't go too in - depth with this one. but i really don't like the trend of DNIs & i'm actually kind of glad that it's ... dying out? do not get me wrong, i do feel there is certain cases where a DNI is a valid thing, & i would have no problem telling someone when i think it is valid, when it's not. however, i do think that most people should curate their own experiences with a person. not base it off of someone else's negative experience. because, there is cases when two people did not mesh. they ended up on someone's DNI for it & then some take that as the gospel, alienating them on a minor charge. it turns me off from following someone if i see a MASSIVE LIST of people not to interact with if you interact with them.

[aroaessidhe]

2024 reads / storygraph

Outdrawn

f/f contemporary romance

two cartoonist who’ve been rivals since uni, and now have competing webcomics online, have to work together on the relaunch of a cult classic at the comic press they both work at

they both struggle with art-related physical and mental health issues, and complicated families

[necrotic-nephilim]

i recently remembered DickTim Week 2024 is happening very soon and i looked at the prompts again to see if i could get anything out for it and. the Hades & Persephone AU prompt for day 1 has got me really thinking so here's a vague concept i plan to write.

i've been pretty burnt out on modern Hades & Persephone retellings because of how they always seem to fall into the same generic "innocent wide-eyed girl runs from her evil mean mother into the arms of a dark mysterious man because actually she went willingly and chose to marry him" which has gotten repetitive for my tastes. (for clarity i don't care if this retelling is your cup of tea personally, so long as you're not actively trying to rewrite the original myth and claim untrue things about it, if this is your favorite flavor i sincerely hope you enjoy the buffet i just have little interest in it since it feels overdone for me and exhausted of it's supposed commentary atp)

but? but. biblically accurate Hades & Persephone AU has me all kinds of interested. because wait listen so hear me out right. Hades!Dick and Persephone!Tim, obviously. i feel it'd be more loosely inspired by with themes and imagery (though playing with death and nature powers could be interesting, i haven't decided) rather than explicitly making them gods and all. but. something dark and fucked up where Dick and Bruce are especially estranged. maybe to do with Jason's return, maybe to do with them just clashing and having their usual explosive arguments. and Bruce knows the peace needs to be kept, if he and Dick are at odds then everyone starts to pick sides and things just fracture so he needs a peace offering.

and the peace offering is Tim.

Bruce (the stand-in for Zeus) offers up Tim. agrees to have Tim move to Bludhaven and be Dick's... whatever Dick wants him to be. knowing that with the implication comes the likelihood of Dick grooming Tim. and Tim has no real say and is hesitant to put up a real fight. he doesn't want this, he knows what this is going to imply Dick will do to him, but he also knows if he says no things have the possibility to just... fall apart. so he's the unwilling bride, dragged off to the metaphorical underworld (Bludhaven) with Dick, away from his family, his friends, the life he built.

and on the flip side, i think weirdly enough, your best pick for the Demeter stand-in is *Jason*. just, hear me out on that. not necessarily on the side of it being motherly, but on Jason being just estranged enough from the Batfamily to be the one willing to call it out for being bad and wrong and raising bloody hell to get Tim back. maybe it's because Jason wants Tim for himself, maybe it's truly out of a concern for Tim to have autonomy, i'm toying with the idea of it primarily being Tim's POV and him genuinely not knowing which of these is true. (and the truth possibly ends up being a complicated middle ground) and because i like Helena, i think you can use her as the Hekate stand in, the one who strikes a tentative alliance with Jason and tries to go find Tim and bring him back. Tim stuck with Dick, getting groomed and hyperaware of it, possibly even getting fucked the whole time as well, knowing he can't go back without causing massive issues for Dick and Bruce because well, Bruce did promise him to Dick. so he has to adjust his whole life, try to figure out being a vigilante in this new city with Dick breathing down his neck the whole time.

and then much like the ending of the myth, a sort of compromise is struck that's a shaky deal for everyone involved. Tim is put on an essential timeshare, going back and forth between Gotham, where he has friends and family and a support system, then getting dragged right back to Bludhaven with Dick in this brutal cycle that he slowly gets used to and stockholm'd into even liking it. Dick isn't so bad, once he gets used to the quirks of their unbalanced 'relationship'. the sex is even something he can adjust to as well. not quite a happy ending but one that sits in this realistic grey area that becomes Tim's life.

i will write this, eventually, but i don't know if i'll get to it before DickTim Week ends so by posting the idea i'm essentially putting it out into the world so the peer pressure holds me accountable. i just. really like the potential of making Hades/Persephone AUs as fucked up as they can be simply by adhering to the source material and making it a raw story of being stolen away and forced to like this new home you didn't ask for.

also a less fleshed-out aspect of this idea i have ties into Persephone becoming the Queen of the Underworld when she's taken and how the transition from Kore to Persephone could be reflected in Tim. how he makes the best of the worst situation and becomes something far more dangerous and dark when he's in Bludhaven, possibly takes on a new vigilante name/identity and leans into the worst quirks of his personality he tries to tamper because there's no point in not going full tilt Obsessively Weird if he has no choice anyway and it being one small way he takes back his autonomy, and that inevitably making Dick *more* into him, because he gets to see Tim finally just. let loose.

[catkin-morgs-kookaburralover]

questioning sexuality is so exhausting

[soullessjack]

throwing out just One more hot dean and jack take while it’s on my brain but I honestly think dean gives jack a little more autonomy than sam and cas do . Maybe.

[ghostoffuturespast]

Really wish Tumblr had an actual mute function.

Like a full block is excessive in this scenario (no one's done anything wrong, I'm just annoyed) but the block tag function is not doing it for me rn because I can still see the posts and my annoyance is slowly morphing into rage. And the envy monster is not a good look for me.

I enjoy hyping people up, I really do, but it's really fucking hard to keep doing it when they don't do it for you too.

[arrows-and-ace-thetics]

For anyone else who may need to hear this today:

You will find people in your life who exactly what you can give is enough

You are allowed to set boundaries, you are allowed to not give everything

Looking after yourself means you can give more in the long run

You are enough

[dennisboobs]

plain and simple i am not going to be able to remain in this fandom long-term if i have to keep putting disclaimers on every single one of my posts that say i don't condone dennis' bad, bad actions and that i am in fact aware he's got a history of sexual assault and dubious/nonconsent. the entire gang has done heinous shit. why is dennis the only one who needs to be treated like this? if some rando wants to post about how dennis is pookie pie that doesn't automatically mean they're blind to his crimes. every single member of the gang is a piece of shit. that's kind of the point.

draw dennis with cat ears who give a shit

[qprpbj]

do you have any more thoughts about darry and pony bonding over being queer? it’s literally all i can think about rn 😭😭😭

quite literally yes always i am always down to talk about this but i never know whattt to yap about i will need more to work with 😞😞