#i love him so much im so happy hes back

[illusioncanthurtme]

MY THEORIES ABOUT MASTER KOHGA WERE RIGHT IM SO FUCKING HAPPY!!!!

[barawrah]

happy birthday my darling

[spearxwind]

Happy 10th birthday to Cercerion!

OUGHHH UR RIGHT CERCIE IS 10 YEARS OLD NOW !!!!!!

HAPPY BIRTHDAY BABY BOY BELOVEDEST DID NOTHING WRONG EVER IN HIS WHOLE LIFE !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

[lavender-rroses]

//JRWI RIPTIDE SPOILERS

talk to us

[luck-of-the-drawings]

OOH YEAH BABY ITS THE SURGERY EPISODE BABY!!! ME AND THE HOMIES NEED SOME NEW FACES FOR OUR NEW PLAN, AND WHO BETTER TO GET THE JOB DONE THAN THE TWO MOST EVIL PEOPLE WE'VE EVER HAD THE MISFORTUNE OF HAVING OUR LIVES VIOLATED BY? I MEAN IT WOULD BE FUNNY. IT WOULD BE FUNNY.

[red-moon-at-night]

I find it so SO interesting that as soon as Kazui's breaking their marriage vows and revealing his true feelings (literally tearing apart the dove), the wife is already falling off the balcony

Her hair is fluttering in the wind. The apple fucking splatters on the ground this whole sequence is so visceral I'm spinning it around in my mind. Kazui views his truth telling as a violent act, the killing blow.

[izel-scribbles]

just finished malevolent relisten. needless to say the obsession has been rekindled tenfold its previous magnitude

[screechingfromthevoid]

I think the same reason I love Dorym is why I love Loquatious and Laerryn. One, the devotion of it all. But secondly, and more importantly, "But there's one story of a fairy who stumbled into this world and fell in love"

Because Dorian is an air genasi prince who left home to find something real. His home floats on wind and he's never wanted for a thing. And he came down from his clouds only to find himself stumbling, tumbling, into love with just a man.

There is something so earnest about a man who is considered magical and wondrous in a world that already has magic, falling in love with someone who just is.

It's a thought that scratches the back of my mind a lot. It goes hand in hand with Liam saying "he has no idea if Dorian returns his feelings". Because from Orym's point of view why would Dorian have feelings for him? Dorian. The beautiful blue prince who is extremely talented in both music and magic. Dorian is everything Orym admires in other people. Everything he doesn't see in himself.

But Dorian does have feelings for Orym. Because Orym is everything he's not. He's firm and reliable. He knows who he is and is unapologetic about it. Orym was the only one in the (original) Crown Keepers that wasn't tempted by the spider queen. Because he was too principled. He was too good. Dorian's alignment changed. Dorian felt himself getting worse. Yet Orym stayed steadfast. In the face of everything he did not change.

Their pursuits were the same. They wanted to protect their friends. At any cost. But Orym somehow stayed unchanged. He always knew the right way of doing things.

So the handsome prince fell in love with a guard and planned to stay with him until he no longer wanted the company.

I literally said to a friend "I know he leaves. But he is so devoted to Orym I don't know how they're going to get him to."

And it was the one thing neither could argue against. Family. Orym knew about family. He knew about duty.

But even a continent away Dorian couldn't stop thinking about Orym. His little tactician before he was the savior blade. Even when his world came crashing down, Orym called and he went.

Idk. I think there's something beautiful in the way that Dorian loves Orym. I think it is very reminiscent of the fey who stumbled into this world and fell in love. I think it will be a love that will always be with them. That they will have to recover from. A love they might have to mourn before they ever have it.

Even if they never... If there is no love confession, if they have to mourn the loss of the people they thought they were, if there's no way for them to be together; Dorian will always love Orym. In the same way Orym loves Will. First love often lingers.

[kwoojii]

THE BEST BOY FINALLY SKATED BACK INTO THE GAME

[youmakethelight]

I need scenes where Daryl explicitly shows that he loves Carol for all of who she is as a human. I know we know it, even though that feeling has been fading since the spin-off and even in parts of season 11. But I reallyyy need at least one scene where Daryl catches Carol doing something distinctly Carol and looks at her for a *prolonged* time with unambiguous love all over his face. And then he actively shows and tells her. Like the scenes where Aaron and Rosita see Carol putting herself through pain to kill the horse to feed Alexandria. I need to know that Daryl sees that in her. And I need to see him radiate intense love in her direction because she fucking needs it.

[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.

[just-null]

i have come here to personally thank you for giving me more than i asked for 🙏🏻 i am utterly grateful like IDJFKDKKFODOD 🧎‍♀️🧎‍♀️🧎‍♀️ it made me so happy the last doodle has my heart he is so cute i will eat him

also there is a DROUGHT out there for us noritoshi fans like im living on CRUMBS its insane and omg dont even talk to me abt how it feels like to be a kashimo and ino lover (altho they are getting a bit more love now) my nori is still underrated :/ sooo hence im asking ur hand in friendship and in exchange i promise to share my hcs with you abt nori my sweet lil meow meow we're in this together 💪🏻💪🏻

also since its October, do you think he likes horror movies? i feel like he can withstand gory movies but its the jumpscares that get him and he wont tell u he's scared when u watch one with jumpscares owkfkdkd imagine him hiding his face against ur shoulder or something 😭😭😭 (i used to do that with my dad when we watched horror movies and i used to be like im not scared😤😤 when he asked if i was lmfao thats where this hc stemmed from)

N. NORITOSHI HIDING IN YOUR SHOULDER OR SUPPRESSING HIS REACTIONS TO THE JUMPSCARES....... WAS IT AN INVOLUNTARY REACTION TO USE YOU TO HIDE??????? WAS IT BUILT UP TRUST????? DID HE GROW USED TO HOLDING ONTO YOU WHEN HE GETS SURPRISED BECAUSE HE WANTS TO MAKE SURE HE HAS HIS VALUABLES SAFE????????? WAS IT A MOMENT WHERE HIS MIND JUST INSTINCTIVELY GRABBED THE FIRST THING HE WANTED TO PROTECT/BE PROTECTED BY???????? OH MY FUCK.

he's probably used to gore and gritty stuff like that since he sees it often being a jujutsu sorcerer and all. not to mention his technique is literally blood. maybe he's desensitized to gore films, the most you'll get from him is a disgusted scowl.

BUT DID YOU SEE HOW QUICK HIS EYE OPENED WHEN HANAMI SHOWED UP BEHIND HIM. YOURE SO FUCKING FR ABT JUMPSCARES. Noritoshi is that guy who wouldn't scream or yelp but gasp really loudly and jump out of his skin.

i feel like they get him most in horror because of the music building up anticipation. if its one of those fake outs where the jumpscare comes a bit after, he's fucked UP. It makes him instantly miffed, as he tries to regain his composure. He swears he's not usually like this, it got him by surprise is all..!

Noritoshi is the type that'd only watch a horror movie if the story is rich and complex. He's the type of guy to like open endings that make you think.. if it's a guilty pleasure movie where all the protags make stupid decisions, he gets annoyed right off the bat.

He's groaning and complaining about how imbecile the characters are, but would still watch it with you because you personally invited him. If he's lucky you could fall asleep on his shoulder or [insert movie cliche here] how could he pass that up? But Noritoshi wouldn't be able to focus on you if he gets twice as annoyed because its a bad movie + jumpscares. it still startles him, but the movie is so terrible, he's embarrassed it got him, especially in front of you!!!

if you get involved and you tell him to quiet down, Noritoshi would shift his focus towards you. like that awkward guy who thinks he's being smooth and lowkey about how he cuddles up next to you. He wants to be the tough guy who's shoulder you can hide in, and he is!! just not.. with jumpscares.......

[prostocupoftea]

saw nito posting and remembered i had these drawn so here

A sonny and nito crossover :3

OH MY AXOLOTL LOOK AT THEM LOOK AT THEM LOOK AT THEM--- THE SILLIES!!!!!!

SCREAMING JUMPING GIGGLING RN /VPOS

[httpiastri]

happy bday paul <3

[perilegs]

my sweet little baby man is no longer with us