#im having feelings. back on my bullshit

[biarthurpendragon]

rewatching merlin is like: here's the softest most joyful person you've met. watch as the universe slowly breaks him down and forces him to lose all of his happiness, but still smile away softly so his best friend doesn't know...

[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.

[deoidesign]

HI I think I sent an ask a while back about having recently found TaTA and a) if it came off as trying to rush/guilt you. I am so sorry because that was NOT my intent, and b) I can hugely guarantee you have at least one person who will eat up any return, no matter when it happens, because I care about the guys so much 🥺 really looking forward to whatever comes next!!

Oh, I appreciate this a lot thank you!

Tbh it's a stress I would have regardless of anyone asking me about it, I'm probably the biggest one rushing and guilting myself on it. Which might contribute to some of the burnout I had...

My complaints are more about people who are demanding "more content daddy" or asking me if I'm dead or asking on every single post I make where it is... Wondering when it's coming back is completely reasonable, it's been a long time! but there's definitely a line haha

my editor also keeps randomly scheduling me and then saying "oh, btw you're scheduled to return in 3 weeks. Is that alright?" And I have to keep saying no, that's not alright??? And then dealing with that process...

I could write an essay about all the reasons it's not back yet, but that doesn't help me feel any less pressured, and it doesn't help you all get the rest of the comic any faster...

As of right now I'm scheduled to and trying to return october 21. No official announcement yet cause I have to do a lot of work in that time, but it's my official goal at least. When we get closer I'll be able to say for sure whether it's coming back on that date!

[kromaticglass]

I've been sitting on this for a while because I'm not usually one for writing out my thoughts on characters in media that I like but honestly I need to yell about just how much I love Wriothesley as a character and how his story is written.

Don't get me wrong, I love Scaramouche, and I love his story arc, but there's something about this absolutely horrific past that Wriothesley grew up in and despite everything that should have made him a bitter person, he's so selfless. Selfless to the point of completely overturning a system that had been working in it's own horrific manner for hundreds of years as a teenager/young adult in order to make it better and actively work on fixing people, not just let them fall between the cracks of a society that sent them away to be forgotten.

Putting this under a read more because I'm going to yell about this a lot.

When we're first learning about Wriothesley we're introduced to the fact that he was an orphan. This brings up questions to start with; how was he first orphaned? By the sounds of things he wasn't willingly given away to the foster family that he ended up living with, he was on the streets or at the very least was on his own for a time before he ended up there. The first thing that my mind goes to is that this means either his parents abandoned him or they died/were killed, which may also be the reason he seemingly was desensitized to death as a kid - I'll get to that point later, it's important.

Just how long he was on the streets before he was taken in by his foster family isn't mentioned, but I'd expect it was at least a year or so, just from some context clues we got from both his story quest and his character stories that you unlock with friendship. When in his foster home, things were supposedly a picture perfect family, a dollhouse where people looking in would only see the perfect picture but as soon as curtains closed it was something very different.

Households like that are traumatising, it's no wonder that Wriothesley's ability to trust in people is shot. The people who were supposed to care for him after promising a good life were nothing but a front and in his eyes he once more was on his own. For a child to decide to willingly orphan themselves a second time is so taxing on the mind, I could only imagine the stress he would've been under.

But what really gets me is the fact that he eventually came to the conclusion that in order to stop the cycle of picking up kids and selling them off to the highest bidder and killing the ones that didn't sell, Wriothesley didn't think about contacting gardes, didn't go to anyone else about it, he took matters into his own hands.

Not just that, but that he had to kill them.

It takes a lot for someone to work themselves up into killing another person. If you've never taken a life before, most people will hesitate, they'll be sick, or they'll completely shut down and remove themselves mentally from the situation, there's a very visceral reaction that happens in the human brain when you're pushed so far into stress responses that you'll take another life, and this was a teenager. This is why I feel like he would've been desensitized to death or at the very least gruesome scenes like this from a much younger age.

One can only wonder just what was going through his mind during the time he was away, taking the odd jobs to create that first prototype of his gauntlets that he used to shoot nails at his parents. It may not be as personal as taking a knife to someone, but using a nailgun is a bloody affair, the wounds needed to make that fatal are grievous if done by an inexperienced hand. And from what we're told in the character story, it sounds like his parents fought back, hard enough that it very nearly killed Wriothesley as well.

It makes me wonder just what he was thinking, or feeling in that moment, was it fear? Anger? A mix of many things? Or was he simply numb to it until he woke up in the hospital bed later? From what we hear in his tone during the story quest, he sounds apathetic about retelling the story, but that could be a result of trying to compartmentalize the renewed trauma that was rekindled thanks to the gem he touched.

And the trial, lets not forget that. On the day he wakes up from his injuries, he's served papers to face in court, and given a timeline for his recovery. The character story says the trial went with little fanfare and that he accepted the charges with little to no protest, it makes me think about just what could've gone through his head during the time he was recovering.

Wriothesley states that he knew he was guilty in the eyes of the law, and that his methods were extreme and he knows that. Because he survived his injuries when he expected to die from them, it makes me think that he knew he would be going to the Fortress of Meropide once he got to the trial. Given how much of a lawless land the Fortress was back then, I wonder if this was Wriothesley's own way of putting himself back into the hands of fate again, or maybe in some way, taking it back into his own hands.

Character Story 2 and his Vision story tells us more about his time in Meropide before taking it over, and how chaotic it sounded. He arrived in the Fortress and found his Vision in his pockets when being processed, and the first thing he's told is "hide it well". This was the only warning he got from anyone about how life in the Fortress was at that time, and he took that to heart in order to not lose anything precious to him.

Meropide was a place you could pay for someone to die in back then, among other things like drugs and probably far more things that Hoyoverse wouldn't mention for the sake of keeping things PG. It certainly doesn't seem like a place a teenager would be safe in and yet despite all odds, Wriothesley thrived and amassed a massive collection of credit coupons in order to make his name known.

It doesn't say much about what a feat that is, especially the line where it mentions that he amassed more coupons than anyone else in the Fortress combined. He figured out how the place ticked and made it sing to his own tempo instead of simply falling in line, that's such an impressive feat for anyone to do, let alone someone who would've had to fight tooth and nail to even get the respect needed for people to see him with as much power as he seemed to gain by the time he took over.

When he challenged the former administrator to a duel, the story mentions how Wriothesley was saved from having to get another person’s blood on his hands because he fled from the Fortress instead of showing up. And sure we could gloss over this as he was glad about not needing to fight him in the end, but this also implies that if the fight had've gone on instead of what happened, Wriothesley would've either beaten that man within an inch of his life or taken it. He would've taken another life for the sake of other people, once again.

This is something I've noticed is a theme with Wriothesley. He has either little regard for or at the very least places his own safety below others, so long as it's doing what he thinks is right or protects other people. During his story quest when he's being shot at, Wriothesley does little to protect himself aside from some minimal protection with his cryo vision against the bullets shot at him, but the moment that the gun is turned to the Traveler, he spent absolutely no time in very nearly killing Dougier (if the Traveler hadn't been there, I think there would've been a 75%-85% chance that he would've killed Dougier) and putting him in his place.

We see this again with the Archon quest where Wriothesley and Clorinde fight back the Primordial Sea. He spend his own safety and energy icing over the doors in order to save people in the Fortress from the Primordial Sea until Neuvillette could get there, at the risk of his own safety and very nearly getting trapped and dissolved by the waters.

That's not even taking into consideration the work he did on the Wingalet. We saw so little of it in the 4.2 Archon Quest, I was almost disappointed, but the fact that instead of staying idle about the prophecy, he spent so much time and energy making a ship like that and keeping it a secret from most parties until the time came all for the reason of saving as many Fontainians as possible just kills me.

Wriothesley has been through so much, and instead of that horrible backstory and all that trauma turning him into a bitter and hateful person, he instead uses it to give others a better life than he had just crushes me. He took over Meropide and reformed it into a place where not only does it help people now, but is such a nice place to be that inmates want to stay afterwards warms my heart. Like, for sure there's the fact that people staying down there reintegrating into society would be a challenge but I love the fact that there's even the choice to stay down there after the term is over instead of simply turning people lose and risking them returning back down after repeating crimes.

Anyway what I'm trying to get at here is that Wriothesley is such a well written character and I want Hoyoverse to give us more characters like this. I'm rambling way too much and I'm sure like 80% is incoherent bullshit but I needed to get my feelings off my chest about this lol.

If you made it this far thanks for putting up with my rambling LMAO.

[once-upon-a-time-the-end]

too smokey to go to work but five fires at once won't stop the feeling that no one gives a shit about what i do for work!!

[dukeofthomas]

[slutdge]

god idk whats wrong with my brain it doesnt matter how tired i am as soon as i lay down to try and sleep i feel like im having a heart attack and being hunted for sport

[opens-up-4-nobody]

...

[dervampireprince]

I just rewatched moonknight and your audios are literally the only thing keeping me alive in that somewhat dead fandom THANK YOU 😭😭🙏

i do feel adrift making moon knight stuff still so thank you

[silly-lil-scribbles]

woag was just going into settings to look through my asks and apparently i lost like over 100 followers somewhere in the past like week or two????????????? i mean im not upset, my posts and art suck ass and idk why anyone follows me to begin with and nobody is obligated to stay but im just really confused if i did something now

[flugame-mp3]

what do you fucking mean that's how charlie dies. THAT'S HOW CHARLIE DIES??? i mean i know the show has a penchant for killing off every character who's not a winchester brother or an angel of thursday but good god. what the fuck. charlie was such a good and enjoyable recurring character, and she had such a fandom impact that i've seen, and she's only around for THREE SEASONS?? (sidebar: it's amazing she has the presence she does for only being around for a couple episodes in the long run!) but: was this necessary? and she just dies offscreen after her skills are utilized to progress the plot of decoding the book of the damned?? oh my god. what in the actual fuck. i'm finding myself getting genuinely very upset at her death. she did not fucking deserve that. and i can absolutely see why the fan response to her death is what it is now. completely fucking unjustified and throwaway and useless.

[loveguts]

i’m not a transandrophobia truther in the slightest don’t get me wrong, but i think some people on here really need to realize and comprehend the fact that cis women, way WAY more often than not, hold extremely significant social and political power over trans men the vast majority of the time in our day to day lives

[watery-melon-baller]

i dont have the right kind of mental illness for BBC merlin to actually make this but in my head there's an animatic of hamiltons "satisfied" involving merlin, arthur, and gwen that Haunts Me

[wetslug]

.

[ghostboyhood]

no fucking wayyy dude

[angelstrawbabie420]

grief will have you saying shit like goddamn and fuck maybe the abuse was worth it