#im like not trying to do wars

[sugashook]

xmen: we have a mansion you'll get paid regularly you can have an easy job in the offtime we can help you with figuring out your past

logan: ewww lmaooo ur weird haha nooo haha

wade: logan !

logan: *moves into 1 bedroom crack house with a 40 yearold and his mom*

[hinamie]

I could've been a better man, but I'm not

more lmhs megu bc i love him. he is here fr ur lunch money :>

jjk atla!au with @philosophiums

[sapphirerogers]

The thing about Captain America: Civil War is that it's part of a trilogy about one specific man named Steve Rogers. Therefore it is supposed to be about Steve Rogers and primarily from his perspective.

It's the episode right after CATWS, and the story is supposed to directly tie in with the events of CATWS. It's hilarious (= enraging) how people just seem to conveniently overlook that little detail while talking about (or rather, shitting on) Steve's decisions and actions.

When you see him argue against the accords, you're supposed to actually remember that the government was infiltrated in the previous Cap movie and it was only two years ago. And that Steve was right in the middle of the fray.

When you see him trying to save the other supersoldiers, you're supposed to correlate that to him discovering the Winter Soldier and as shown in the last scene of CATWS, finding out everything Hydra did to Bucky.

When Steve says "He's my friend," you're supposed to remember Bucky falling from the train in CATFA, and 2014!Steve saying "even when I had nothing, I had Bucky." And you're supposed to empathise with the scrawny kid from Brooklyn who had no one but James Bucky Barnes in his corner. You're supposed to remember that Bucky would, and did follow this scrawny kid into the jaw of death.

Every single thing he does/says has a background in the previous two movies.

Now you might say "yeah but so does Tony-" yeah and tell me something, is it called "Iron Man: Civil War"? Or "Avengers: Civil War"?

Saying Steve's the bad guy in his own fucking movie is you completely missing the entire point of all three of the movies with him in the title.

Edit: I've noticed that this post is gaining a lot of traction. I'd like to introduce you (if you haven't been to my blog before) to a protest my friends and I are trying to set into motion called #ReleaseStuckyCWScene. The details to the original post are here, and the petition that you can sign to show your support is below. Please consider signing it and reblogging the original posts more.

[amberskyyking]

Uhm excuse me but HOW DID THIS COME OUT OF MY OWN PAINT??!! I’ve only ever done like landscapes and flowers??!! And now I have an oil of FOX WITH A CACTUS??!!

… Should I paint more commanders with houseplants?

(Edit - I did! Plant Buire is apparently a series now!)

Part 2: Commander Wolffe and his Wolfsbane

[hijinxinprogress]

12 year old tim realizing robin’s not coming back to gotham and deciding that it’s Batman’s fault so he has to ruin the little bit of sanity and peace of mind Bruce has managed (read: struggled) to keep in his grasp:

[bonefall]

Stormclan is pretty cool, I’m glad they are a direct result of the clans and not Rouge Group 255674385 that pops up like Minecraft mobs at night

Didn’t ivypool kill beetlewhisker? Will they remember it

The mental image of playing minecraft and Darktail spawns on your roof like a spider, refusing to leave in the daylight and making annoying chittering noises, is magical thank you.

Anyway nah, that was Brokenstar. Ivypool killed Antpelt, not Beetlewhisker. I have doubts they're going to remember that though, and if they do, it'll be one of those "don't worry guys we TOTALLY remember the events in our series!" throwaway lines we've been getting recently. The type that's thought in her head or thrown out in passing, but doesn't significantly contribute to Ivypool's emotional struggle.

I think Ivypool's actually the part of this SE that I'm most apprehensive about, funny enough. StormClan's got me pretty excited, but my hopes kinda started falling when I found out Dovewing was going on the road trip. I do not like the story that the Erins tell between the sisters, and I feel like they keep getting forced together to "reconcile their differences" when it would make a MUCH more effective story for the two of them to not do that.

See, what I like about Ivypool is that she's grudge-holding and spiteful. I LIKE that she tried to leverage her sisterhood with Dovewing in ASC to try and make her manipulate her husband. I find the fact she tried to sabotage SkyClan's chances at the lake back in AVoS to halt Dovewing and Tigerheart's relationship, slighting her apprentice in the process, to be COMPELLING.

I ENJOY reading about Ivypool being nasty. Both a victim of the Dark Forest who was targeted because she felt alienated, and yet, someone who has found a way to use Clan culture's most unfair aspects to her advantage. She'll NEVER see herself as the bully she actually is, because in her eyes, she's permanently the underdog.

so... I just have absolutely no desire to see Dovewing and Ivypool be "close."

Every time it happens on the page, it feels like it's Dovewing desperately wanting her sister to not treat her poorly, or believe in her, or just stop actively sabotaging her life. Then, Ivypool realizes this after a while and displays emotional intelligence that feels unfitting for her character, and apologizes.

It feels forced.

Like it's just happening because the authors know the fans want it, and not actually what these two characters would do. You get me?

I don't want to see them reconnect. I want more bittersweet examples in WC where family members have irreconcilable differences, but now and then, there's that little twinge of love, that old spark that you pray, THIS time, could become a fire... but it doesn't. There's just nothing left to burn.

TL;DR I'm feeling overall meh about Ivypool's Heart but looking forward to seeing what StormClan's all about.

[crocuta1]

Marie's Spinosaurus 💔💔💔💔

I haven't decided if I like the name Calzone or Hot-pocket for maries spino :/. WHICH ONE SUITS HIM BETTER GUYS......

[poorly-drawn-mdzs]

End of Empathy (time for violence)

[First] Prev <–-> Next

[puppyeared]

i feel like im not making any sense but does anyone else feel like there are stories that let u run with them and ones that spell everything out for you

[thatdeadaquarius]

Your writing is so amazing! 😲

You mentioned that you like people sharing blurbs so I thought I’d share one!

In Sagau I imagined the statues of the creator to have an aura around it. Like it changes depending on their mood. so sometimes people will visit the statues to feel closer to the creator or to talk to the statue. It would be customary to visit the statues when one is really happy to share their happiness with the creator. Which would cause little bursts of happiness within the creators everyday life.

I just thought it was a sweet headcanon to share! I hope you have a good day!

AHH this got buried in my asks :'(

GOD UR SO SWEET IM SO SORRY I DIDNT SEE THIS FUCK ME-

This gif is what it feels like when ppl send me little snippets or blurbs fr:

Just 😭😭😫😫😫🤲💌💌💝❤️‍🔥💖💔💕💗💝💘💓💞💗✨️

Thank you so saying that about my writing 🥺<333

this is actualy the best headcanon, i love worldbuilding stuff like this, like reader having statues/how ppl treat them/emotive statues like?? genius??

idk if yall are into the ship, but the worldbuilding in this zhongli/childe fic goes so hard, and this kinda reminded me of how the author descibed genuine/"filling" offerings to the gods being like, less of a business transaction and more of a, "i got so happy seeing all the flowers i handmade a flower crown just to share it with you!" and THATS what you give a god to give them a satisfying meal

EDIT 4/10/24: SORRY I FORGOT TO PUT FIC NAME AND LINK HERE YA GO <3

anyone that being all said i like to take ur headcanon in that way, where ppl make a song or something w/lots of emotion (usually positive) and send it ur way as an offering <3

THANK U AND SORRY AGAIN FOR NEVER REPLYING,

Safe Travels Pebbles,

💀♒

TINY POST BUT PLS FEAST UR EYES UPON THEIR CUTE HEADCANON BELOVEDS <33

@karmawonders / @0rah-s / @randomnatics / @glxssynarvi / @nexylaza / @genshin-impacts-me / @wholesomey-artist / @thedevioussmirk / @the-dumber-scaramouche / @chocogi / @fallen-starr / @areaderofbooks / @devilangel657 / @esthelily / @justinsomniachild / @nanithefuck / @questionotmystopit / @chinuneko / @silvers-tongue

[bardicbird]

rot

[demideific]

People who are already complaining about Nico acting like an actual teenager before the book has even fully been released are the weakest and most boring link like boo tomato tomato.

[3-aem]

my cat has, after many attempts, still been unable to catch onto the fact that when i point i am trying to show him where the toy is.

but has learned very quickly that if he stands under the fridge when i open it there is a possibility, however slim and inconsistent, that cheese may fall on him.

[juiceagainandagainandagain]

nikitaaaa

[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.

[lovelyrotter]

can we all remember to just say 'oh no thank you, i dont like that kind of food' but apply that logic and rules to shipping and letting other people ship again