#im sorry I just like her so much Explore tagged Tumblr posts

[midwestblue]

[heartorbit]

figure skating set right now please. thanks

[clouvu]

Cooking up an older Clervie outfit design so I don't have to keep drawing her looking like her child self but Long

[vellichorsdesire]

finding out your f/o has a picture of you as their wallpaper or vice versa… bonus if it’s a really stupid/blurry one. or something either of you didn’t know the other took a picture of, like sleeping or being busy with something that ends up being a favorite of theirs/yours

[guiiay]

quanxi

[bucephaly]

It's kinda shocking to me how few people seem to know how prevalent the 'my great grandmother was cherokee' myth is and how it's almost never actually true, especially when it comes with things like 'never signed up' or 'fell off the trail' or 'courthouse burned down destorying the documentation' etc etc.

People just don't even seem to know the history like.. when the Trail happened. My great great great grandfather was 2 years old during Removal in 1838, so peoples 'my great grandmother hid in the mountains!' is so clearly wrong. And we have rolls. From before and after removal, rolls done by cherokee nation and others by the government, rolls that were not stored in one random flammable courthouse. It's not difficult to find the actual evidence of ancestry.

And just.. there are lots of ways those family stories get started. It was a practice during the confederacy to claim cherokee ancestry to show one's family had 'deep roots in the south' that they were there before the cherokee were removed. Many people pretended to be cherokee and applied for the Guion-Miller payout just to try to steal money meant for cherokees - 2/3rds of the applicants were denied for having 0 proof of actual cherokee ancestry. [We even see lawyers advertising signing up for the Miller roll just to try to get free money.] And the myth even started in some families in the cherokee land lotteries, where the land stolen from us was raffled off, including the house and everything that was left behind when the cherokees were removed. We have seen people whose families just take these things stolen from the cherokee family and adopt them into their own family story, saying that they were cherokee themselves.

If you had some family story about being cherokee and you wanna have proof one way or the other, check out this Facebook group run by expert cherokee genealogists that do research for free. Just please read the rules fully and respect the researchers. They run thousands of people's ancestries a year and their average is only around 0.7% of lines they run actually end up having true cherokee ancestry.

[zitrovee]

. ° ✦  Bunch of monster high fandesigns!!

[aether-weather]

SAGESUNE MIKU >:DDD

[volivolition]

DAY 4: DRAMA - Put on your prettiest face for the masses!

gonna start adding silly captions actually. [POINTS ACCUSINGLY] MELTY FUCK (AFFECTIONATE)!!

[natsmagi]

honestly the more i hear about engstars and its TLs the more i absolutely dread the inevitable release of poltergeist and what may ensue from it, bc if if the translators themselves are already invalidating arashis identity then i Really Truly do not want to see how theyll translate natsume and tsumugis microaggressions/transphobia towards her. esp since ive noticed a rise in people being comfortably transphobic towards her, and i REALLY do not wish to see natsume and tsumugi being stupid fucking morons be used as evidence to discredit her

and i think this is all the more reason why its VERY IMPORTANT for engstars to DIRECTLY ACKNOWLEDGE arashi and her gender. bc sometimes characters are STUPID and RUDE and APATHETIC. enstars is a story with NUANCED and FLAWED CHARACTERS, and when a character is being a fucking asshole youre meant to PROVE THEM WRONG. but they dont even acknowledge arashi as a girl themselves. so, if you do use engstars, please keep pressuring them bc omfg this is so bad and i can only see it getting worse

[isbergillustration]

The cutest paint supply helpfully tidying herself away

[insanostyle1231]

my professional bg3 villains tierlist

[skrunksthatwunk]

love like you / maternal pang

bonus under cut:

the first stephanie + the maternal pang tone destroyer i couldn't include bc it's a serious comic

[themyscirah]

Complaining abt Suicide Squad yet again but the fact that they have Waller exposing the alien community to space racist attacks and talking abt how she got to her position through deceit and being a terrible person and stuff is just. Ahsfiwueh JUST SAY YOU DONT KNOW WALLER.

Anyways literally the 3rd mission of the Squad ever (and the first framed as smth Waller picked and not orders from above) was the Squad discrediting and stopping a rogue vigilante who was only arresting POC and funneling white people into white supremacy groups (of which he was the most prominent member) in SUICIDE SQUAD #4. and it's explicitly framed as this mission being personal for Waller that she's hiding from the government bc its illegal like. Guys. Please why are we having her incite (space bc comics) racist attacks now

Also the whole "Amanda got her position through deceit and being a terrible person" NO. she KEPT her position through being shitty and playing complicated political games!!! She wasn't always that way like there is a difference and it is IMPORTANT ppl PLEASEEEE. In Secret Origins #14 we learn Amanda's backstory and she used to be a normal, caring person! Like even after she entered into working in government and politics she wasn't automatically morally bankrupt like please people. She was originally given control of the Squad by Reagan (*sigh* 80s comics...) to distract and get rid of her because she was so successful at pushing progressive social policy in Congress. Acting like she's this static pillar of evil is such a waste of her character and so fucking uninteresting and disrespectful to her arc it drives me MAD.

Like I am NOT saying Waller is all sunshine and rainbows, she fucking SUCKS (said w love <3) but like there's a human being there. It's a progression, she has a character arc like please, DC, please!!! They've fucked up Waller so bad and made her so opaque and uninteresting she can't even be the protagonist of her own story for fucks sake!

Like I don't know how many times I have to scream it until DC hears me or remembers but WALLER IS THE MAIN CHARACTER OF SUICIDE SQUAD. ITS HER BOOK. yet right now she's a cutout to be used as the villain wherever the writers please. Even in her book we get none of her perspective really displayed, no exploration of her thoughts with any kind of understanding of the role she traditionally has played and was made to play in the story.

[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.

[dapper-nahrwhale]

[ID digital drawing of redesigns of the VKs from Disney descendants, years Evie, Mal, Jay, and Carlos. Evie has the front of her hair braided back with a little crown, a white princess shirt, and a blue cape with gold and red details and a high collar. She has a blue skirt with a heart belt and red panels stitched on the sides and a ruffle white skirt under. She has black tights, white ruffle socks, and red Mary Jane heels, and red and blue fingerless gloves. Above her is the symbol of a heart shaped mirror with a crown on top of it.

Mal has big horns, pointed ears with many piercings, messy purple and green hair, and is holding a knife. She is wearing a fishnet shirt with a purple crop top and a ripped jacket. She has low rise very wide leg pants with green flames on the end, and big spiky boots. She has mismatched gloves and a couple belts. Her symbol is a broken heart with horns and wings and is on fire.

Jay has an orange beanie and a ripped vest with a belt across it. He has cargo pants and tall sneakers, a few belts and fingerless gloves. His symbol above him is an orange toothy cobra snake coiled up.

Carlos has stripy black and white hair and goggles and glasses. He wears a stripy shirt and has a fluffy collar coat that's patchwork of black and white polka dots, and patchwork shorts and mismatched loafers. His symbol is a black and white crossbones. End ID]

👑😈🐍☠️

This from like... May? I think? It got lost in the 1k of my drafts (a lot I know) But I was thinking about redesigning them yet again! so expect that at some point too lmao.