#it ends the same way as the book...

[joseigamer]

hi, so i was able to stumble on something really interesting: an interview with the vampire one volume manga adaptation called "yoake no vampire" that came out shortly after the original movie did in 1994. as an adaptation it's very faithful to the book, just really condensed.

the first two chapters got scanlated into english from japanese 13 years ago, but the last one never was. unfortunately the japanese raws of the thing are no longer online but i was able to find a portuguese scanlation of the last chapter. i ended up doing what i would call "edited machine translation" on it (consulting a portuguese version of the original book to cross reference translations since a lot of dialogue was taken directly, checking dictionaries to confirm translations, redrawing some parts, etc). it's not perfect but i think it makes sense from beginning to end.

would people still be interested in me sharing? i would also include the portuguese "raws" of course (the translation group is defunct now but with credit to them ofc) i figured it might be a fun treat for anyone who's already read the book while we wait for the later episodes of the amc show (but also just for book!iwtv fans).

below are example pages (not in order)

[agnes-come-back-challenge]

I love that everyone in TMA is just. Unremarkable. Jon isnt a heroic character; he's self-loathing and depressed and he exhibits the same self-pity as I do when I'm self-loathing and depressed. He doesn't stand out for his strength of will or quick-thinking or virtue. He's a good person but he stops trying to stay human when it gets uncomfortable. He's everything that a regular person is when theyre trapped in a horrible situation and it's ugly and insufferable and Real.

[viggos-mortensen]

VIGGO MORTENSEN

as Aragorn, in The Lord of the Rings: The Return of the King (2003)

[bixels]

I'm not getting into The Giving Tree discourse...

[galfromearth-22191]

The way these two were in the SAME room yet didn’t say not one word to each other is diabolical

Cause what do you mean, the guy that can create his own take on a super advanced piece of futuristic tech (while being a 70’s dude) would not be down to hang out with the girl whose spider abilities revolve around her tech savviness?

What do you mean Hobie wouldn’t be down to learn how the tech in her world operates cause it’s a whole 180 from the things he calls technology in his world?

What do you mean these two didn’t share a ‘More black spiders!’ moment when they first met? These two look out for each other through the good, bad, and ugly hello??

Y’all cannot tell the these two didn’t at least talk once cause Margo was one of the first people enlisted for the society, therefore they’ve had to cross paths at some point in time when Hobie was there for some time. They’ve seen each other before. And they’ve spoken, end of discussion

[aethersea]

it is funny though how kids' shows are so so so careful about death, no one's ever killed except MAYYYYBE the big bad, all those random side characters are fine, here have a quick shot of them before we leave just so you know they really did survive that 50-foot drop into a stormy sea,

and meanwhile kids' books nearly all agree that it's not an adventure until it has a body count.

[5-pp-man]

no you don't get it. i literally love stories where they dive into people's hearts/minds (literally or figuratively) sm it's my favourite type of storytelling.

[twilight-zoned-out]

"Seven years ago we all went through the flames; and the happiness of some of us since then is, we think, well worth the pain we endured."

Although Dracula was published in 1897, some think that it takes place in 1893 because of the way the days and dates used line up. If that's the case, Jonathan Harker's epilogue, seven years later, would have been added around 1900. A new era bubbling with new change and new conventions. The story ends with Jonathan looking ahead to a new century filled with the unknown and being able to look on the past, despite its darkness, "without despair."

[fromtheseventhhell]

It's crazy that people still uphold show!Sansa as a well-written character and pretend that liking her is the pinnacle of feminism when it would be infinitely more impactful to acknowledge her terrible and misogynistic writing. This is the same character who, while written by two men, was thankful for the abuse she suffered because it allowed her to grow. The same character who we had to be told was smart because the writers were too lazy to develop or show her intelligence. The same character who had to rely heavily on the men surrounding her and ended up accomplishing nothing on her own merit ( and no, thinking that she deserved to be Queen doesn't mean that she earned it). She is not well-written, she is not complex, and she is not a feminist character. Which is fine! If you enjoy her then good on you, but please stop pretending that she's something she isn't just because you feel the need to justify liking her character

[ganondoodle]

kind of expected that the ability breakdown wouldnt get that much traction (especially on twitter bc if it doesnt do well in the first few hours it might as well be dead) but what i didnt need to wake up to was looking at my twitter notifications and thinking there was a long comment on it at first but then i read it and it turned out to be some guy having dug up one of my old totk tweets where i talked about how zelda was treated-

and if a quote retweet with a thread attached already starts with "this entitled brat didnt understand that zelda was being a history nerd by being in the past and getting to experience it herself" with two screenshots attached of the end of totk with zelda staring at the cam all uwu (which has ??? to do with their point??) i dont even want to know what else was in that thread

if thats how the majority of the fandom is then im even less surprised that nintendy doesnt even have to try to write anything good :I

ah yes, i am a game nerd, and by putting me in a game where i stand around doing puppy dog eyes while being shoved around by NPCs is me being a game nerd OBVIOSULY

[lucky-slice]

low key i think to deny Riko's trauma is to deny his narrative importance in the story.

like Riko's trauma related to his father parallels neil's. His concept of brotherhood adds complexity to Andrew and Aaron's relationship. He acts not just as an antagonist but as a foil to other character's relationship to trauma and violence.

to solely view riko through the lense of his actions is to miss the point. He is a character in a story, not a real breathing human being.

[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.

[traumxrei-archive]

leona and jamil’s interactions in 6-67 and their growth

book 6 threw me in for a wringer with leona and jamil’s relationship, and it's funny because i never realized how similar they are until leona was pointing out all of jamil's negative thoughts about himself, as if he knew these thoughts like the back of his hand. tell me i'm not the only one seeing parallels between them:

jamil as a kid was told he was never going to be equal to kalim, because he's supposed to be kalim's servant; having to concede to him at every turn in private and in public.

leona as a kid hearing whispers about how he was so different from the bright falena, and how he wouldn't ever get the throne; all his achievements a mere shadow to anything falena did.

jamil who tried to create an elaborate scheme to pit everyone against kalim, and to subtly kick kalim from his "throne", only for it all to backfire, and for him to be so scorned by having everyone find out that he overblotted.

leona who created a plot in order to secretly reduce competition in the magift tournaments, and tried to severely injure malleus draconia to keep him from playing, only for his plot to be revealed, and for him to give up on trying, thus leading to his overblot.

and then when you think about it, leona probably sees the younger version himself in jamil. jamil’s lust for power is something that leona’s been through more than once, and he knows how being arrogant can lead someone down a bad path.

the rut that he was stuck in was the fact that he thought he was more suitable than falena. but was leona right for the throne ? or did he just want the throne to prove all the people who slighted him wrong ? and again, with magift, he knew that he didn't have the magic power to beat malleus, but he still wanted to win, so bad that he played dirty tricks.

sounds familiar ? it’s basically what jamil did to try and rip the housewarden seat from kalim. jamil thinks himself more suitable and worthy than kalim but is that because he IS more suitable, or is it because he wants to publicly be better than kalim at something for once ?

that’s why leona wants jamil to move on past that. he needs to throw away the arrogance that he’s the 'best', and that 'others just don’t see his brilliance', because…he has a long way to go. leona recognizes his potential. he learned the lesson that jamil is going through the hard way, that’s why he’s trying to help him.

jamil kept insisting that he could protect leona, because he’s convinced that he is more capable at protecting him, relying on his perception of who he thought leona was, rather than acknowledging his prowess. leona knows that he’s more skillful, and he, in the end, succeeds in getting him to accept that.

when jamil can accept that he doesn’t know all that there is, and that he’s at the bottom of the pecking order…that’s exactly when he can start moving up. that’s when he can start working on his skills for the future rather than lamenting the fact that others don’t see his potential.

and that’s exactly the lesson that leona wants him to learn.

okay a cookie for you if you ACTUALLY made it here bc whew this got really long really fast— thank you for reading this far and i hope that you enjoyed my interpretation of book 6’s events ++ leojami’s growth ^^ (also sorry if there’s any spelling/grammar mistakes, i shall fix it later)

[aroaessidhe]

2024 reads / storygraph

The Forbidden Book

YA historical fantasy

the daughter of a wealthy businessman in a small shtel under Russian rule is about to be married off, so she runs away and pretends to be a boy - but the name she chose turns out to be the name of a real boy, who’s missing and wanted dead

along with some other teens, they try to unravel the mystery of what happened to him and where he might be, and are drawn into the underbelly of forgery, illegal political pamplets, dybbuks, and angels

genderqueer lesbian MC

arc from netgalley, out oct 1

[ennard-is-near]

The logbook is soooo funny, what the hell is happening there? I’m not even talking about the lore implications, I just mean why does it exist and why are the prompts in the book like that?

Like, pages are covered in blood, it’s a children’s book. It’s got spooky writing about how the writer is scared and dead and can’t see and it’s an activity book for kids. Who is buying their children activity books that contains a section where they write their end of life preferences??

It also has that FNaF style of humor where it’s like “Thought about how you aren’t doing what you wanted with your life? Write it here!” Or “Make a list if your favorite things and also consider making this page in to a legally binding will!” Which is all stuff that lots of kids probably wouldn’t think was funny. (Edited to add because I just had to say this ig) It’s a very tired employee style of humor, not a lot of 7 year olds will relate.

But it’s definitely for kids, because if it was for adults or older fans then it would be set up like an actual employee handbook and not an activity book?? Whose idea was this thing? Why is it so funny???

[13reasonstoeatthatcake]

I really want to know how Lilith Sorrengail feels about trying her best to get her youngest daughter away from whatever it was that her dad supposedly found in the Archives after Brennan 'died', just to get said daughter even more involved with the tyrrish rebellion two: electric boogaloo.