#neither does reading about them

[nonbinary-strawberry]

some of you bitches don’t understand corruption arcs and it shows

[megafart1]

Fiddauthor doodles

*leaves this politely on the floor and scurries away*

yeah. enjoy ^_^

[possamble]

Do you have any headcanons or thoughts about Falin having a crush on Marcille pre-canon? Especially during her later years at the school/the years she was with Laios.

Just full on "awkward and slightly gnc teenage lesbian has a massive crush on the touchy-feely girly girl straight best friend" tropes everywhere. Even better bc it's the "best friend is also the popular girl while lesbian is the slightly ostracized quiet one" dynamic in school. Falin gets so so so good at not having a heart attack every time Marcille gets in her personal space. But she's so resigned to never saying anything bc why would a girl as blinding as Marcille ever like her back. She also doesn't make an effort to get over it either, she's just content to be trapped in that stable dynamic of silently being in love with Marcille while getting to enjoy CLEARLY being Marcille's favourite person. She gets so used to it that it's almost just background noise most of the time-- it would have to be, unless she wanted to be freaking out 24/7 bc Marcille is so goddamn affectionate.

Her feelings also definitely change throughout the time that they're in school together-- at first it was this "whooaaah pretty older girl" puppy crush that you can clearly see developing in the flashbacks we get (I think she doesn't even like... realize her fixation on Marcille is romantic at all until years after it starts, when she's 12-14 ish and all the other girls around her are talking about crushes). But then they get closer, over the years Marcille starts getting really attached and letting down her guard, and Falin gets to see the ridiculous side of her. She gets to calm her down from her tantrums when experiments don't work out, or help her clean up when something explodes in her face. I feel like the progression of her feelings from "schoolgirl infatuation" to "unrequited love" probably almost exactly corresponds to how slowly Marcille goes from trying to keep Falin at a polite but friendly distance (like she does with everyone else) to her facade completely eroding as she becomes her cheerful and ridiculous self again for the first time since her father died.

That's probably the saddest part: Falin knows that she's clearly Marcille's favourite person on the surface level, but she doesn't quite fully grasp the enormity of what that means to Marcille. She doesn't get that she's the person who made the world colorful again for Marcille, that she is the first person outside of Marcille's family to really and truly make her laugh. She just thinks she's the beloved but dinky little short-lived sidekick, one of many that Marcille has had and will have.

Part of it is that, despite Marcille becoming such a clingy and affectionate best friend, I think her initial demeanour already did its damage. You see Falin being super adventurous and weird at first, bringing Marcille berries and other stuff, only to be rebuffed by Marcille exasperatedly saying she's working or looking kind of put off by it. And by the time you see her a little older, shes already quieter and better at masking -- and I'm not saying that that's entirely Marcille's fault (being the weird girl at an all girls academy for almost the entirety of her teenhood must have been brutal, my god) but she definitely learned that she's a potential nuisance to Marcille if she doesn't tone herself down. She learned that Marcille most likely sees her as a weird little kid following her around bc she has no other friends. And for the most part, she was never given any reason to unlearn any of that.

And that all very very smoothly transitions into Marcille being her "first love that was never meant to be anyway" when she leaves the academy. Chapter closed in her mind: she loved and pined from a distance and that was that. Every now and then she'll see another woman with Marcille's build or her shade of hair and be like ":( I miss her..." But then just kinda move on with her day. Same with when she's going through her own spellbook and finds a note that Marcille left her/correction that she made-- she'll smile fondly and reminisce about how much Marcille doted on her, and then move on.

Sometimes she thinks about contacting Marcille but convinces herself that it's too late (she spent too many months focusing on getting Laios healthy again and didn't mean to go no contact, but ah well). It's only when she has a practical reason to be reaching out that would also benefit Marcille ("Marcille is studying dungeons and we need a trustworthy mage to go with us to the dungeons") that she feels like she's allowed/that it wouldn't just be 100% a nuisance.

I almost think she didn't expect Marcille to reply at all, only to get a telegraph (or some in-universe equivalent of express mail, maybe magical pigeon carrier) that's like. EN ROUTE TO ISLAND. LETTER TO FOLLOW. and she freaks out like AAAA LAIOS SHE SAID YES WE HAVE TO CLEAN UP NOW.

I do think getting a response accidentally sparks a little hope in her, judging by the way she acts in the chp 57 flashback-- she's pouty that Marcille sees her as a kid, gets really worked up about being presentable, and then tries to play it cool when she actually meets Marcille (as if she didn't freak out and force Laios to shave while rambling a mile a minute about Marcille). She's an adult now, really and truly, and she's seen and survived things that her 18 yr old self would have never even imagined-- then all of a sudden, the person she was in love with since she was ten years old appears, and she's so desperate to be seen as mature and competent. She's trying soooo hard to impress Marcille with her newfound combat and dungeoneering experience...

Only to fall right back into their old dynamic. RIP. At least she gets the girl eventually, even if it takes dying twice and being the core catalyst behind an almost-apocalypse.

[mainalias]

thinking about compiling screenshots of golden/silver age batman exclusively calling dick his ward to combat the allegations that it was “initially a father-child relationship”

[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.

[callie-flower]

"proship dni" this, "comship dni" that, "neutral dni" unfortunately the people you don't like are still human and deserve comfort. my fucking god shut the hell up you're just as annoying as they are and protest WAY too much about it. go unlearn your purity morality shit

[anxiouslowercase]

sas rh: let eoin survive the fall au » a tale of two lieutenants (part two)

[natsmagi]

adding onto my last rant from a while ago a little bit, it is fascinating how many people in this fandom completely miss the point of tsumugis character and misconstrue what hes actually about which, ironically, is just what eichi did. and its done in such a similar fashion too, such as making assumptions about his motives, his family relationship, and missing the point in why he chooses to look the way he does. and, time and time again, eichi has been proven to be WRONG about tsumugi. he misunderstood him deeply, and now its eichi whos stuck mourning the past while tsumugi has long since moved on, not the other way around, as tsumugi is on the path of getting his happy ending. and i dont get why people keep trying to take this positivity from him

(s. element epilogue 2)

[lynxfrost13]

Maybe I’ll finally Wanze post soon

[rotisseries]

chapters 51 and 58 of bloodmarked are absolutely CARRYING bree/nick/selwyn polyamory truthers

[ettadunham]

sometimes i remember the hunger games and how nobody actually paid attention to what was in those books

[tibtew]

*clutching head* rodya and meursault would have such a good dynamic actually

I wonder if rodya would initially see meursault's indifference as like. a simpler version of her own feigned carefreeness and as a deliberate attempt to place himself as an outsider... only to realise that No, he really Is just Like That. and then she gets annoyed because it turns out that people who don't care about anything don't seem to be any fun.

(ofc he does actually care about a lot of things, just not necessarily his grander place in the world lol)

idk. nihilism vs absurdism. fun duo 👍 rodya would find meursault's genuine comfort with being a speck of dust in the universe baffling, while he would probably find her desire to assert her own importance pointless, but they could probably bond over little things like their shared desire to live in the present and appreciation of/indulgence in earthly joys. and meursault would probably listen if rodya wants to rant about anything without asking any uncomfortable questions. I think they could appreciate each other's presence.

[road-rhythm]

"[Pairing] should talk through their problems like adults!" Nah, they should make them all worse and then fuck about it

[seventh-district]

again and again i find myself lamenting that audio roleplay isn't taken more seriously by some people. like yeah, they often have a romantic element, and by nature they usually directly involve/address the listener- and i totally get that those things aren't to everyone's taste. no art or entertainment is universally appealing, and that's okay! but.. it still makes me a lil sad that the "cringe" reputation of asmr/audio rp precedes it. there's a whole lot of talent and creativity being poured into these audios by so many people that i feel goes unrecognized and/or disrespected simply due to the medium that the stories are being told through.

[memeticsdivision]

a while back, i did the oc duo ask game in my friend discord server, so i thought i’d post them here since the answers are interesting and gives a better look into the moratorium crews dynamics and characterization . enjoy

CERNUNNOS ABOUT FENRIS

What's their best trait?

"HIS ABILITY TO DIE."

What's their worst trait?

“DO YOU WANT ME TO BE HERE FOR HOURS? BECAUSE I'D LOVE TO GO DOWN THE LIST, BUT I HAVE THINGS TO DO. SO LETS JUST KEEP IT AT THIS; HIS INABILITY TO DIE."

Are they a good person?

"HA. HAHA. ARE YOU KIDDING ME? YOU'RE ASKING ME THAT? LOOK IN THE MIRROR ONCE AND A WHILE, IF THE PERSON LOOKING BACK AT YOU IS ME, THEN CHANCES ARE YOU'RE THE REAL MONSTER."

Do you really know them?

"BETTER THAN HE KNOWS HIMSELF, I'LL TELL YOU THAT."

What are they to you?

"A REMINDER OF MY PERSISTENT TORMENT." (translation: “Possibly the only person who could ever understand me, but he created me out of loathing of the idea of me, wanting me dead but forcing me to live anyway. That first part is therefore muddled by bitterness and I refuse to ever admit it.”

What are you to them?

"BY DEFINITION? A SHADOW. IN REALITY? HIS WORST NIGHTMARE."

What animal do they most remind you of?

"A SHITTY LITTLE COCKROACH WHO GOT RUN OVER AND IS DRAGGING ITS GUTS ALONG THE ROAD TOO STUBBORN TO LAY DOWN AND ROT."

Are they your type?

"OH, YOU THINK YOU’RE FUNNY, DON’T YOU."

What's their greatest fear?

"ISN'T IT OBVIOUS? LOOK AROUND; LOOK AT ME! THE FEAR IS THE LIE. THE FEAR IS THE TRUTH OF EXISTING IN A WORLD SURROUNDED BY SHIT HE NEEDS TO DO. HIS LAZY ASS WOULD RATHER RUIN LIVES THAN FACE THE FACT HIS LIFE IS SAD AND PATHETIC AND THAT HE MADE IT THAT WAY."

What's your best memory with them? Worst?

"MY BEST MEMORY WAS GUTTING HIM FOR THE FIRST TIME. MY WORST IS EVERYTHING ELSE."

How long have you known each other?

"A LONG, LONG TIME. LONGER THAN I'VE EVEN BEEN A PERSON. I'VE EXISTED IN THAT MORONS BRAIN SINCE THE FIRST MOMENT HE EVER HATED HIMSELF, SINCE HIS FIRST BAD MEMORY. I WAS JUST THE FIRST TO REALIZE IT."

How has your relationship changed recently?

"CHANGED? NOTHING'S CHANGED. I'M SURE ANY MINUTE NOW HE'LL FIRE THAT LAST SHOT INTO HIS THICK SKULL, AND IF NOT I'LL DO IT MYSELF. AFTER I'VE HAD SOME FUN."

Are they a good leader?

"OH SURE. IF YOU NEED A GUIDE ON HOW TO LIVE YOUR LIFE AS A SAD AND PATHETIC LITTLE EXISTENCE, OR NOT LIVE A LIFE AT ALL. HE WOULD BE A GREAT TEACHER IF YOU WANT AN EXAMPLE OF HOW TO BE A TERRIBLE PERSON."

——————

FENRIS ABOUT CERNUNNOS

What's their best trait?

"Do I have to answer that?"

What's their worst trait?

"I don't like anything of what I see in them." (translation: "I don't like that they remind me of myself.")

Are they a good person?

"No—I mean, I don't know? No. No they aren't." (translation: “I cannot answer this question truthfully because I doubt if I’m a good person, and if they are me and are bad, then I don’t know what that says about me. Maybe they are better than I am, because they chose a way to live. I didn’t.”)

Do you really know them?

"...No, but they get very predictable at some point."

What are they to you?

"An accident." (translation: “An ugly reminder of parts of myself I hate, that I try to pretend doesn’t exist, but Cernunnos’ existence is a rather direct reminder of it. To cope with that I assign cernunnos the role of the monster, despite what that says about me in return, one who’s existence is a mistake, because if they are a mistake and accident then they could not possibly reflect on me, and I have to kill them.” …which is exactly why he can’t.)

What are you to them?

"An easy scapegoat for all of their problems, I guess."

What animal do they most remind you of?

"To me, they are an animal."

Are they your type?

"I... what?”

What's their greatest fear?

"I guess... living? But they're based on me, so... we'd probably fear the same things."

What's your best memory with them? Worst?

"...I don't think I have any good memories with them. When we met was probably the worst. When they killed me is the second option.”

How long have you known each other?

"I couldn't tell you." (translation: “Cernunnos told me they existed long before they had a body, and they were only made real because of my self hatred that has existed my whole life. I don’t know if we have known each other forever, or from the moment they first showed up in my dreams.”)

How has your relationship changed recently?

"I'm not as scared of them as I used to be. The tricks got old the second I stopped caring."

Are they a good leader?

"...No. I think they’d try, to prove a point, but fail.”

——————

MOR ABOUT FENRIS

What's their best trait?

"Oh, what isn’t? He’s wonderful, really. I’m so proud that he exists at all.”

What's their worst trait?

"Hmm. I do wish he wouldn’t push me away. He needs me, after all, he just doesn’t like to admit it sometimes.”

Are they a good person?

“Hmph. The need to push moral definitions onto people is such a tediously useless endeavor. He’s doing his best, he just doesn’t know what that really means, and so he makes countless mistakes that really, get him nowhere. Thankfully, I know whats best. For him and us.”

Do you really know them?

"Very much so! I’m his mother, I made and raised him, nobody knows him better than me, which is why I know what is best for him, because he doesn’t."

What are they to you?

"Fenris is my son, my greatest joy and achievement. I love him very, very much.”

What are you to them?

"I’m his mother, can’t you tell? I’m someone he can always rely on for love and support. I wasn’t then, but I certainly am now. I’ve worked hard to be that, and I need to keep things that way.”

What animal do they most remind you of?

"Whatever animal he would want to be compared to!"

Are they your type?

"That is my child."

What's their greatest fear?

"Being alone, being the monster Cernunnos claims he is, being abandoned. He fears many things, the poor boy. He fears the way reality is constantly all around him, and how at any moment, he might change something and do something bad. He doesn’t want to be hurt, and he doesn’t want to be responsible for hurting someone again. But most of all, he’s afraid that it’ll be confirmed that he doesn’t deserve to exist, that the world would be better off without him, and that he’s been wasting his time trying to live in it. Sad, but sometimes, our greatest fears are of the truth.”

What's your best memory with them? Worst?

"Oh, all of them are dear to me. But the moment he was born is especially close to me. It was the first moment I loved him, and the moment I was so happy to be his mother. But… I do regret the night I died. Very much so. I said so many awful things to him, and they were the last things he ever heard from me. I hurt him so deeply that night, and it was the culmination of all of the terrible things I’d done to him over the years. Sometimes, that guilt overwhelms me. But I’ll be better this time.”

How long have you known each other?

"His whole life, of course! I’m his mother after all. I wish I didn’t have to be separated from him for five years, but we’re together again now. And I won’t let anything take him away from me.”

How has your relationship changed recently?

"It’s certainly more positive than my previous incarnation. He’s more willing to open up to me, and comes to me more often for safety. I’m relieved my efforts have paid off.”

Are they a good leader?

"I would say yes, but I don’t think he’d be comfortable, and he shouldn’t have to do things he wouldn’t be comfortable doing. Besides, I don’t trust anyone not to just be using him."

[thejasontoddarchives]

DC is just so silly! This:

Batman #423 (1988)

Came exactly one issue before this:

Batman #424 (1988)

But we get this little reminder at the end of 423, of what the core of Batman really is and what we should ultimately keep in mind:

Meanwhile the latter was left to be framed in this light:

Batman #425 (1988)

Ah yes. The established empath calling a SA victim foolish.

If we take what Jason says at face value then what he did to Garzonas the rapist isn’t much different from what Batman did to that addict/thief (and what he does to countless other opponents he doesn’t deem deserving of salvation). The difference is Jason didn’t have a police officer pat him on the back and vouch for the goodness of his character for wanting to protect women and children.