#now that things are back in order!

[fungi-maestro]

Happy tdov to fat trans people. 🏳️‍⚧️ Biggest thing that helped me as a trans kid was seeing older fat trans people. There were a lot of really irritating "advice" posts going around early in my time on the internet with a lot of misinformation in them, but one that I constantly saw (in addition to people claiming you should wear your pants rediculously low or only wear button ups) were posts saying you had to lose weight to transition. Can confidently confirm that is completely untrue. 👍

[xxplastic-cubexx]

what kind of underwear do you think Erik and Charles wear (i'm not asking this to see them half naked) ((please believe me)) (((PLEASE)))

My Personal Belief is charles is a briefs guy while erik's a trunks guy. trunks/briefs kinda couple because i can

and idk just a lil bonus or somethin. as i do.

[poorly-drawn-mdzs]

A new challenger approaches (slowly)

[First] Prev <–-> Next

[souperluminal]

Artober 31: The Patreon poll to decide this illustration was a tie, so I drew both! Voidcaller and Pyrewolf

Happy Halloween!

[lazylittledragon]

ok so i'm like. overwhelmed

i'm having one of the shittiest weeks of my life and i was really worried my store was going to be a complete flop (honestly i expected my friends to order some stuff and maybe a few other people and that was it)

and then half the things sold out in 2 hours so i'm!!!!! in shock

also the best part: the fundraiser stickers sold out completely!!

[ink--theory]

coming back home after going through unimaginable hell the squeakuel

[autisticandroids]

CASTIEL: Stop. What's the point if you don't mean it? You fear me - not love, not respect, just fear.

[youtube with closed captions]

a godstiel pity party. i'd like to thank an anon i got way back in february of 2021.

[ectonurites]

Byler Week Day 2 — 80s films

so i had been seeing a lot of people i follow talking abt Star Wars/Stranger Things comparisons this last week so that felt like... a fun idea + for an extra dose of Nerd™ this is specifically based on a Return of the Jedi trading card (hence the border + text) from 1983

[ube-bluebay]

i have a problem

really long rambling in tags

[ghost-bxrd]

For @pics-and-fanfics who requested Fae!Dick 💚

I got way carried away with this one lol.

Anyway, looking at other creatures too long isn’t recommended. Catching even a glimpse can be… disconcerting.

[cator99]

out of curiosity, would you consider yourself butch?

used to be a blonde underweight twink and now I'm a based jock still got the chanel bag and the sick albeit matured mind of a suckpig to prove it so I'm gonna let you decide whether you wanna call me that word just cuz I got a pussy and short hair. I promise you that there have been enough advancements made in the art of lesbian sexual dynamics in the past 50 years to broaden the vocabulary used to describe the plethora of types of masculine females.

[the-woman-upstairs]

Sol’s irrepressible desire for a child overriding all rational thought, sending him into an emotional spiral that leads to death and destruction, only for him to lose the child anyway is a tragedy of the highest order and the kind of compelling story I like to see in general, but especially in Star Wars.

[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.

[xxplastic-cubexx]

hear me out guys james mcavoys charles in the krakoa charles fit…

the ideal timeline is where instead of getting dark phoenix we waited like two years and got a krakoa movie and then i get escorted out of the movie theater for being Not Normal about bald mcavoy in the black suit and fuck-off chrome-dome helmet

[summertimemusician]

Linktober 2024, Day 1, Mirror (Self)

Alright here we go again.

Technically a sneak peak of a bigger thing to come in the future that I'm repurposing, and the result of my final playthrough and readthrough before EoW dropped being Four Swords Adventures and that made me sad about Shadow Link again.

Note that this is for the Four Swords Adventures iteration of Shadow Link that might evolve into an LU Shadow, not Dark Link in either LOZ or LU, I have other plans for him.

This one shot was brought to you by Scars by The Crane Wives, Ribs by The Crane Wives, Ruin by The Amazing Devil and Two Minutes by The Amazing Devil because the author's playlist decided to be incredibly cheeky when they blacked out to write this like an ancient seers being cursed with visions and then called mad and hearing they've been put up for execution.

As always the nature of the relationship can be romantic or platonic, mostly due to the author's time constraints and further plans.

Anyway enjoy the reading!

It was cold.

The sort of cold after a wildfire, when everything's turned back to ash, the sort that left burned your vision white after the flames licked through your veins and left an ache in your bones. He shuddered, coughed black onto the stone floor, shaking with a muffled whimper.

It never got any easier, being dragged from the Dark World and into the Realm of Light, the goddesses' world itself revolting against an intruder, wanting the wound torn asunder into their oh so precious realm cauterized. To purge the intrusion and smite it where it stands.

Too bad for them (and for him), his master didn't particularly care about what the world wanted. Didn't particularly care that he hadn't grow accustomed to the pain or the cold, he had to stand up. There was work to be done.

(Shadow gritted his teeth, willed himself not to think about the prophecy of a golden haired princess- because whether he liked it or not, it was prophecy. As those with divinity running through their veins are wont to spill from their throats so carelessly- of violet eyes and a smile a third moonlight and hands holding a hammer.

It always hurt more, after one of the heroes liberated one of the maidens, or the jewels, the pain lingering for days afterwards and carving a home in his metaphorical bones. But just this once he'd take the cold bite of the Four Swords over the pain in the hole in his chest that Vio's betrayal had left, something that felt so much worse than every other time before.

Just this once he wished that maybe, just maybe, the hurt would be too much to bear, that he wouldn't wake up again-

Why? Why does it hurt so much but he's still here? He already knew the Light was uncompromising and unforgiving, but he thought them at least above curses.)

His ears twitched as soft, almost silent footsteps came up to his side. Someone crouching by his fallen form, setting a cautious hand over his own that Shadow couldn't help but draw away from with a hiss, blinking as his eyes adjusted to the world again, to your face, carefully blank as you guided him to lean against your side, a silver choker with a crimson gem winked mockingly at him, the shade closing his eyes and going boneless against your side.

Shadow was so, so tired.

He heard you quietly sigh, plucking his cap from his head and running your fingers through dark amethyst, smoke and mist made hair. "I told you so."

"Shut up." He grumbled, nuzzling further into the crook of your neck. One clawed hand curling against your free wrist, digging into the skin. Absentmindedly noting there were new scratches just above the metal.

It was routine by now, the warmth of your existence against his own a welcome balm, not quite of the Realm of Light where it's unpleasant, not too close to the Dark World where he felt like melting back into the embrace of the darkness, only to howl in agony at being dragged out.

Memories not quite his own bled into his mind all the time. How you'd shape ice into flowers for the princess in winter with nary a though, of blinking and from one second to the next you'd have whatever sword he had hostage if you though it was time for a break with a smile brighter than the sun.

His master had changed that though. It took months for you to stop trying to claw the collar out and to stop trying to fight Vaati.

(Funny how holding a mage's dragon as a bargaining chip is just as effective as kidnapping a ruler.)

Your gaze flicked to the polished obsidian of the Dark Mirror, to the gold, ornate frame. "The offer is still open, you know. Let me take the suffering from you."

"No." He scowled, leaning back to glare into your eyes, a hint of fangs poking out from a maw struggling to keep the shape of a human jaw, "You helped him. Helped them." Shadow spat, there is that hurt again.

You shrugged, a movement that's just slightly awkward as you flinch, "That I did." You confirmed simply, it almost made Shadow see red as he leaned away, knocking your hand from his head in the process, but if there's anything him and the heroes shared, was a lack of a desire to hurt you. It was a little grating to be honest, "Vio even offered to take me with him, to be honest."

"Then why didn't you leave?" He demanded.

Why did you stick around?

Your eyes shuttered, a hint of conflict in your pursed lips. Before you found your words, they come out softly, "You wouldn't believe me if I told you why. You'll just have to find out yourself."

You tug your wrist from his grasp, and Shadow lets you go.

(Stubbornly pushing down on memories and emotions that arearen'tarenotanymore quite his.)

You stand and turn away, pushing the curtains away from your sight, you turn your tired eyes to Shadow with an emotion he can't put a name to. "Just keep it in mind that there's more than one way to end this. Nothing is truly inevitable."

Shadow watches you go. 'There's nothing that can be done. He tells himself, hand hesitating above the Dark Mirror, briefly, it curls into a fist. The hero's original self stares back at him.

'… Does he really believe that?'

He shakes his head, and focuses on willing the Dark Mirror to show him his counterpart.

His chest still hurts.

[decepti-geek]

tbh an important part of my take on the 'don't be like Sentinel' question is that hours earlier D16 had very decidedly assumed leadership of the High Guard, after which any attempt at resolving his very understandable personal trauma via murder was also, on a wider affects-everyone/your-new-power-means-something scale, inherently going to count as a military coup.

yknow. the thing Sentinel did to assume power/hand it over to the quintessons in the first place