#people full of capacity

[sereneabyyss]

I see so many things where like SY is the sweet innocent one who shows SJ how to love and be loved and fixes him blah blah blah. But oh come on now, this is Peerless Cucumber we're talking about. Number one hater extraordinaire. He is so bitchy. He would not fix SJ if anything he would make him worse.

I need more content that's just SY and SJ standing with their twin fans unfolded, viciously tearing their opponents (the other peak lords) apart with their barbed insults. I need them casting vicious mockery within every battle, whether it be against demon, peak lord, or random civilian who just happened to spill tea on them.

[breadandlottery]

[lets-laughagain]

just a packed stadium shouting “you were my because” at louis

[kebriones]

oh lord the "lets make a medusa retelling comic where i have the idea and you do all the work" is back. with a new sales tactic: telling me how rich we'll become.

[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.

[daincrediblegg]

genuinely I don't think they could have pulled a better power move on the mental optics of Arthur Fleck/ Joker than the fact that he holds himself accountable rather than dismiss the violence he had about himself and that he perpetuated on others. it really frames the character himself as someone emotionally capable of meaningful introspection and change which is something you just don't see even remotely to nearly an explicit degree with any other joker portrayal (let alone portrayals of mental illness in mass media and depictions of "villainy" that so often fall so short of this mark)

[oidheadh-con-culainn]

strongly dislike the hyperbolic violence of a punitive justice system that seems to be how the internet responds to any bad thing because. the implications of being like "the person who cut down this tree should be tortured to death/put through a wood chipper/hanged/locked up forever"... do you really think that would help? do you think a tree, however special, is worth more than a human life? do you think an act like this negates the possibility of that person ever doing anything good and contributing to the world? do you think it is your right to declare somebody irredeemable?

you're being hyperbolic, i hope, but the underlying mindset of "bad thing = physically hurt this person and take away their future" could use some interrogating, actually! that's not an effective way of dealing with things! it's not going to put the tree back up, it's not going to help the environment, it's only going to cause additional harm. and that is the thing that gets me, how everything always seems to be about PUNISHMENT and hurting wrongdoers and not about minimising harm, not about reducing future damage, not about actual, real justice that might put some goddamn good into this world

this is ESPECIALLY true for crimes that, while shocking and cruel, don't actually physically harm any human beings. like cutting down a special tree. our response to a bad thing should not be to add more, worse things to the world, to be honest. and i am concerned that the tone of these jokes/hyperbolic remarks normalises a mindset and an approach to justice that should not, in fact, be normalised

[stars-obsession-pit]

BNHA - Miraculous Ladybug crossover prompt

Quirks exist, but the plot of ML doesn’t change too much at first despite that. The divergences mainly start when Ladybug and Chat Noir manage to take down Hawkmoth. They successfully reclaim the Butterfly Miraculous, but lose track of the Peacock in the chaotic aftermath.

A bit later, they manage to pick up on its trail again. It’s made its way over to Japan and into the hands of a powerful, well-established supervillain. Information on said villain is scarce, but they are reasonably confident that he’s the individual known as All For One.

They mainly recognized the Peacock’s power from how he’s using it to bolster his forces (either alongside the nomu or potentially as part of the process of creating them). However, unbeknownst to them, he’s also using it to experiment with trying to create entirely new Quirks for himself to use.

Thus, Marinette and Adrien must set off to Japan to once again reclaim a stolen Miraculous from a power-granting supervillain, though this time one with a very different setup…

[telesodalite]

I need to be weirder about the scavengers and cannibalism...

[bacchuschucklefuck]

the never stop blowing up vhs is where cute twinks go to get harmed

[loki-zen]

Kinda hate "masking".

Like it seems to be a good concept for a lot of people and it seems to help them, but it's just fundamentally the Wrong framing for my most closely analogous experiences.

The Me that I am when I have less capabilities and am recovering from doing the things I find valuable in life is not a more True and Authentic me than the me who does those things.

[je-lurk]

I need more Avery Goodman in my life

[mantisgodsdomain]

Anyways, to those who have been wondering what we've been doing during our impromptu Tumblr Vacation or whatever we're calling it, we've been trying to find a playthrough of Baldur's Gate 3 that is made by someone who doesn't annoy the shit out of us, and also tormenting Karlach Cliffgate (as you do)

[aromanticannibal]

the "disabled people need it!" argument for generative AI is insane because it completely misses the point. like yeah, i get it, it could be great if disabled people who genuinely cannot bring themselves to type or hold a pencil could have a way to create anyway. I really do understand why that's an attractive idea, I am aware that some disabled people just can't draw or paint or write and it's not their fault and there's nothing they can do about it. That doesn't make gen AI use ethical. The problem isn't that your art becomes soulless and Bad because you didn't put your blood sweat and tears into it (I don't like gen AI art for this reason too but I am aware it's subjective and don't use it as an argument), the problem is that generative AI is killing the environment, stealing from artists who never gave their permission to have models trained on them, and the democratization of gen AI is just asking for misinfo and propaganda to be more common (it's already bad enough).

[dailykugisaki]

Day 217 | id in alt

She's a county girl, Inumaki. Give her a break.

(Right to left💥)

[binarybitex]

Lewis tits

official lewis boob appreciation post 📣