#specifically book 1

[gayestfroginthepond]

actual photo of me trying not to check the tags for a book I'm reading

[virfujiwara]

Any The Book Of Life (2014) enjoyers here? Ramble in the tags lol Reminder that commissions are open and I'm making art for your donations and we are raising money for an AAPI charity through this zine, if you or someone you know likes Watcher, check it out!

[late-draft]

Nothing is happening. He's nowhere. And yet there's so much traffic, people and vessels moving. Distant shouting and discussions, communicating about logistics, but there's no need for him there. So he just stares out in silence and feels the cold wind. The air is choked with the stench of diesel every day and yet sea birds fly through that filth still.

[pepperpixel]

Initial drawings of that old man… I literally, I haven’t finished reading the book of bill yet!!! I had to stop and take a break for a week to feverishly draw fanart of myself petting fords floofy hair and giving him attention and shit…!!!! The urge was too great….!! I’ve literally. I had a crush on this guy the instant he was first REVEALED in the show, but I did not have the artistic prowess to draw good looking old men back then… but I do now… thank god… thank fucking god

[queenoftheimps]

Genuinely trying to figure out if Daniel's conversation with Justin Kirk is taking place outside the penthouse (meaning Daniel is, at some point, able to escape without getting vamp'ed) -- or if this is in the penthouse and Justin Kirk is someone Louis/Armand would allow to visit.

It might be the former (it looks like there's two other people in the background, who don't look like Armand/Louis) -- but him saying "I want to get out alive" feels odd if he's already made it out. If it's the latter, that raises the question of who, exactly, would be allowed in to talk to Daniel, because I have THEORIES.

[rantsramblesandrandomthougts]

Now, i love our arsonist boy lockwood, but i'd like to take this time to remind yall that, in the book, it was LUCY who set the Hope house on fire

[humanmorph]

this is what I was thinking of re: iconoclast clem goop eyes (from mushishi vol 1, chapter 4)

[themoonking]

the book trend that needs to be left in the dust for the new year is greek mythology retellings. i am so sick and tired of "retellings" of greek (or roman, but mainly greek) mythology from authors that clearly have a very surface level pop cultural understanding of the myth(s) they're adapting and the culture(s) they're depicting. especially the many that market themselves as "feminist retellings" where the "feminism" is basically just "men bad sometimes", and especially when they're "feminist retellings" that take some of the few mythological women who get happy endings and take it away from them for the sake of saying "men bad sometimes". it's all so shallow and they exploded this year and i'm sick of it.

[causeimanartist]

draw more of what you want, I had literally forgotten about my sister the vampire, you hit me in the nostalgia

Join me in the nostalgia!

[pellaeas]

one thing I'm struck by in tlt is the suspiciously intimate familiarity with wearing a shitton of body paint all the time

[catrasfreckles]

anyone else very confused as to the length of harrow's hair in GtN

[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.

[coquelicoq]

what i love about the Famous Actor Natori Shuuichi of it all is that...it's not just that he's famous and therefore widely recognizable wherever he goes. like yes that is very funny because he was an exorcist before he became a famous actor, which means he CHOSE, on purpose, a day job that would make it harder to hide his double life/secret identity from the hordes of his adoring public, but it's more than that. it's not just that he's famous, it's that he's famous specifically for being an ACTOR, aka a person whose job it is to dissimulate, to make believe, to inhabit roles and emotions other than his own. like he decided he was going to become as visible as possible (which again was literally not necessary! he could have gone into any other career for his day job!!) but in such a way that everyone would see him but no one would see him - they would just see his various made-up personas, including the Famous Actor Natori Shuuichi persona. i can't decide if he's a genius or if he just made so many absurd decisions that they canceled each other out and circled back around to working out. he's either playing 9-dimensional chess or he's eating the pieces. too soon to say.

[bigcats-birds-and-books]

Replenishing the Nonfiction Stack; or, We're Calling the Book Buying Ban a Wash, Officially.

I am not, apparently, immune to coupons for niche nonfiction that's directly up my alley (octopus minds and RUSSIAN OWLS, hello??? Thanks, bookshop!).

I thought perhaps the BURGLAR'S GUIDE would also be covered under said coupon, since it was publisher-specific (alas: it was Not, but we might as well bundle for shipping purposes). And then while I was shopping IRL for gifties I found a copy of ROOM, which has been on my list for...ever? So! Hopefully these will hold me over on the nonfiction front for a minute!

[iightwoodbane]

i don't trust people who don't like adam parrish as a character. i'm usually very open to people's opinions but if you think adam is anything but an amazingly written character then ur wrong and u just don't get his vibes like i do.

[ruvviks]

All That's Left follows two journalists and their friends in post-apocalyptic United States as they travel from the fallen east coast megalopolis Opportunity back to Los Angeles, crossing through a harsh wasteland overrun with zombies— only to find out that there is a lot more life left than what the protected cities want them to believe. On their journey they meet dozens of people living their lives as peaceful as possible away from military forces, corporations, and corrupt governments; and they learn that the same mutated ghouls that took down Opportunity are spreading rapidly through the country, destroying everything in their path. Will this finally be the end of the world as we know it?

taglist (opt in/out)

@shellibisshe, @florbelles, @ncytiri, @hibernationsuit, @stars-of-the-heart;

@vvanessaives, @katsigian, @radioactiveshitstorm, @estevnys, @adelaidedrubman;

@celticwoman, @rindemption, @carlosoliveiraa, @noirapocalypto, @dickytwister;

@killerspinal, @euryalex, @ri-a-rose, @velocitic, @thedeadthree