#that's the origin of filler

[keets-writing-corner]

does filler exist? sure absolutely

is excessive filler annoying? yeah kinda

but that's not the problem that's happening. They're not cutting FILLER they're cutting CHARACTERIZATION moments. Don't get me wrong, I don't mean to say that ONLY FOCUS ON PLOT/CHARACTER/ETC CUZ THAT'S ALL THAT MATTER, that's not my point at ALL. Absolutely write your fluff. The same way that we need humor in a horror movie to take a moment to breathe and then the horror hits that much harder when it returns because we had a moment to relax, fluff serves a similar function to take a break from the plot

but that's not what I think the main problem is. A lot of things that are considered "filler" nowadays are actually really important characterization moments. Moments that makes us see that the characters are human. That they have feelings. That there are things they enjoy and things they fear. That there are situations where they could be silly, or serious. And if these moments are what's getting cut because you're only focusing on plot, then OF COURSE the story feels empty! At this point they aren't even people anymore they're just characters trying to carry a story from point A to point B and that's not enjoyable

Who cares if the characters aren't currently trying to obtain the macguffin, now we know how much they care about each other, or how much their relationship means to each other. Or we just see them having fun and it reminds us not only of our own relationships where we have fun, but also TO HAVE FUN IN OUR RELATIONSHIPS, and then if something happens to those characters that changes that relationship, that's going to hit so much harder going forward, especially if it affects the plot

I hear all the time "People don't remember what you were wearing, or what you said, they remember how you made them feel" and that applies here too. The most important part of any story are the characters, and if we remember the characters having happy good times, then idk it just makes the story so much richer and that's NECESSARY for a good story

everyone's been getting tired of shorter and shorter and more condensed shows, and it's because of this. There's a REASON why all the avatar adaptations keep getting backlash, and it's not just cuz of *gestures vaguely to dumpster fire*. It's because they're cutting out all the fat. They're cutting out all the fun characterization. We don't see the gaang having fun. We don't see them bonding with each other. And it suffers

to borrow from the poster above me, sure you can trim the fat off your beef, but it's not going to taste nearly as good then if you cooked it WITH the fat on

as with everything, there is a balance of course, but please, for any aspiring writers or even just fan fic writers

keep that fluff. it's good for the story

Working on my novel and couldn’t figure out why it felt so empty. I didn’t have any filler. It was all 100% plot. The characters only interacted when necessary. I didn’t prattle on about the scenery or how the birds sounded. I had all my fuller stuff that I loved saved in another file because I “didn’t need it”.

Y’all, I knew this existed in TV shows but it didn’t hit me until this that everything is being whittled down. We are so starving for filler that we snap up anything. I unload all mine on Tumblr or keep it in a massive Google Docs. It SUCKS.

Honestly? Death to plot necessity. Revive filler. Revive unnecessary interactions. Revive just vibing with characters sometimes. I don’t want to just consume the plot and I don’t want to just create the plot either.

[oifaaa]

I do wonder if people who used to constantly complain about "filler" are finally happy now if they're enjoying the state of television series or if they're now complaining that tv shows only have 8 episodes per season like the rest of us

[satorugojoswiife]

hes so dramatic 😭😭

[renthony]

The term “filler episode” is blatantly misused in fandom spaces and it's really goddamn annoying.

In the book "Manga and Anime Go to Hollywood: The Amazing Rapidly Evolving Relationship Between Hollywood and Japanese Animation, Manga, Television, and Film," by Northrop Davis, Davis explains the that concept of a “filler episode” in animation comes to us from anime adaptations of manga. Anime is frequently produced at a faster rate than manga, which means that anime adaptations of manga often have to come up with their own “filler” stories to slow down the pacing of the main narrative, because the manga isn’t finished yet.

"Filler" does not mean "low-stakes episode that doesn't progress the main plot." Filler does not mean "character moments that you did not like." "Filler" does not mean "anything that isn't breakneck-paced main plot."

It's a specific term and you are misusing it.

[sefusneezed]

What would the gang do if they were on the beach?

Harass the local wildlife (important fauna cataloguing event)

[snailsnaps]

mm filler art sowry

[pomrania]

Could They Survive Investigating Kira?

To clarify, this is about the Kira murders from Death Note, not the other manga/anime which has a serial murderer named Kira who kills via supernatural means. Insert "two nickels" meme here.

@couldtheycatchkira asks if a given character could catch Kira, and would they survive. Here, I'm focusing on the second part, and how to consider it. I've broken it down into four major questions:

Are they capable of dying (and staying dead)?

Are they capable of being killed by the Death Note?

Would Kira be able to kill them?

Would Kira choose to kill them?

1. Are they capable of dying (and staying dead)?

If a character cannot die, cannot be killed by any method whatsoever, won't even die from old age, then they survive investigating Kira; they survive ANY circumstance. You don't need to look at any further question, in order to get your answer (although you might choose to, just for enjoyment purposes).

Under this category, I'd also include characters with explicit good luck and/or uncanny ability to survive situations that should have killed them, where they're theoretically capable of dying, but circumstances arrange themselves such that it never actually happens. Not to be confused with "protagonist immortality", where a character survives because if they died the story would be over; this is a character who basically has indirect immortality as a superpower. Or they could fall under the category of "God's favourite chew-toy", where some higher (or lower) power simply won't let them die or stay dead.

Conversely, is the character capable of SURVIVING? In other words, how inherently doomed are they? If they were in a story where "character death" is a possibility, are they a character who's guaranteed to die? Note that this is distinct from being "doomed by the narrative", because that's doomed by ONE PARTICULAR narrative, and "getting Kira-murdered while investigating" might or might not fit their narrative doom.

This is also where I raise the issue of resurrection, and limited immortality. If a character dies but comes back to life, then they count as "surviving"; they need to STAY dead, in order to count as "does not survive". And if they're generally immortal (or at least unkillable), but can be killed under certain specific circumstances, then the question moves to "would Kira be able to figure out, and create, those circumstances".

2. Are they capable of being killed by the Death Note?

If they're immune to Kira's only real weapon, then they won't be killed by Kira; and unless they're otherwise doomed (see above), they'd survive.

Some characters, while capable of dying, outrank shinigami, or have connections that equate to such. The Death Note wouldn't work on them, for similar reasons as how an employee can't fire the head of their company.

Then there's non-human characters. This can be tricky, because in the world of Death Note, there's humans and there's shinigami, and the Note explicitly works on humans but not shinigami. To keep things fun and interesting, I'd say that any type of sapient mortal counts as a potential Death Note victim in the same way "human" does, because otherwise it gets boring; blanket immunity should be reserved for characters who specifically have it.

As for non-sapient and/or non-mortal characters… I don't have any overarching advice for them, except maybe see if you get a definitive answer in the next questions, and if not then you can use "might or might not be able to be killed by the Death Note" as a tie-breaker.

I think this is also the level to look at "characters who couldn't die from a heart attack". The Death Note CAN kill via other methods, but "heart attack" is the default. For this, you need to consider if Kira would REALIZE that simply writing the character's name down (to give them a heart attack) wouldn't suffice, and if he'd be able to figure out a method that WOULD work; but that shades into the next question.

3. Would Kira be able to kill them?

There's two major categories to this question; the issues Kira ran into in his story, and issues we get from characters who aren't "baseline human". I'll start with the second category.

Some characters have unorthodox death requirements, like non-human biology (or equivalent processes if non-biological), or limited immortality. Would Kira be able to figure out that he needs to do something different to kill them, and would he be able to figure out WHAT he needs to do?

Then, the "standard" issues, and what people first think of when they consider "would this character survive investigating Kira". In order for Kira to be able to kill someone, he first needs to know that they exist; then, their full name and how to spell it, and what their face looks like. If he doesn't have all three of those, then that character is safe from being Kira-murdered (but might still die in other ways).

4. Would Kira choose to kill them?

This factor seems to get neglected a lot, judging from the amount of times I've seen "lol they're a public figure, they'll die immediately". But Kira doesn't kill everyone whose identity he knows, because otherwise he'd be easy to locate, as the epicentre of mass death.

First, does the character fit his normal victim profile? If so, then he tries to kill them (which might or might not succeed, as detailed in the previous three questions), even if he doesn't know that they're investigating him.

Next, does he consider them a potential threat? If he doesn't know the character is even INVESTIGATING him, or if he thinks they're incompetent as an investigator, or if he believes he's sufficiently outsmarted them, then they're not a threat, and he has no reason to kill them.

Finally, does he have a reason NOT to kill them? Does he believe they should be left alive, on their own merits; or, more commonly, does he feel that they'd pose more of a threat to him dead than alive? For example, this could be them having information that would get sent out automatically upon their death, or being in a situation where suspicion would fall on him specifically if they die in an unnatural manner.

[do-kontsa]

Fuk you artblock!

[ask-pomzi]

Working on stuff, have some pomzi :)

[balluprojects]

Inner Circle Conference, 2024

when within the flowers you see wierd little ducklings, with loads of beak filler, having a heated argument about pressing matters xD

have a brightfull weekend*

[angelsyrip]

glad i stayed alive to watch naruto grow up.

[djs-sideblog-for-pog-trains]

so. um. @mean-scarlet-deceiver's post about thomas and henry's relationship has been living in my brain rent free for the past month and i have been turning over a scene for just as long.

so. i tried to write it. i hope you don't mind, jobey. and also you're right. they are Hard to get right. if i had to put an era on this i'd call it BG (Before Gordon).

about 1.5k, full fic under the cut

--- --- ---

Thomas keeps shooting glances at the sheds as he bustles around the yard.

It… the hired help from the other railway, the engines who are slightly too full of themselves for Thomas’ liking (and he’s made sure to let them know as such) have been talking loudly all morning, as they were getting ready to take their trains, about… the new engine.

Henry. Even if he couldn’t have remembered Henry’s name, the other two have been saying it loudly enough to carry around the yard that Thomas certainly has the picture now. And… Thomas’ lip curls as he hears their newest comment as he goes past.

“Hey!” he calls, boiling over, and the two hired engines look at him. “It’s 9am already. Are you going to actually go take your trains, or are you just going to sit and preen all day?”

“What would you know, little Thomas?” one of them calls back, all smarmy and smug. Thomas’ lip curls even more into a full on frown. Eugh. Tender engines.

“About running a railway on time?” Thomas snaps back. “Clearly more than you! Are you waiting for Sir Topham Hatt to personally invite you, or?”

They huff and sneer and pout at him, but they do still steam off one by one. However, they each shoot Henry a knowing and cruel side-eye as they go that makes Thomas bristle, despite himself.

Henry is still in his berth in the sheds. Well, he’s half-in, half-out. He only seemed to have made it so far before he… stopped. And he’s been going all sorts of shades of red as the others’ gossip had gotten louder and louder as he waited for his driver to return with an engineer of some sort.

Henry isn’t looking at Thomas now, but his eyes had snapped to the tank engine when Thomas had spoken up. He’s instead closed his eyes, puffed out his cheeks, and seems to be trying – and trying hard – to… to what? To move?

Thomas tries not to stare, as he moves trucks into the siding they’re expected to be found in. Why is he trying so hard?

Eventually, Henry does actually move – but he… Thomas frowns again. Henry moves backwards, back into the shed. The wheesh Henry lets out as he comes to a halt is limp and weak.

Henry has been here, what, all of a month, maybe two at this point. Thomas hasn’t heard… many kind things, actually, so far, which is weird because look at him. Henry’s huge – Henry’s the biggest engine Thomas has ever seen, and he’s surely powerful to boot.

But Henry… Well, Edward said that Henry is sick, and sick often.

“Why?” Thomas had asked, as they had approached the shed. “What’s wrong with him?”

“Thomas,” Edward had reprimanded, and that’s when Thomas had realised Henry was in earshot, and clearly trying to pretend he wasn’t.

And that had been that.

Thomas had seen Sir Topham Hatt come out of his office at the station to watch Henry’s comings and goings, and more often than not with a stormy expression on his face. And Thomas didn’t get that either. Problems get the stormy expression. Troublemakers get the stormy expressions (Thomas would know). And Henry seems… too…

Thomas biffs his truck ahead of him as he turns his thoughts over.

Too… quiet? Too wallpaper? Too chameleon? Too…?

He snorts to himself. Whatever Henry is, he’s too much of it. And certainly too much of it to be a troublemaker, not like those mainline engines. It’s not like Thomas has gotten to know Henry yet, and it’s not like Henry has given him the opportunity to, either: but Thomas doesn’t get the impression Henry wants to be trouble. But he has to be… there has to be something wrong here, otherwise the Fat Controller wouldn’t be so upset.

Thomas hears a sniff from behind him as he backs down his stretch of track, and realises it’s come from the sheds.

And Thomas sighs quietly. …Then again, if nothing was wrong, Henry wouldn’t be so upset either.

“Those two,” Thomas says, before he can think, and Henry has gone absolutely silent, eyes flicking over to Thomas as Thomas pauses on a nearby siding for just a moment. “Bloody wankers, the pair of them.”

The silence holds for another second or two, before Thomas is rewarded with a shaky laugh.

“…I noticed,” says Henry.

“All those mainline tossers, really,” Thomas continues, and he keeps talking even as his work takes him all around the yard, speaking up so Henry can still hear him. “I almost wish the Fat Controller wouldn’t hire them. Sure, we need more wheels on rails, but they don’t seem to know a blazing thing about this railway.”

Henry – in the shadow of the shed – purses his lips, before he lets out another sigh, another limp wheesh of steam.

“I would hardly say I do, either,” he says miserably.

Thomas frowns, and comes to a halt a little too sharply with a big woosh of steam.

“Of course you do,” he replies, indignant. Henry’s a big engine, he should- why would he say that?  Sure, Henry hasn’t been here long, but he’s a big engine, he should know plenty. “More than them, anyway.”

Henry sighs. He doesn’t argue, but Thomas’ fire flickers in annoyance as he can read of Henry’s face that Henry doesn’t agree either.

“I mean, you wouldn’t have been bought if-”

“Don’t.”

Thomas’ mouth hangs open for a second, before he closes it, blinks, and glances at Henry.

Henry looks even more upset. Great job, Thomas.

“I’m just saying-”

“Well, don’t,” Henry cuts him off again, sounding grumpier. And he’s gone from miserable to grumpy – that’s a win in Thomas’ book. “I’m particularly not in the mood to hear how I’d be more useful as a tin can.”

“The only tin cans around here are those self-important mainland pricks,” Thomas shoots back, and Henry side-eyes him – suspicious. “I’m not convinced they know what a timetable is, let alone how to read one. What kind of engine hangs around in the sheds when there’s work to… be…?”

Thomas trails off, and Henry… actually laughs. It’s tired and it’s bitter, but it’s a real laugh and it’s better than miserable.

“…Well, I want to assume you’re going to go work. When you can.”

“Optimism,” Henry says dryly. “I admire that in an engine.”

Thomas scrunches up his face. “I don’t understand you,” he says bluntly, in a way he’s sure Edward would scold him for if he was with them. “You’re miserable in the sheds, you’re miserable out on the line, you’re miserable doing nothing and you’re miserable pulling trains.”

Henry stares at Thomas for a moment, before his eyes flick away.

“If I could get out of this yard and actually pull trains, I’d do it in a heartbeat,” Thomas says, far more dreamily than he’ meant to, and he cringes a little, chuffing out of where he can see Henry’s face, because he doesn’t need to hear an earful about it from another big engine.

“…You’re small,” Henry says, slowly, not accusatorily nor really condescendingly. He sounds more …confused than anything. “…And you’re useful, here.”

“And?” Thomas snaps back, defensive. “I could be useful anywhere.”

Henry’s silent for another moment, like he’s really chewing that statement over.

Then, eventually, he surprises Thomas by saying, “…I suppose you would be better than those two.”

And Thomas lets out a sharp bark of laughter, shooting Henry a grin as he goes by, and punctuating it with a hoot and a whistle – delighted. The enthusiasm makes Henry blink, before slowly, a smile of his own spreads across his face; one that sharpens to match Thomas’.

“You’re most certainly right! And besides. You let them get to you, you let them win,” Thomas agrees. “And they’re far too useless for that.”

Henry laughs again. Thomas lets out another peep-peep and a woosh of steam of his own, pleased to have earnt it. Footsteps crunch over the gravel of the yard, and Thomas spots Henry’s driver returning with a couple of engineers in tow before Henry does, and replies to their hellos as he bustles past.

“Hello, lad,” Henry’s driver says to Henry, patting his side. “We’ll have you right as rain in no-time, alright?"

Henry sighs again, but does actually smile back at his driver.

His driver blinks in fond surprise as the engineers get to work finding the newest problem. “You’re in good spirits, all of a sudden.” Then, he glances at Thomas as the tank engine goes past. “Making friends?”

“More so finding the only engine in this yard with a thought in his smokebox, it seems,” Henry says dryly, loud enough for Thomas to hear, and that makes Thomas snort in amusement.

He does call back, “Hey, now, be nice to Edward!”

And the engineers and Henry’s driver alike seem relieved when the two engines laugh together.

Thomas watches them work to get Henry’s steam up, and Henry’s finally pulling out of the sheds a good half-hour later. Thomas whistles goodbye as Henry chuffs away.

He smiles with the satisfaction of a job well done when Henry, completely of his own volition, whistles a goodbye in return as he disappears off down the line.

Then, Thomas returns to his trucks, and gives them a good biff once more, ignoring how this time, they really shriek. He – and Henry, he imagines – can’t wait for those mainlanders’ contracts to run out.

[drawinhearts]

I miss my overly dramatic, 22 episodes, 6-8 seasons long shows can we go back to that please

[cacaocheri]

have a sun doodle in these trying times

[marlasingeruniverse]

[snailsnaps]

Color practice bluh bluh