#they r going B/ and :3

[caruliaa]

staff still hasn't given me polls, what should i do?

����🟪🟪🟪🟪🟪🟪🟪🟪🟪 their moms 69%

🟪🟪🟪🟪🟪🟪🟪 their dads 31%

grace image os i get to look at her

[hinamie]

off on an adventure ! this au turns 1 week old today

jjk atla!au with @philosophiums

pose ref [x]

[obsob]

one small step for. kitties

[tea-tuesday]

07/01/2024

a month left and i'm not panicking (i am)...! sorry to juxtapose beautiful flowers with a cursed picture of memorizing crim at like 3 am lmao. hope everyone's having a lovely summer and good luck to those who are also studying over the summer ! summer study squad🌞📚, let's go!!! may we be blessed with good grades, passing scores, and a stress-free autumn🙏

[pup-pee]

queues this & runs

((i totally stole some of the piercings from madi hi madi ty))

:3

[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.

[fraternum-momentum]

I hope its not too presumptuous, but if you do want to get glasses, sites like zenni or eyebuydirect have cheap glasses for like $10-30 shipped which isn't too bad if you just want to try them occasionally or when drawing.

I know brick and mortar shops can be expensive and i spent way too much at them until I found out.

WOAAA 2 anons recommending the same site :000 i might actually try getting a pair since eye exams here are usually free so :D

[ur-ghostgirl]

:c :c

[hinamie]

fire nation festival wear aka a blatant excuse for me to push atla clothing design conventions to the absolute Limit

jjk atla!au with @philosophiums

[starofhisheart]

Its nearly summer here so guess what that means! Time to put a big sun hat on izzy hands, lather him up with sunscreen and give him a kiss on the cheek for good luck as u see him off at the beach where he is abt to have an anxious day of trying not to sunburn and keep ed from swimming outside of the flags

[cathymee]

maybe it's to maintain a sense of tension & turmoil that would eventually reach an explosive peak, a sense of tug-of-war, a back-and-forth to hammer home the ideals they want to deliver and for the viewers to chew on, but although these arguments regarding hiroshi & his stance as a man torn between his loyalty for his country & the loyalty for his Filipino friends and lover is of course important, how they write these scenes & the points they present from this week alone is getting too repetitive...? literally the argument scenes from last night & tonight between adelina & hiroshi is basically the same; the ideas were the same, the dynamics were the same: the aggressive, radical adelina, bristling rage and fear over the injustices she's seen thus far, and the cautious, inspiriting hiroshi, all hopefulness and reassurance one moment as a lover, defensiveness and sternness as a japanese soldier in another. this debate will be ever-present ofc, it is one of the series' biggest conflicts, but it is unfortunately so easy to tell when it is a.) being pulled up as a main topic to move the plot along / be a necessary conflict for character development/introspection / be the conflict to deliver the morals & messages the writers want to send to their viewers, or b.) when it is being pulled up only for the drama and filler to pass the time. like watching the characters sit down to argue for 10 minutes, do other things for the plot for 2 minutes, then sit down again to argue for the next 20 minutes. lol.

[deus-ex-mona]

pretty minor thing to think about, but i find it interesting how chapter 7 is the first chapter illustration to show chizuutan as chizuru (instead of chuutan)

like, i get it’s a flashback chapter, but we hardly got to see her as chizuru in the previous few chapters thus far… maybe we’ll get to see more of her as her true self after the hiyori fight/make up? only future chapters may tell, i guess…

[blu3-sp00ky]

white person online: 'youre a racist islamophobic bitch' me, a brown aroace trans neurodiv jewish person who only said that he supports israel because he doesnt want his people to die out: '???'

[pup-pee]

so i have a problem & its called rereading this fic i just quickly doodled these 2 thingss but ill prolly make an actual piece bc i think about this a lot

sunshine. falling.

u can decide which part of the convo theyre on kfjsdh

gift 4 @radioactive-earthshine

HERES THE FIC AGAIN BC I REALIZE THE LINK MIGHT NOT LINK? ignore mefjksdh\

((idk y the quality is so badfjsdgf BUT THE DIALOUGE WAS CUTE OK ik part of it was from superboy & the ravers (#7) but just ok just))

this is like a couple weeks old @ this point idk y i never posted it

[catstack17]

obx season 3 + 4 spoilers ahead‼️‼️ (i mention a lot about s3 and how it relates to season 4)

listen listen listen!! i know that john b isn’t the character of season 4™️, and i love that- i love that aspect every season of this show, one character is the very main character whose plot line is the main plot of the season and it is v apparent that jj is getting his moment to shine- and i still adore that it’s not outshining other characters light in the show + obx allows other characters to have their own storylines that aren’t directly related to the main character (ex. rafe’s grief and path in season 4, when s4 is jj’s season, sarah’s disorientation in s3 when that was kie’s season, etc.)

there’s just one thing that hasn’t been touched upon with john b this season- that’s sort of making me want to rip my hair out slightly bc if rafe can deal with his grief then why are there no scenes exposing and expressing john b’s grief-

have the pates completely forgotten that john b, a, supposed orphan at 16, “fugitive” at 17 that the system has constantly hurt (i.e. if he was falsely convicted of the murder of sheriff peterkin, at the age of 17, with no evidence whatsoever would have received the death penalty) who has stayed consistently being on the run. always + never being safe in his own home, in his own town. after spending so much time looking for his dad, and following in the footsteps to try to get the gold, so much so that he finds his father alive while searching for it, that he even witnessed his father sacrifice his life for john b and the treasure itself later on, all because his dad was hellbent on finding it in the first place and then the only place he ever could come back to and rely on, was lit on fire and he had to see everything burn down right in front of him after just losing the only family member he had been searching for since his dad went missing + finding out all that time his dad was out doing morally grey things- and witnessing his dad shoot someone right in front of him- or even just the fact that john b had to see the light go out in his dad’s eyes after just literally getting him back on the way home from getting what they had been searching for- would affect him?? that he’d have so much baggage and grief stemming from all of the above? he lost his teenage years through the trauma he went through and we can’t even go into the detail of how he’s dealing with that? the only thing we got was a “dead and buried” line from john b while looking at a photo of big john? i need to know how he’s dealing now that he has the time to sit and really look at all the atrocities he’s witnessed- bc i love seeing him be happy mainly in this current season but he’s gone through far too much for that to be realistic at this point in his life.

[opens-up-4-nobody]

...