#totally a cover story

[erwinsvow]

you’re made of tougher stuff than rafe had realized.

he pampers you, of course, gives you the full princess treatment, even though you get all shy about it, trying to refuse him—which never works. he thinks you deserve it, because you deserve everything that he can give you, but he’s really trying to butter you up, get you ready for when you find out what kind of shit he’s really been up to. 

you’ve made a habit out of not questioning anything rafe says, following his instructions without a second guess. your boyfriend is overpoweringly dominant—it’s easy to do as he says and a part of you is convinced that you prefer it this way. you feel your shyness melt away when you’re with him, your real self bubbling to the surface, more sure of yourself now because rafe is sure of you. 

you don’t realize when it’s happened—only that it has. hand in hand with becoming more confident like rafe, because of rafe, you start being a little more observant.

rafe usually sends you away—gently murmuring in your ear to go get him another drink, or go say hi to someone for him, while he’s trying to conduct business. he sells coke only when you’re out of eyeshot or back at tannyhill waiting for him—he doesn’t need you knowing the details of what he’s doing to make money. the crap with the pogues is put on hold anytime you’re around since he knows your bleeding heart will only feel bad for them. more than that, rafe doesn’t need those idiots earning your sympathy and making him seem like the bad guy. he likes you as you are, all your emotions just for him. 

he thinks this is the way it needs to be to keep you with him, but you start to surprise him.

you come back with a beer for rafe and another lemonade seltzer for yourself, handing it to rafe with a smile and settling on his lap. people at the party might look at the two of you weirdly, but you don’t care anymore, even though the thought of something like that used to make you cry. you lock eyes with rafe, a hand resting on his shoulder while his own hands wrap around your waist.

“that guy over there told me to ask you if you had any coke on you,” you say, taking a sip of your drink and making yourself comfortable against rafe. he freezes for a second, tenses under your touch.

“he said that?” rafe shrugs, fist clenching around the beer bottle. “don’t know why he’d ask that.” you respond with a matching shrug.

“i don’t know. but he’s been talking to those two all night, i bet they’ll buy from you too.” he tries not to act surprised with your words—so comfortably talking about who he could sell drugs to tonight, like you’re discussing what you want for dessert. 

“yeah, kid?”

“mm-hmm. he seemed real nervous. you could probably upcharge, doubt he’d notice.” you take another sip of your drink, swinging your legs. “can we get ice cream on the way home?” rafe presses a wet kiss to your cheek, making you squirm and giggle. he gets up, setting you down on the couch. 

“yeah. let me go take care of business first.”

“okay. charge him double. then i can get a large.” 

“sure thing. you’re the boss.”

[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.

[lemonisntreal]

The Sing: Thriller short is all a parody from the original Michael Jackson Thriller music video! I recommend checking it out, you’ll see how perfect it was!

I am so dumb LMAO

[silvermarmoset]

meditating on the @hotvintagepoll bracket again, specifically looking at cary grant and james stewart and being like what is the appeal here?. Because running the bracket, you see a lot of people who have never met any of them before, so they're voting purely on looks—and looking through their eyes, yeah, what makes square-jawed Cary or chinless James worth watching?

and I think what I've come to is that Cary Grant is always outside whatever movie you're watching him in, which is his particular appeal, while James Stewart is always deeply inside the movie, and that's his. Cary Grant plays every role with a little wink and a smile, always a slight touch of artificiality, and he's always Cary Grant™—the suit, the hair, the tone. He could turn to the screen and wink at you because he never seems that trapped in what he's doing at any given time. He could step out of the screen and still be this creation Archibald Leach made.

And James Stewart, meanwhile, is always playing the same handful of characteristics—the voice, the swallow, the slight awkward tallness, the lowered brow—but no matter what is happening to him, he always conveys that he believes it. There's not a soul of a wink in his performances. He believes the 6' tall rabbit, the angel on the bridge, the murder in his lens. No matter how insane the story, Jimmy Stewart conveys that he is entirely involved in it, grounded to the point of no separation.

Maybe that's what makes The Philadelphia Story such a magic experiment in onscreen chemistry—Cary standing on the sides of the action, seemingly never that bothered that his former wife is running off with two different men, always a slight smile away; Jimmy, meanwhile, immediately entangled in the story, immediately getting into fights and bungling into things and 100% inside.

[earth-updates-today]

screw the other anon. they were thinking too small. make ME the ruler of EVERYTHING IN THE END!!!

NO. NO. BAD. BAPS YOU WITH A ROLLED UP NEWSPAPER. BEGONE, TIME ITSELF

[biollyante]

welp. day 2 of cringetober.... self-insert.

This is Ur, short for Eurynomea. Wears a mask because like hell she's going to introduce new illnesses (or catch them!) from this weird planet. Too-many-sizes-too-large uniform with enough pockets to hide seemingly infinite bits and bobs, tools, food, and act as armor in a pinch. Who knew sewing could be a defensive skill?

[baejax-the-great]

Back on r/AO3 and I'm about to write a fucking etiquette book for how to comment

[chloe-spade]

A Doomed Love Story (Noco x Island of the Slaughtered)

We were both young when I first saw you

I close my eyes and the flashback starts

❤️

Noah saw a boy when he entered the docks, a strange brown-haired boy, but he was smiling. It was weird; no one had smiled at him like that before, but he waved before joining the others.

It was one of Noah's first moments with Cody.

❤️

I'm standin' there

On a balcony in summer air

See the lights, see the party, the ball gowns

See you make your way through the crowd

And say, "Hello"

❤️

"Hey, I'm Cody, Cody E.J Anderson, you?" The boy smiled at him as they unpacked at the cabins. "We never introduced ourselves to each other."

Noah was silent, but he spoke briefly, "Noah Mudalier Streaca."

"Oh, I like that name. How about we get some breakfast together before the challenge?" Cody recommended. "Maybe we should get to know each other? I get it if you don't, though."

"I prefer to read, but…if you insist," Noah nodded and got up, following the boy out.

Cody was an interesting person, to say the least, and Noah could see that he tolerated him, even during the challenge. He felt odd, but he knew what it was; it was love, an emotion he thought was foreign to him, but being with Cody made that emotion much more known.

❤️

Little did I know

That you were Romeo, you were throwin' pebbles

And my daddy said, "Stay away from Juliet"

And I was cryin' on the staircase

Beggin' you, "Please don't go, " and I said

❤️

Before the challenge began, Noah, being a schemer, knew he had to take a chance with someone in hopes of winning. He started with Owen simply by tolerating his jokes, pretending to laugh even, but Cody was a different story, so when they were together, no one was there. Noah had to make sure that Heather wasn't even there as well.

Cody was confused but felt chills as Noah wrapped his arms around his neck and whispered an invitation in his ear.

❤️

Romeo, take me somewhere we can be alone

I'll be waiting, all there's left to do is run

You'll be the prince and I'll be the princess

It's a love story, baby, just say…

❤️

Noah smiles at Cody's blushing, but it works enough that after the first challenge to chat amongst themselves, he can't help but let these feelings develop, even to a small shy kiss behind the cabins, to their enjoyment. They talked much about themselves, both from not-so-great upbringings and joining Total Drama was an attempt to be bigger than they were.

But that is when things get worse since Geoff's screams fill the camp.

Ezekiel, the Canadian homeboy, was murdered, and body pieces were spread around the camp, which resulted in the abandonment and the string of murders when they stayed even longer.

❤️

So I sneak out to the garden to see you

We keep quiet, 'cause we're dead if they knew

So close your eyes

Escape this town for a little while, oh oh

❤️

He remembered why it all started and how badly things kept going, but having new friends, Owen, Eva, and Izzy, made him feel better. Having a small fling with Cody also helped. Even when they were alone, things were made better, but Noah knew it wouldn't last in this horrid place.

Cody did say something that made him better.

"Focus on the now,"

Noah did. He always tried to focus on the now, only planning when he had to. This helped many survive close encounters. Owen claimed that Noah was a great leader, but Noah couldn't be bothered with that position, especially with his messed-up head after seeing Tyler's elongated body, which made him throw up at the sight.

❤️

'Cause you were Romeo, I was a scarlet letter

And my daddy said, "Stay away from Juliet"

But you were everything to me

I was beggin' you, "Please don't go, " and I said

❤️

When the day came to rummage, Noah was with Duncan, Bridgette, Izzy, Courtney, Cody, and Katie, while the others were with Eva. Noah kept his mouth shut regarding Duncan's rash demands, but within the circumstances, Noah didn't make it a big deal. But when Noah realized they were around in circles, he had to call it out, which, in hindsight, didn't help with Duncan. Noah didn't come to fight, but Duncan did, as Noah tried to end it. Duncan escalated it to japing at Noah's loneliness and odd obsession with being with someone else despite being a loner.

Cody and Izzy, as expected, defended Noah, but Duncan wasn't having it. Noah didn't expect Duncan to grab them both harshly in the arms and demand to leave. But Noah couldn't let that happen. He felt powerless, even when he tried to speak. Duncan was more threatening, and his delinquent status made it easy for the girls to listen to him.

But Noah looked Cody in the eyes, and Cody knew what those eyes meant.

❤️

Romeo, take me somewhere we can be alone

I'll be waiting, all there's left to do is run

You'll be the prince and I'll be the princess

It's a love story, baby, just say, "Yes"

Romeo, save me, they're tryna tell me how to feel

This love is difficult, but it's real

Don't be afraid, we'll make it out of this mess

It's a love story, baby, just say, "Yes"

Oh, oh

❤️

Noah wished he could've kept his mouth shut but was alone and scared. Imaging him with his friends helped, but only a little. The only noises around him were the wind brushing against the leaves and the occasional howl of the wolf, an unfortunate reminder of Sadie's demise a few days prior.

But he felt bitter, and he chose to sit down to collect his thoughts, but he couldn't, even when he tried.

❤️

I got tired of waiting.

Wonderin' if you were ever comin' around

My faith in you was fading

When I met you on the outskirts of town, and I said

❤️

Those thoughts of loneliness were amplified as he felt the rope around his neck and the knife stabbing his shoulder. His body was forced into the water, and his body sank. He had never felt so cold in his life, and he was shivering once he burst out of the water, trying to gasp for air, but a realization hit him.

He didn't need it anymore.

He was dead.

Noah was dead.

He was now a ghost, a ghost who saw his own body lifeless on the docks. Seeing his eyes dull and lifeless was odd, but he couldn't help but stare at it for who knows how long.

Noah remembered it clearly, but he should have expected it. But the loneliness continued; it made him question why he even fought with Duncan in the first place. None of it truly mattered, did it? Noah hated it, feeling like a naive fool. He wanted to scream, but his voice was more hoarse than usual, and no one could hear him. He could only look forward.

But his worst fear came to reality.

He heard Cody scream his name, his voice becoming more panicked as he continued to cry. Noah didn't want Cody to see his dead body, but it was too late. He saw how Cody stopped midscream, and he rushed towards Noah's dead body, his hands hesitating to grab his body. Cody didn't want to comprehend that Noah, one of the most intelligent people he knew, died so quickly. Noah could hear Cody begging Noah's body to wake up, but nothing could wake a dead body.

Noah sighed sadly, wishing he could tell Cody to leave, but it was inevitable at this point.

❤️

Romeo, save me, I've been feeling so alone

I keep waiting for you, but you never come

Is this in my head? I don't know what to think

❤️

Noah gasped as he saw Cody cuddling his dead body, sobbing. He didn't comprehend how much Cody would feel. He heard a loud proclamation of love; his voice was broken from sadness and terror even when Cody cried. He knew Noah could probably hear, but it fell on the dead ears of his love.

❤️

He knelt to the ground and pulled out a ring

And said, "Marry me, Juliet

You'll never have to be alone

I love you and that's all I really know

I talked to your dad, go pick out a white dress

It's a love story, baby, just say,

❤️

Noah, despite being internally soaked, felt tears dripping down his face, and he swam close to Cody, hating how the brunette held his dead body close, trying to warm him up the best he could.

He knew he had an answer to that…

"Yes."

That was the last thing he could even say before Gwen had to pick him up and walk away.

Leaving Noah alone.

Again.

(Island of the Slaughtered owned by @eavee-ry)

[newwavesylviaplath]

idk guys i saw this on pinterest and thought to myself "very james patrick march kai anderson core!" so here 😘

[iamtrashboatsworld]

I interrupt my usual 911 content to bring a fake cover of a comic I did forever ago that I might or might not actually make so yeahhhhhhhhhh

[calciumcryptid]

Oh, I forgot about the little details of the ghosts having lives before they died and their tragic deaths.

[3416]

rate austons attractiveness 1-10. like honestly

i mean............. 10. LOL

[delicateartisantrash]

My Mom Is Cool

My mom is unfamiliar with the term "robofucker" and has probably not heard me say "robot porn" because i think i usually say Allen or just Transformer or something

Anyhow she just referred to one of my stories i was showing her the stats on (my mom likes following my author blog progress and she also sometimes reads the reviews with me we're silly yes) as Techno Smut and I

how was I today years old hearing that for the first time

I love it

I'm stealing it

T e c h n o s m u t

conversations I never thought I'd have with my mom, I adore her.

[hanakihan]

man you have no idea the sheer DESIRE to write something about Titanic esque chulwoo AU

The main drill is that Sungs come from a rather wealthy old noble family (courtesy of Ashborn as their predecessor being royal knight or smth), Jin-Woo is a next heir while Jin-Ah studies to become a doctor (or a nurse depending on timeline it happens im not even completely sure with setting but probably og titanic vibe mixed with Korean Idek wheeze) and parents send them on a cruise ship for vacation (and in hopes jinwoo will meet nice noblewoman or any woman since sungs are pretty chill about bloodline)

Then there’s Jin-Chul who’s a ship engineer/captain in training courtesy of navy captain on pension Gun-Hee. Gun-Hee comes from rather humble background but managed to reach rather prestigious position of first navy and then civil ship captain but now he’s on pension, and this man is an example to Jin-Chul that you can reach your dream despite your upbringing. Jin-Chul himself also comes from rather humble background on verge of poverty but money and fame never fascinated him, but ships and sailing did. When Jin-Chul was assigned on Gun-Hee’s ship as a new engineer, Gun-Hee saw talent in boy and unofficially took him under his wing teaching him to be a captain. Then Gun-Hee left (or honestly more likely was forcefully dismissed) and Jin-Chul got assigned as one of engineers/coal workers on this giant ship, but Gun-Hee still sails under his own name as a trader or smth like that.

Cue sailing day and at evening Jin-Woo excused himself since noble parties bore him to death and anyway, evening is beautiful and sea is calm. Wandering around he stumbles upon Jin-Chul doing small repairs and who nearly hit Jin-Woo in nose with his elbow because he came too close without announcement. Jin-Chul stiffly apologizing because he knows how annoying nobles can be but is surprised when Jin-Woo is the one to apologize for being so careless and invites him for an apology tea or coffee since compared to other choices Jin-Chul seems as a perfect company thanks to his sharp tongue, wits and knowledge.

Some day of cruise pass and they become rather close friends, Jin-Woo visits Jin-Chul in lowest decks which surprises everyone here and they have a rather nice drinking and dancing session, while in turn Jin-Woo helps Jin-Chul to sneak in 1st class deck so they can chat and play chess in peace of room (and so he can introduce Jin-Chul to Jin-Ah). Jin-Woo even tries to gift Jin-Chul his sapphire brooch so he can sell it for nice sum of money and get his own ship or even open his own company or smth, but Jin-Chul politely refuses, satisfied with their friendship.

Cue disaster night. Now think about captain being an incompetent prick (maybe even on levels of Costa Concordia captain damn) and fucking up entire probably miss into sure hit (even if Jin-Chul risked it and asked people to follow his instructions despite it being a big ass discipline insubordination but no one really minded because people saw that captain gives shit orders) but since bridge was still under captains command, instructions contradicted, but it still allowed a graze hit rather than direct one. So yea this gets worse, Jin-Chul was in section that suffered from impact and got tore, barely got out of here along with most of his men. Seeing how fast water fills decks he tells people to go higher and himself runs to find Sungs or other people he knows. Apparently he finds panicking Jin-Ah and through dangers of ice cold water and falling construction manages to cross paths with Jin-Woo until they got separated again. They manage to get out of sinking shell that nearly becomes their coffin (because he promised Jin-Woo to take care of and save Jin-Ah no matter what goddamnit), Jin-Chul manages to place Jin-Ah on some drifting wood before starting to sink because of cold water.

Now, I’m a sucker for happy endings despite shit looking really bad, so let’s say Jin-Woo with others on safe boat manages to find shell shocked Jin-Ah wrapped in Jin-Chul’s coat, pointing at water and trying to say something with her teeth chattering and managing to say that he’s drowning, Jin-Woo saying ‘not on my fucking watch’ and jumps after, managing to grab him and drag on surface, man is absolutely freezing with lips blue and not really conscious but still weakly breathing.

ANYWAY they safely get back on shore, they all get medical treatment, Jin-Chul earns himself pneumonia (well fuck his sailing dreams ig), Sungs’ gratitude for saving their children and a fucking trial because captain blamed entire catastrophe on lower deck crew defying his orders and following engineer’s ones and that’s a big ass crime in navy. Things ain’t looking good because they want to prosecute him in shortest time to give people answers who’s the guilty one, Jin-Woo is really ready to throw hands with people, Jin-Chul’s patient explanations through coughs ain’t helping because no one can confirm accuracy of his words and that’s when Gun-Hee himself enters court saying smth like ‘maybe you should interrogate deck staff too to hear what commands captain was giving’ and then our sir proceeds to destroy this captain‘s whole career. Jin-Chul is cleaned of accusations and becomes a sort of a good example semi-legend, but thanks to extreme colds diving he now can’t sail on long distances but fear not Gun-Hee invites him to work for him since Jin-Chul is out of commission and Jin-Woo once again gifts Jin-Chul a sapphire brooch but this time asking if Jin-Chul will share future with him. Jin-Chul honestly having ??? reaction while Jin-Woo with the most deadpan face asks ‘You seriously think I’ll dive into cold waters of ocean at night to drag you on surface and then using my body warmth to keep you alive if i didn’t cared about you???’

[fisherrprince]

my desire to start shadowbringers vs my desire to “finish some things up” before I just. To my understanding Leave This Plane Of Existence and not come back

[the---hermit]

Miti E Leggende Dei Celti by Mila Fois

This is going to be a long one. So, I got this book a couple of weeks ago because of two reasons. Firstly I have been looking for a book on Celtic myths for a long time, and secondly this looked like a very nice and curated edition. It's illustrated with a lovely artstyle, overall it's one of those books that calls to you when you see it on a book shelf. My opinions on the book itself have to be devided in two sections, the first being the actual story so the myths and legeds which of course are traditional tales and not the author's idea, and the way the author decided to work on said stories, presenting them to the public and so on. I have to do this because I absolutely despised the book but I actually liked the stories. The thing is that I am very very frustrated with the author and the publisher whoever is responsible for this, but let's talk about one thing at the time. The stories were fine, it was my first time actually approaching them, and though I didn't love the narration style of the author I enjoyed my time with them. I would love to read another's author's approach at telling these tales, because overall I would love to learn more about Irish traditional myths and tales. I am using the word Irish instead of Celtic because at the end of the day that's what the book should have been called. Yes, most of these stories are Celtic myths, but part of the book is just Irish folklore and it's not addressed, moreover two stories end with Irealand being already christianized? This is one of the first things that didn't make me happy because how can it be a Celtic myth if it ends with their own change of fate? And I believe this introduces well the general problem of this book, it's very imprecise and superficial. I am aware it's not an academic text, but still that is not an excuse for how imprecise it is and it wasn't even a cheap book. There's absolutely no glossary or notes that explain some words that believe me an average Italian person who has never read on the topic before wouldn't know and would have to google (and this is a book made for people who would just like to dive in myths as stories for fun). There's no guide to pronunciation, and that would have been needed even if in a small form, because of course Gaeilge has very different sounds than Italian so why not help the reader? And finally continuing on the imprecisions I think they made a poor choice of translation that needed a note to be contextualized. I am getting into the specifics but the historian in me gets frustrated easily with this stuff, because I don't understand how you can publish something is badly curated and misinformation go on even if it's a small thing, it just doesn't sit right with me especially since the author apparently graduated cum laude with a thesis in history of religions. Anyway the thing is of course fae folk are mentioned and since there is not a precise Italian translation of the term the author used a couple of other creature names that are kinda similar, but not the same thing since we are talking about different traditions. Nowhere in the book there was a note explaining that "hey I decided to use said and said word because of x reason but bear in mind that they are different creatures in such a way". I am so annoyed at how poorly it was curated, the tales are worth it but not in this form, and again the fact that someone who seems to have graduated in the history of religions should not have made these approximations. It feels like betrayal from within your household, there's already so much misinformation and approximation on historical matters, so especially since this is not an academic text but something that anyone would pick up you should be extra-careful in the way you expose things, and the informations you decide to put out in the world.