#was thinking Northern Line

[skelkankaos]

trying to git gud at ibispaint again so here's some chibis. got a Brandon and a Norma

[ca-d]

perseids and northern lights?!!?! magical ✨

[ollyollyaxe]

some markiepoos from my sketchbook <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.

[tomicaleto]

Something I was thinking about today: I wish video games like Stardew Valley or those that mirror our world had the option of choosing hemispheres, you know? Just at the beginning of the game, you pick language, your name and your hemisphere. Unless the game is set on a specific place, I don't think it would alter gameplay too much, but it would be neat having events themed to the correct seasons, you get me? I don't want autumn themed events during my spring time

[variousqueerthings]

this doesn't even include any lyrics from "sexy train" which has bangers like:

[rubberduckzi11a]

“If I get too close and I’m not how you hoped…”

Fuck.

[valiant-portabella-pirkko]

Alright know what here's a little Guild Wars 2 reblog game for everybody; what mounts (if any) do your characters have in their canon, do they have names? Personalities? How'd they meet??

Spill it all below, tell me about all your creatures!!

[bowl-of-ramen-and-mushrooms]

If you're in North America, look northwards! At around eleven pm till like two am there will be northern lights visible!!! I have no clue for how far, but I'm in California and saw them. Keep your eyes on the sky!

ANYWAY! In honor of this, here you go.

It, it was cold. She should've expected it, but, it was nice. To feel cold again. To be able to feel that.

It was strange, to be out. After she had spent so long in that digital hell. The breeze on her skin, in her hair, the goosebumps running along her arms from the chill.

Perhaps the best part of it was being able to drag her friends with her, both human, and, well, ai.

The silently gaping figures could attest to that. Small forms staring up at the sky in awe.

She couldn't blame them, she was doing the same thing herself. It wasn't everyday that the northern lights were visible in Oregon.

The sky was red with streaks of green near the bottom, occasionally darting through the red in a brilliant display of color.

The whole city had lost its power, lights blacked out to reveal the milky way. Shining and stable as opposed to the ever changing light in front of them.

"What? What is this?" The NPC asked from beside her, she turned to look at him, seeing nothing but his silhouette in the comforting darkness. It was almost never dark I the circus, and certainly never to this level.

"The northern lights," she said breathlessly, looking back at the sky. Shooting stars making themselves known as the lights in front of them changed on it's whims, something that goes against the usual stillness of the stars.

"Aren't those, y'know, in the North, aka, not in," Jax took a look around, but ultimately didn't have a clue, "someplace where overalls and a T-shirt is appropriate clothing."

Someone behind her snorted a laugh, but her eyes were solely on the sky.

"It's a cme!" Kinger piped up, startling her slightly, "a coronal mass ejection, it's when the sun spits more energy at us than usual, knocking out electronics and making the Aurora visible."

She huffed a small laugh while Ragatha made a questioning noise behind her.

"How do you know all this Kinger?"

"Know what?"

"About, about the sciency stuff you were just spewin' out," Gummigoo said in confusion, looking around at the other circus members for support.

She silently shook her head, knocking her side against his gently. He stumbled slightly, probably from the lack of a tail to help balance, but recovered quickly.

The sky was beautiful, and the silence they descended into was comfortable. A barrier against the storm of emotions that would surely batter them tomorrow.

But all that mattered right now was the sky and the breeze, this is what she'll hold on to, this moment, this feeling.

Nothing would be able to take it from her again.

[the-magpie-archives]

Yknow one of the first signs that Martin's a badass is that he actually felt safe on the northern line after meeting prentiss... For those of you who haven't been subjected to its horrors, here's a few things you should know:

-it is fucking LOUD. Tube trains are loud, but northern line is the loudest. Like, permanent ear damage loud if you travel on it regularly.

-it shakes you about a LOT! Okay all the underground trains do, but on the northern line its more random and jarring.

-it is CONFUSING. There's several different branches/routes that take you to entirely different places, and if you find yourself on the wrong one you have to change trains at Camden Town! A notoriously busy station!

-in reputation, it's in competition for the worst line on the underground! Its main rivals are the central line and bakerloo line, but a large percentage of Londoners (myself included) consider it the worst one.

So in essence, Martin, pursued by worms, found comfort in a place that activates my fight or flight response on the best of days! That half an hour of being deafened and shaken about in a tiny tube underground calmed him down, and that's absolutely tougher than surviving an apocalypse.

[atopvisenyashill]

OH WAIT RE: MY PERSONAL FANCASTS

i always imagine edward james olmos when i picture jeor mormont

[vault81]

Map of the Commonwealth (25.12.2287)

Featuring all (currently) known factions and their territories

[imaginarianisms]

more asoiaf comparisons, parallels & antiparallels to the first dance of the dragons vs the second & final dance of the dragons (& possibly the sixth blackfyre rebellion): the blacks being daenerys i targaryen's supporters, the golds being aegon vi targaryen's supporters, tommen baratheon being a close equivalent to gaemon palehair & his mother essie & sylvenna sand which may be interpreted as a parallel with queen cersei lannister & taena merryweather of myr, trystane truefyre being a close equivalent to aegon/young griff & perkin being jon connington & the shepherd being the new high septon the high sparrow, dalton greyjoy being euron i greyjoy's ancestor & the latter surpassing him, alyn waters later alyn velaryon resembling aurane waters later aurane velaryon & finishing what their ancestors started. history repeats itself.

[ndostairlyrium]

We did it Carla, you got avenged!

[doctorwhoisadhd]

so wait, since i was just reminded of the recorder thing donna talked about in the giggle, i now have a question for uk ppl: do yall learn the recorder in school? like in a music class? and like how much do yall have music class over there?

[sheila--e]

yanks are mad under that carpincho post