#why don't they want to adapt it?

[charlesoberonn]

Why does Hollywood refuse to adapt Doctor Doom faithfully?

[dailyloopdeloop]

loop and mirabelle. That's it that's the ask

DAY 84: enrolled in the gossip wars

[isthatacalzone]

me: *seeing people yell about how they did Glintshore & Percy's death in the show*

also me: ..................anyway

[bookwyrm-art-stuff]

Just about finished scum villain, which means I'm letting myself take a look at the fandom. I thought I was prepared for this- "I've already experienced TGCF and MDZS, how much worse could this be?"

You fool.

[daisy-mooon]

"I want Annabeth to be blonde :(" then pick up a PJO book and read it you dumb fuck

[thunderboltfire]

I have a lot of complicated feelings when it comes to what Neflix has done with the Witcher, but my probably least favourite is the line of argumentation that originated during shitstorms related to the first and second season that I was unlucky to witness.

It boils down to "Netflix's reinterpretation and vision is valid, because the Witcher books are not written to be slavic. The overwhelming Slavic aestetic is CDPR's interpretation, and the setting in the original books is universally European, as there are references to Arthurian mythos and celtic languages" And I'm not sure where this argument originated and whether it's parroting Sapkowski's own words or a common stance of people who haven't considered the underlying themes of the books series. Because while it's true that there are a lot of western european influences in the Witcher, it's still Central/Eastern European to the bone, and at its core, the lack of understanding of this topic is what makes the Netflix series inauthentic in my eyes.

The slavicness of the Witcher goes deeper than the aestetics, mannerisms, vodka and sour cucumbers. Deeper than Zoltan wrapping his sword with leopard pelt, like he was a hussar. Deeper than the Redanian queen Hedvig and her white eagle on the red field.

What Witcher is actually about? It's a story about destiny, sure. It's a sword-and-sorcery style, antiheroic deconstruction of a fairy tale, too, and it's a weird mix of many culture's influences.

But it's also a story about mundane evil and mundane good. If You think about most dark, gritty problems the world of Witcher faces, it's xenophobia and discrimination, insularism and superstition. Deep-seated fear of the unknown, the powerlessness of common people in the face of danger, war, poverty and hunger. It's what makes people spit over their left shoulder when they see a witcher, it's what makes them distrust their neighbor, clinging to anything they deem safe and known. It's their misfortune and pent-up anger that make them seek scapegoats and be mindlessly, mundanely cruel to the ones weaker than themselves.

There are of course evil wizards, complicated conspiracies and crowned heads, yes. But much of the destruction and depravity is rooted in everyday mundane cycle of violence and misery. The worst monsters in the series are not those killed with a silver sword, but with steel. it's hard to explain but it's the same sort of motiveless, mundane evil that still persist in our poorer regions, born out of generations-long poverty and misery. The behaviour of peasants in Witcher, and the distrust towards authority including kings and monarchs didn't come from nowhere.

On the other hand, among those same, desperately poor people, there is always someone who will share their meal with a traveller, who will risk their safety pulling a wounded stranger off the road into safety. Inconditional kindness among inconditional hate. Most of Geralt's friends try to be decent people in the horrible world. This sort of contrasting mentalities in the recently war-ridden world is intimately familiar to Eastern and Cetral Europe.

But it doesn't end here. Nilfgaard is also a uniquely Central/Eastern European threat. It's a combination of the Third Reich in its aestetics and its sense of superiority and the Stalinist USSR with its personality cult, vast territory and huge army, and as such it's instantly recognisable by anybody whose country was unlucky enough to be caught in-between those two forces. Nilfgaard implements total war and looks upon the northerners with contempt, conscripts the conquered people forcibly, denying them the right of their own identity. It may seem familiar and relevant to many opressed people, but it's in its essence the processing of the trauma of the WW2 and subsequent occupation.

My favourite case are the nonhumans, because their treatment is in a sense a reminder of our worst traits and the worst sins in our history - the regional antisemitism and/or xenophobia, violence, local pogroms. But at the very same time, the dilemma of Scoia'Tael, their impossible choice between maintaining their identity, a small semblance of freedom and their survival, them hiding in the forests, even the fact that they are generally deemed bandits, it all touches the very traumatic parts of specifically Polish history, such as January Uprising, Warsaw Uprising, Ghetto Uprising, the underground resistance in WW2 and the subsequent complicated problem of the Cursed Soldiers all at once. They are the 'other' to the general population, but their underlying struggle is also intimately known to us.

The slavic monsters are an aestetic choice, yes, but I think they are also a reflection of our local, private sins. These are our own, insular boogeymen, fears made flesh. They reproduce due to horrors of the war or they are an unprovoked misfortune that descends from nowhere and whose appearance amplifies the local injustices.

I'm not talking about many, many tiny references that exist in the books, these are just the most blatant examples that come to mind. Anyway, the thing is, whether Sapkowski has intended it or not, Witcher is slavic and it's Polish because it contains social commentary. Many aspects of its worldbuilding reflect our traumas and our national sins. It's not exclusively Polish in its influences and philosophical motifs of course, but it's obvious it doesn't exist in a vacuum.

And it seems to me that the inherently Eastern European aspects of Witcher are what was immediately rewritten in the series. It seems to me that the subtler underlying conflicts were reshaped to be centered around servitude, class and gender disparity, and Nilfgaard is more of a fanatic terrorist state than an imposing, totalitarian empire. A lot of complexity seems to be abandoned in lieu of usual high-fantasy wordbuilding. It's especially weird to me because it was completely unnecessary. The Witcher books didn't need to be adjusted to speak about relevant problems - they already did it! The problem of acceptance and discrimination is a very prevalent theme throughout the story! They are many strong female characters too, and they are well written. Honestly I don't know if I should find it insulting towards their viewers that they thought it won't be understood as it was and has to be somehow reshaped to fit the american perpective, because the current problems are very much discussed in there and Sapkowski is not subtle in showing that genocide and discrimination is evil. Heck, anyone who has read the ending knows how tragic it makes the whole story.

It also seems quite disrespectful, because they've basically taken a well-established piece of our domestic literature and popular culture and decided that the social commentary in it is not relevant. It is as if all it referenced was just not important enough and they decided to use it as an opportunity to talk about the problems they consider important. And don't get me wrong, I'm not forcing anyone to write about Central European problems and traumas, I'm just confused that they've taken the piece of art already containing such a perspective on the popular and relevant problem and they just... disregarded it, because it wasn't their exact perspective on said problem.

And I think this homogenisation, maybe even from a certain point of view you could say it's worldview sanitisation is a problem, because it's really ironic, isn't it? To talk about inclusivity in a story which among other problems is about being different, and in the same time to get rid of motifs, themes and references because they are foreign? Because if something presents a different perspective it suddenly is less desirable?

There was a lot of talking about the showrunners travelling to Poland to understand the Witcher's slavic spirit and how to convey it. I don't think they really meant it beyond the most superficial, paper-thin facade.

[focsle]

I hate and love that my comic scratches the ultimate itch of the sort of narrative I want to consume because on the one hand, I love working on it and it is fully my Essence. But on the other hand, when I want to unwind and am craving a particular Type Of Story only to remember that it doesn't exist I'm just like......do I gotta do everything myself?

[necrotic-nephilim]

If you want to be bothered. Maybe this for dick and Bruce???

i ALWAYS want to be bothered these are always the highlight of my day tbh you're a delight for letting me just yap <3

Dick. For the canon isn't real square I am Specifically talking about the Tom Taylor Nightwing run. Usually I ignore bad runs but given this one is ongoing (though about to end THANK GOD and get replaced by Dan Watters who i have high hopes for since i adored his Sword of Azrael (2022) run but i digress) so I counted it. Especially since it's so debated if that run is bad or not, for some reason. I'm a 90s Nightwing truther. I love Dick so dearly and tbh recently I've been more enamored with him the more I read his Discowing era, I didn't used to be as big of a Dick stan as I am these days.

Bruce. Honestly where do you even start with Bruce. I want to fist fight him and also patch him up. He got me into comics and superheroes as a whole but I roll my eyes whenever he shows up in a story. He's a bastard and usually not a good father but also complex and should be dissected under a magnifying glass. I love him dearly. He's also just the worst. I think that's why I love him. I'm always a fan of unabashedly Complicated Asshole Bruce who's generally not always the best person, particularly not to the Batfamily and that being the driving force of his relationships with them, especially in shipping.

And for bonus points, Tim. Because know above all else, I'm a Tim Drake kinnie /deg. He's been my number one for a decade and I've yet to uproot him from my brain. He's literally the Worst half the time and I love him for it. And the canon isn't real refers to Tim Drake: Robin because... that sure was a comic. And that's about all I can say about it. Pre-Flashpoint Tim I miss you so dearly. I think it's fun that I want to put him in a blender and drink the juice but also want Nothing Ever to happen to him.

[saline-coelacanth]

I cannot deal with this emotional whiplash that is the excitement of Morro coming back along with more Evil Jay followed by the immediate dread of hearing live action Ninjago movie what in the world is actually happening today???

[christianbalesblueadidas]

praying the new american psycho movie will get scrapped and, if not, will flop

[honeygrahambitch]

Came across a poll regarding who the best therapist in Hannibal nbc is and I just want to ask if the people who voted for Alana Bloom are talking about the Alana Bloom in the series

[morninkim]

As a show of good faith toward the remaining Decepticons at the beginning of a new, united Cybertron, newly appointed Senators Bumblebee and Soundwave allowed Shatter and Dropkick to enlist into Autobot City's Defense Team.

These two turned out to be... not the best choices.

The city may have fallen to Insurgent Decepticon occupation had it not been for young recruits Hot Rod and Arcee's accidental interception of Shatter's communication with the fugitive Starscream.

To replace the errant Defense Team members, Springer and Blurr were reassigned from Iacon to Autobot City in their stead.

[brinelakes]

gotten into making 88x31 buttons recently

free to use, credit appreciated ^_^

[cl4ssyjazzy]

Shen Qingqiu of the Transmigration variety.

Got back to drawing lately because the Chinese gays got me (again) So I drew the big silly on my sketchbook and felt like sharing!

[tomthefanboy]

D&D Movie Follows the Rules

I want to make it very clear that this was not a criteria for me to enjoy D&D Honor Among Thieves. I would not have blamed the actors, crew, or writers if this had not been the case…

I was unable to find anything that would interfere with the Rules as Written.

There are things that go beyond the rules included in the Player's Handbook, yes. But everything is well within the realm of feats, magic items, and background abilities that needn't be specifically called out or even have visible evidence. Everything in the film is BALANCED. ESPECIALLY for high level characters.

In every fight scene I compulsively counted 6 second rounds and saw no damage dealt that would be beyond the normal number of attacks for the character. Weapons drawn fell within the range of bonus actions. No spells cast too quick. No simultaneous concentration spells. Spells stayed in keeping with saving throws, durations, ranges, and areas of effect. Creature abilities and attacks matched their statistic entries. Class abilities like rage or wild magic even stayed in their framework.

One possible issue would be wildshape going beyond the usual "twice per day"and shows 6 uses in one encounter. But a feat to trade spell slots for shapes fixes that! Even the owlbear of it all is easy enough to dismiss with Polymorph, a magic item, or simply replacing the Circle of the Moon's Elemental form with 4 Monstrosities (more than fair since it's a drop from CR5 to CR3). But even if you had to bend the capabilities, the uses of wildshape are still utilized as actions and bonus actions within their rounds and don't grant any abilities not in keeping with rules.

Bigger nerds than me can cry homebrew all they want but the DMG provides framework for changes in keeping with game balance and Tasha's Cauldron laid the groundwork for even more customization. And if you let player characters craft magic items then you might as well just log off mad about it.

It's all there on the page! (It's even more rules compliant if you don't restrict yourself to 5th edition. I can show you all SORTS of nonsense you can get away with if you turn back the clock!)

D&D Honor Among Thieves is more than a great movie! The diverse cast, the detailed production design, the writing that mixes high fantasy with the hi-jinks that INEVITABLY happen at the game table, and the unnecessarily accurate choreography make it a MASTERPIECE in adaptation!

[0rosenstern0]

Okay TIME TO GET IN