#working things out live in the tags

[mercless]

🗡 this art is big insp for hc tal...

[kagoutiss]

pelican town, ‘72

[muffinlance]

Do you get the impression the live action is treating us like utter morons?? Like I thought that making it aimed at an older audience would open the doors for more subtle story telling, but no, they're just using monologues to tell us eveything! Like in the second episode Katara's like 'oh his power isn't that he's the avatar, it's that he ~connects~ to people'. Girl we're not idiots we can see that!! And the first episode with Aang's goddawful 'I don't want this responsibility' monologue

THIS, YES. The word that keeps coming to mind is definitely "subtlety". The show for literal children? Had it. The remake for adults? Not so much.

[realbeefman]

stacy is sooo interesting because she's in love with house but knows that they will never ever be able to have a healthy, stable, sane relationship because they're too similar so. she finds house-lite instead and marries him and. essentially moves on with her life! and is successful in this because she's a moderately well-adjusted person!

wilson, in contrast, never manages to escape the inevitable, in spite of his best efforts to find a house-lite of his very own, because he's an absolute fucking freak and ends up glued to house to the bitter. bitter end

[coolnonsenseworld]

Samurai and Ninja in crappy pics because December here is under a constant cloud and I just want y'all to see them all golden and cute without learning how to take aesthetic pictures 🥴 💙❤️😆🥰

linktr.ee/Mezzy

[markscherz]

I salivate at the thought of skinning you alive

oh good, I thought I'd been left out. [for context to the reader, this is a reference to this post (I hope)]

On the spectrum from crocodile to passerine, I can only hope that human would be closer to crocodile, but not so close to be quite as tiring.

[blue-eli]

Skuld in quantum design :)

[screwpinecaprice]

While venturing an ancient gem temple, they stumbled upon a modified light that can corrupt humans! Connie was able to fully move Steven out of the beam's range by pushing him off the stairs.

Commissioned by TheTinman1996! Thank you for commissioning!! 😁

[tinartss]

on moving out

[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.

[desatu]

never forgive me. never forget me.

original prompt & following reblogs by @im-totally-not-an-alien-2 | ao3 ficlet

[yuzuuu4]

(oc) a group of syls is called a silly

[puppyeared]

people who do STEM or administration as a career full time and continue to do art as a hobby, I am scared of you but like in a hot way. youre like if we were allowed to have cold drinks in winter. i look at you and think of miles morales with his two cakes. do you want to make out sometime

[prncewilhelm]

craaazy that some of you are so determined he stays within the mould when the entire show is chronicling him breaking out of it 

[signoraviolettavalery]

I went on Twitter and the FIRST post was this Bojan pic of the day from Joker Out Daily:

WHAT THE FUCK, STOP CHOOSING VIOLENCE

[summertimemusician]

Linktober Day 9

Deity

*sneezes after downing coffee* Well irl stuff got in the way so I'm way behind my original schedule for these and for Linktober but here we go with another arguably short one, fuelled purely by self indulgence, headcanons, spite against my linguist essays that kept me from keeping to schedule, severe sleep deprivation, a shout out to the Ender Lilies soundtrack and Majora's Mask soundtrack, and Nintendo for not clarifying anything about the lore so I'm snatching what I can and making it my own lol. Look, when you fíxate so much on details the Zelda team doesn't elaborate on you have to fill in the gaps with what you can.

As always can be read as romantic or platonic, technically in a LU context but not explicitly in it by itself.

The Lord of the Mountain liked hearing people sing.

In a way, it wasn’t a surprise, Hylia and the Golden Three each had their ballads and symphonies and minuets, each splendid and with cuts of their divinity in it, Farore was fond of lightning and forest alive minuets, and you could swear Farosh sparked just a bit brighter when one would him the beginnings of the Minuet of the Forest near their spring, Din was fond of boleros, fiery and alive and howling with the echo of flame touching earth that made a shine run through Dinraal’s scales, Nayru, in contrast, was much fonder of blizzard and river quiet serenades, the songs of contemplation at first snow ringing clear when Naydra curled around it’s spring, content to be free of Malice.

And of course Hylia had her ballads and lullabies, perfectly fitting to her display of divinity, of honey days and vast bird like wings, of ambered summers to come and to pass and dazzling solar storms of starlight and sunlight sparking through the human form of her descendants and heroes. So in a way, you weren’t surprised at all that the Lord of the Mountain – Satori, with a familiar touch of londsleite divinity, the hunt of the woodland beasts and diamondscar adoration for the Hero of the Wilds, similar in glory to the Light Spirits petrichor and vermeil fondness for the Hero of the Twilight – liked to listen to people sing. What you were surprised was how it attempted to follow along, it’s head across your lap the second you sat down in the clearing, a gentle hum on back of it’s throat, an owl’s cry and a cicada’s humming and faintly, chirring purring as presses it’s faces into your hands, a gentle request for petting.

It was adorable, even with the faint notes of the chill of clear spring water on winter and the livewire feeling of magic, like holding your hand too close to a flame but not quite touching it.

A low chuckle brushes against the back of your mind, a feeling like biting on ice, the prowl of a wild beast and the build up of lightning and light used to create his blade, the amused affection of a warrior reconvening with their brother in arms, you think you see the bone ivory of the Deity’s hair on the side of your vision, though you know he’s not physically there, ‘He likes you.’

You hum, gently patting behind it’s ears, pushing through the chill, gracefully not mentioning the burning with a smile at the mythic being’s faint chirring, birdsong and the wind through cherry blossoms that sparkle like rose quartz, “Well I quite like him too, I can see where it’s gentleness comes from.”

The ghost of a touch over your hair, the caress of lightning striking over your skin and the hair on the back of your neck pricking up and the crisp cold of winter, the chill of the ending and the flame of a new dawn, of new days, the phantom of magnolias and spring water on your tongue. The fragrance of pine, daffodils and blood soaked lilies on ashen fields on your senses, gentle and careful, marking but not claiming, ‘Only because it’s you, beloved. It’s not something easily given.’

You sigh, shakily composing yourself, you let yourself relax into the phantom sensation. Of hopes and dreams and healed suffering, of the divinity of hunt turned into protection and lightning given form, of tangled timelines and crystalized memories, “I know. It does not change my opinion, either way.”

To be the subject of a god’s care and regard was dangerous, after all. For the human and the deity in question, you know the stories from your world well, of the effects of Hylia on First and Sky, of Twilight and the personification of the Twilight Realm and the spirits of his land, of Wild and clawing from death’s embrace into that of the wilderness.

Knew how the fact the Fierce Deity’s mere proximity causing pain on those who changed him into hunting for hunt’s sake into protection for the sake of someone else cut deeper than even the ever encroaching entropy all beings must one day face. It was no wonder the Song of Healing was his creation, to want to ease the burden.

You gladly grant him some peace, in turn, even if it wasn’t much. It’s the least you can do, for always having his ways of watching over your heroes.

“Join me? We can make a duet.”

You feel more than see him shift, ephemeral, fleeting, gentle against the edges of your existence, as foreign to Hyrule as your own, sparking over your spine as you feel ozone and rust on your teeth. Satori is humming again to match the rumble of thunder in the man’s voice, the heralding of songs of war and elegies for the dead, ‘Of course, though I’m afraid I do not know many songs, besides…’

“It’s alright,”, you smile faintly, there’s a white ocarina in his hands, as he leans, a spectre against your side, “I’ll teach you some of my own, though you’ll have to forgive me if I don’t remember all the lyrics.”

‘It would be my honor to learn.’

You think he smiles, from the fluttering of something ancient and long forgotten against your side.

You sing to Satori and the Chain, a small respite of familiar and forgotten tunes, the Lord of the Mountain hums along. The Fierce Deity’s song cutting through any nightmares that may ail your heroes for another night.

When the dawn of a new day comes, the feeling of divinity against your skin feels just a bit more obvious, sinking into every crack of your being like a shroud, falling over your boys like a veil, reflecting the breath of eternity over Hyrule.

(First gives you a look that’s half exasperation, half understanding. Sky pointedly sticks to your side as Time looks you over, markings deep with vibrant color. You shrug with a helpless smile as you feel the lightest brushes of Hylia’s fond days of gold and starlit summers days against the Lord of the Mountains warm, luminous affection and the Fierce Deity’s smug, but content lonsdaleite smile.)