#Kinda similar in some ways

[amazedkayou]

I have been blessed with a new hyperfixation device : zoo tycoon 2

[technically-human]

Recharging II (Chorb version)

[weaverofink]

My Adventures with Superboy

[rystiel]

i feel like poolverine easily could’ve been one of those “they’re flirty but it’s mostly unserious” situations, and for most of the movie yeah they were extremely gay, but wade’s been like that with other guys and it was never treated as a serious type of relationship before. they’re willing to die for each other, but even then the romantic aspect of their relationship could be glossed over because it’s a superhero movie, that’s just what they do, and they’re working together to save a whole timeline—it’s not just about them. but then the movie doesn’t end with them saving the day and moving on. i think this’s really the part that sells poolverine as a genuine relationship to me… logan’s leaving, and wade calls for him. he can’t stand to let him go. then he introduces him to his family, and logan stays. he doesn’t really need to stay, but they’ve both decided they’re better off with one another than without

[twentyfivemiceinatrenchcoat]

AGH FASHION DESIGNER SUGURU AND MODEL SATORU W A NEW INTERN DESIGNER UNDER THEIR WING 😞😞☹️ - 🌺

WAHHHH I LOVE THIS 🥺🥺🥺 the pining and flirting and slowburn of it all… model!satoru and his favorite designer suguru geto, both of them undeniably skilled and born with an eye for fashion….. well-known and adored……..

designer!suguru who gets tasked with showing you the ropes, who’s always so patient and kind despite your inexperience. diligent with his teaching but also so laidback, so easy to talk to… he looks intimidating, but he’s so polite that you can’t help but swoon a little. and he admires your enthusiasm so much…… grows fond of you soooo quickly bc you’re just such a breath of fresh air compared to the divas he’s forced to work with all the time. he thinks you’ve got real potential and he wants to nurture it.

and ofc you end up running into model!satoru eventually…. bc he’s always hanging around suguru whenever he gets the chance. and he’s maybe a little jealous that you’re hogging so much of his personal designer’s attention, but… he also thinks you’re so cute . T_T like a little puppy following suguru around… so excited to be apart of what you’ve dreamed of for so many years……… he looks into your eyes and sees the same sparkle he had before he made it big, and it makes his heart race.

yeah . i’m just thinking abt the peaceful coffee breaks with suguru….. how he’d insist on paying for your drink, ”since he’s your senior” (he wants to be your favorite </3)…… and how he’d just be so protective over his little intern. don’t get me started on the close proximity with satoru when you’re taking his measurements, the glance and smile he sends your way during an impromptu shoot… the way he always calls for you with a sweet coo of ”how’s my favorite intern doing today?”

😔😔😔 yeahhhhhh. they make me feel ill.

[cuubism]

I feel like Hob very much has an "I'll try anything once" approach to life, so I think it would be extremely funny if Hob learned he was queer when some random guy propositioned him in a tavern and he was like fuck it, sure why not, anything once amiright? And then after he was like oh. Well then.

(This was before he met Dream of course. There's zero chance Hob saw Dream in 1389 being all posh and weird with his little eyeliner and emerged from that encounter still thinking himself a straight man.)

[cerealmonster15]

jamiazu / ashenviper week day 6: toxic yaoi overblot

SORRY it's very much a rushed mess especially in the lower half jdkslfjksd i was v busy today and trying to hurry to get something done for this before midnight [covers up the clock... i was close enough,,, it's still day 6 in some time zones jkfdlsjfs]

unfortunate that the overblots have so much going on and take me ten billion years to draw otherwise i think id like drawing them more bc they LOOK VERY COOL!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

[the-punforgiven]

Do y'all ever get nightmares that just like, aren't scary?

Like you can tell your brain is trying to make this scary, but you just feel nothing?

[lieutenantselnia]

Random appreciation post for TV shows about special task forces that are also oddly endearing (found) families, they just have a very special place in my heart❤️

Hogan's Heroes (1965-1971)

The Penguins of Madagascar (2008-2015)

Star Wars: The Bad Batch (2021-2024)

[d8tl55c]

oh boy !! ! ! ! !!! ! thANK y0u all for the kind words on my last art posts. you all get it and i was/still am so happy about it

as promised, here's some close-ups of the comic for image quality's sake, and other screenshots i rescued from the community whiteboard (and something else)

first up another sketch of mystery gender-ambiguous being. (please send me more name ideas for them if you got one- i like to hear em! (reminder it's the side character that appeared for <10 seconds in AvM Ep. 30))

a few fav scenes

emotional support cwab

they weren't meant for this purpose exactly, but i do have countless "fluffy sticks" loose in my notes and homework sheets from the school years.

papery critter.

even when i wasn't confident in fur or feathers, they helped me practice posing and create some satisfying gradients/flowing poses. (im a sucker for good tail poses) (oh yay! i found a good pic...)

and finally, little sneak peak for you for reading so far ;3

i realized that whiteboardfox is pretty great for my working needs. simple and to the point and all. feels nice with the mouse and the tablet.

so i started hashing out a big project idea just to see if it holds up and

[

several hours later ...

]

oh

oh man

it's a little bigger than i expected

<next>

[stupidrant]

kratos greek lovers that hate any ounce of norse era: KRATOS IS THE BEST AND HE DESERVES TO KILL EVERYBODY FOR HIS SUFFERING

Freya haters (?): SHE CANT KILL KRATOS BECAUSE IT WAS HER FAULT SHES A BAD MOTHER AND A SHIT CHARACTER BECAUSE OF HER CRIMES AND SHE DESERVES TO DIE BY THE HANDS OF ODIN AND KRATOS

[front-facing-pokemon]

[shimmerluna]

To be honest, a big part of why I dislike the fact that YR doesn’t explicitly address ableism is because I think this fandom in particular would benefit a lot from the sort of discussions a show that takes so much care with these topics could produce.

With the way people talk about Sara’s auDHD, Micke’s addiction, Kristina’s breakdown, and even August’s ED/addiction, it’s clear a lot of you view mental illnesses/disabilities as a choice someone makes or a punishment they can deserve/earn. There’s a difference between one’s disability being used as an excuse and it being a valid reason/explanation for actions the person still has to take responsibility for that few of you seem to recognize or care about, and treating these characters’ disabilities and mental illnesses like something they earned/deserved bc of something they did implies very harmful beliefs about real disabled people. 

On top of those implications, the only disabled/mentally ill character people treat with nuance and care is Wille, the main character who gets all the excuses/explanations. To a disabled person (i.e. me), it appears that some of you refuse to care about/empathize with disabled people on your own. Instead, you view us as morally bad and alien at the first sign of symptoms, and you only change your mind when an explanation you deem satisfactory makes us palatable or relatable to you. Since it's currently Disability Awareness/Pride Month, it's a good time for some of you to learn how to see both us as people and our disability without lengthy justification or respectability politics.

[colinprovolone]

idk what this pose is but it’s fun to put him in outfits

[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.

[blossoms-phan]

they’ve truly lived soooooooo many lives. like I watch this and think wow that’s kinda crazy that they did that! look at how much dan is literally dripping with sweat and how much effort it takes mentally and physically to put your all into a show like that. but then when you think about doing that NIGHT after NIGHT for like 100 shows for months on end like wow. things they did: that