#STAY DEAD MOTHERFUCKER

[auzzyash]

WE DID IT GUYS HOW ARE WE FEELING?! HAHAHAHAHAHAHAHH HES DEAAAD ECLIPSE IS DEAD AND IT WAS SO PATHETIC HAHA IMAGINE YOUR LAST WORDS BEING "It's a bit pathetic isn't it..." HAHAHAHAHAHHAHAH IM SO HAPPY HES GONEEEEEEEEEEEEE

[chainsawcorazon]

words cannot describe how much i detest smallville’s jor el, but i understand sv!earth is just a microcosm of the greater multiverse, but im STILL pissed off….. which means im super pissed that he’s the one who sent jon on his manufactured coming-of-age journey, with lois chaperoning 😭

[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.

[purble-gaymer]

i haven’t talked about their dynamic at all have i

[vertigo-tango]

happy later-than-usual tam tuesday, have shitty low effort doodles [+ lil au thing where eliot doesn't get destroyed by the bury your gays trope]

[designernishiki]

y3 has made me feel many things but one of the things that lingers with me the most about it is how majima takes every possible opportunity and makes every possible gesture to say “please don’t leave me alone again, please take me with you when you leave, I WANT to be right next to you when you need me, I’ll literally do anything for you, just don’t leave me alone again” always indirectly but in strong enough ways that i think it’d be obvious to anyone paying attention EXCEPT Kazuma Kiryu, The Densest Man On Earth, who he’s pleading to in the first place. it’s. frustrating to watch. someone needs to grab kiryu by the shoulders and tell him. for the love of god. this man loves you so much and you keep leaving him when all he wants to do is help you and be with you please just take him to okinawa oh my god

[gigginox]

ahhhhh im remembering why i sorta took a break from ffx. seymour

[serpulalacrymans]

I would like to apologize for being away. Again... I've been picking up a few extra shifts which have left me completely burnt out and unable to come online very often. I don't like working in the daytime but I needed the money. I hope no one hates me for withdrawing...

I missed you...

As for my guest. She is doing well. We've watched many movies together and done many things. I think I am ready to call us friends for real... I think she missed you all too.

We are comfortable. I am not very stressed anymore. Thank you all for waiting for me if you did and I'm sorry if you stopped...

[ayeleye]

Do ✋not✋talk to me about Ellie’s hair being the same as Tess in season 2 I said DO NOT

[normcore-tertiary-character]

I desperately want Marwa to have gotten wishes from the djinn for her wedding, to use one or two to become herself and then use the last one to bring Nandor back after she fucking murders him

[werewolf-spit]

ain't no grave (gonna hold my body down)

[skrunksthatwunk]

not to doomer post. but. american politics is like here's a conservative warmonger who wants to burn you alive personally and here's a different conservative warmonger who definitely wouldn't stop someone from burning you alive BUT who might raise the minimum wage by $0.30/hour for you, but only like eight years from now (so re-elect me please!! >w<). yes one of them has to be president they are the only two options we'll let you have. no neither of them will stop the government from killing you or anyone else, but at least one will say "it's kind of bad to kill people :( someone should really do something about that..." while giving the people-killers $20,000,000,000,000 to keep doing it then saying they can't afford to help you at all, but oh shucks, maybe next cycle, if you vote for me again! and also everyone will pretend as though they are extremely different political entities covering two highly polarized ends of the political spectrum despite nearly identical policy views obscured by their slightly different ways of addressing their target audiences, many of whom are also conservative warmongers. and also if you don't vote or vote third party the other guy will win and you will watch as they burn everyone you love alive in the same way they've burned so many strangers so you kind of feel like you have to vote for the other warmonger because even though they both have blood on their hands you'll take a handshake over an uppercut. even if you can still see the bodies piling up behind them. even if you can only save like five people you know and not the thousands of people who are dying in the other room. because you believe the difference between 30,000 and 30,005 is still worth it even though no one needed to die in the first place and no one seems to agree with you. you have to keep living in this world every day. if anything changes it will take decades and it will never be enough. if this takes a toll on you good fucking luck surviving off the generosity of the warmonger state that claims to serve you. happy voting!!

[bunnyb34r]

Well glad to know I'm not the only one not feeling the Christmas season this year. Mom isnt either

Now we dont know why, but here are my guesses. Feel free to place your bets.

Is it:

Bc our aunt/great-aunt died and essentially dissolved the family

|_> Bc of this we've faced so much bullshit from the surviving family we have left.

Bc the only remaining family we have are major assholes aside from like 4 people.

Long covid?

Work stress/ working under a tyrant piece of shit.

Bc I'm an adult now so the *magic* is gone?

All of the above??

[my-thoughts-and-junk]

I think house should be rebooted but not seriously. Like as a cartoon.

[forestmorimori]

one time i read a webtoon with the most annoying punchable bitch ass villain and he just. refused to die. they killed him like 3-5 times and somehow he always came back the TRAUMA that man left me i haven't trusted a villain death scene since

[woodlandscab1n]

Man. I'm glad I have Bishop as a character, they were a character that I used to beat the shit out of myself for what I considered my "bad traits", a complete extreme of this side I didn't wanna touch even with a stick.

But then I did. And, it's just...wild? I guess, I never thought I would even come close to redeeming this character, or making him any more sympathetic than what I established as the base. And it ended up happening anyways.

Through out the writing of their character I put myself the rule of never, ever change his core of being...because I wanted to make them irredeemable, by them never wanting to truly change, they'll never be redeemed but, I was wrong.

Redeeming him wasn't about changing his core, about making him more human-like, making him love and feel like other people do, completely overhauling his way of thinking. It was just... accepting it, and that doesn't mean you're doomed to be a bad person and hurt people just because of how, what you are.

I still have a long way to go to fully accepting those parts of myself, as well as seeing it on other ppl, but this character has given me a perspective I honestly didn't even know I needed, or even know it was a possibility for me.