#all different murderers too

[clanborn]

have already had 4 murders in my current clangen game and i’m only on moon 65. these cats hate each other

[umblrspectrum]

do you ever like wanna make something cool but you dont know how so you just sit around like a moron for 5 hours straight pretending you know how

me neither

on a more serious note i know ad astra as a whole isnt over but i still want to thank daybreaker for their fics. what friends are for was the very first md fic i ever stumbled upon when trying out ao3 for the first time, and prior to joining the server i was checking it near daily for uploads. god knows if i'd be as deep in ao3 as i am now if it werent for this story and convenient timing. Thanks for the story.

[steampunkedemon]

idk but saying tyler being a manipulative serial killer means he can’t be with wednesday is genuinely so funny to me like baby this is the addams family we’re talking about. being a manipulative serial killer should put him at the top of the viable choices for wednesday list.

[bixels]

What did/do you like about Pharah?

Uh, gameplay-wise, I really love characters in shooters who rely on three-dimensional movement techs. Chaining together hover and jump to stay in the air for as long as possible and keep momentum is so satisfying, and picking enemies off from the sky made me feel like a bird of prey. I was a good Pharah main.

Story-wise, there unfortunately isn't much to canonically go off because Pharah is so underutilized and neglected. Her personality's pretty boilerplate "heroic hero" (she's literally inspired by Captain America).

But it's the crumbs/bits and pieces that I really latched onto. Pharah's a confirmed lesbian; her short story with Baptiste implies she harbors a crush on Mercy (fucking thank you.). She's biracial Egyptian/First Nations. She has major mommy issues, having grown up both admiring and resenting Ana. She's the bridge between Old Overwatch, inspired by the idealized heroes who surrounded her childhood, and New Overwatch. She's one of the only inter-generational characters in the cast; someone whose experiences span the gap, which is why I seriously believe Pharah would make a great main character.

There isn't much to go off of, though; she's a very uncomplicated character (she's a soldier for a private military corporation, lol.). But that just means she's a blank slate character, so I've seen fanfic writers run wild and create some really interesting takes on her. My favorite interpretation of her's a dense, herbo gym-bro type (a lot of her liens are about work outs, exercising, and playing sports) who's easily excitable under her seemingly self-serious, armored visage. We see how she tends to gloat and hype herself up when she's on a streak too, so Pharah definitely has a competitive and boastful side under her more professional and militant performance.

Now Mercy? Mercy is a real complex character.

[bolszaja-miedwedica]

religion is actually pretty cool its just the fandom sucks

[msnihilist]

Once again, no, you were not groomed by proshipping. You were groomed by someone using proshipping.

My groomer used a pairing that I already liked to desensitize me to sexual interactions, and it was a completely normal and popular pairing. To this day, I still don't like it. It's completely okay to not like or even hate those things that your groomer used against you.

It's not okay to demonize an entire group of people or lump the ideology itself in with a terrible experience that you had. Your trauma does not make you infallible.

It is not the fault of the content you were shown that you got groomed. Groomers will use anything. They are bad people. The content you were shown is neutral.

[triglycercule]

dust with a fucked up savior complex save me dust with a fucked up savior complex SAVE ME!!!! he's literally sooo savior complex coded. he killed his underground to "save" everyone and stop the human from killing them. he thinks that it's better that he does the murdering instead of the human because he has better intentions. he's sad at the beginning (rightfully so) but savior complex dust really gets so much cooler when you add in the fact that dust eventually started to LIKE killing his underground 😭😭 like just..... imagine a manic dust who's gone mad going around claiming he's helping everyone with what he's doing when he's really,,,, not. soo cool.,,, (like dude how are you SAVING people if they don't exist after you've killed the person who was killing them. there is nobody to be safe but yourself anymore) (can you tell this was inspired by the one comic of dust killing his papyrus and saying "it was better if i did it" or something)

but also also on the other hand,,,,, revenge fueled dust??? he's gotten SO bitter from the repeated resets and genos that he's genuinely bitter enough to risk it all to stop the human. he doesn't have pure intentions in this one. dust doesn't claim he's saving anybody with what he's doing murdering them all. he KNOWS it's bad and wrong and hypocritical but he does it anyways because he wants to not only stop the human but to make them suffer. he purposely wants them to keep coming back after killing them just so he can kill them over and over and over and have them experience a fragment of the suffering he did with having all of his friends and family killed. but i think a revenge fueled dust (in contrast to savior complex dust) would be a lot cooler if he still felt shitty for killing everyone. it's painful to do but hate is stronger than love and dust's hate for the human is MUCH stronger than his love for the underground atp

[ashtcnirwin]

we lose the chase for nothing

[daily-hanamura]

[halfdoomed-helianthus]

look i don��t even really go here i’m just a matthew lillard fan and a scream girlie but some of y’all are really forgetting that this guy

was also this guy

debate of matthew lillard being a tumblr sexyman or not aside, he makes a damn good serial killer. put some respect on my boy’s name

[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.

[science-lings]

I have never felt cuteness aggression to the level I feel whenever I see Damian (WFA) Wayne. That is a tiny guy, that is a feral kitten, he fits the same amount of terrifying aura that batman has in his 6'4 creature of darkness body in a tiny baby form, he's still learning to be a child and not a weapon, he's kind of an asshole but in that kinda sad way when you remember that he's like 10 and has blood on his hands.

no talk him he angy

[hekatiane]

/CW: Blood (idk if you can mute words here but just in case) A fanart I did a bit ago about Syndra killing her Master in a burst of anger I never thought about how Syndra felt about this event so I wanted to portray my idea about it. Taking in consideration how Syndra was as a kid and student + her life, I don't believe she wished to kill Konigen on purpose. At the same time I believe this was a "point of no return" for her character

[triglycercule]

horror having crazy irrational thoughts about food,,,,, like bro thinks there's poison in the cupcakes. someone snuck razor blades into the bread and once he takes a bit it'll cut him up. somehow there's mold growing inside the bananas and when he eats it the mold colony is gonna start growing on HIM and then he'll become a moldy skeleton and oh god and oh god and he is paranoid but hes so hungry.... BUT WHAY ABOUT BUGS IN THR FOOD,,,, BUT HES HUNGRY.... a struggle it truly is

probably doesnt help that dust and killer could feed into it. killer could make off hand remarks on how he snuck razor blades into the meat horror's attempting to eat (to fuck around with horror. just some eeeever so slight psychological anguish. and also because killer would just be the type of casually carry those around. what for you may ask well decide for yourself) and then immediately horror's mood drops and he storms out of the dining room. dust and horror go on a sweet little picnic in a beautiful field and its all beautiful and inconspicuous but dust made the food and horror knows that look in his eyes. horror knows dust was muttering something about chemicals a day or 2 ago. the food is poisoned isnt it??? and dust just smiles and motions for horror to eat it

[nonbinary-sticks-the-badger]

main reason i dont do sonadow in traditional art is 'what if my parents see' but goddamn i love pen and ink!!! i love watercolour!!! i love graphite!!! occasionally i even love acrylic!!!

[spineless-lobster]

Cbs cutting the majority of kitty’s parts in happy death day makes me feel 🙃🙃🙃