#arc north

[thechaoticscenejester]

After the new tadc ep I wanted to show u all what my thought was when I saw Ragatha and Pomni's relationship:

Song(s) that remind me of Ragatha:

Song(s) that remind me of Pomni:

Part 2 soon cuz GOD I have so many songs-

[notesofseptember]

I wanna live for a love like this

[felrend]

For Spotify Wrapped: 21! <3

Ooo a cover that I didn’t expect to like!

[tekutiger]

You should fight for who you wanna be Don't look back on what it could've been You'll find it, you'll find it You could make your way across the sea Find new places you ain't never been And now I believe, now I believe I'll live a life that's filled with stories to be told I'll make it through the darkness and make sure I'm coming home And even if I'm walking all alone I'm always coming home I'm always coming home My father told me "It's a beautiful life So make sure you always open up your eyes To all the adventures Go against the tide Before you know it, you'll be running out of time" You should fight for who you wanna be Don't look back on what it could've been You'll find it, you'll find it You could make your way across the sea Find new places you ain't never been And now I believe, now I believe

[lodxolconxbsseub]

Jon Henrik Fjällgren is always my favourite in Melodifestivalen, and why I don’t understand why he didn’t win 2015, I certainly will understand this year. That’s just bad luck, to compete the same year that Loreen enters a masterpiece.

[essektheylyss]

One thing that I feel is really interesting and often forgotten about Essek is that fundamentally, his characterization has been from the start based upon his desperation for external perspectives and connection, which, along with much of his narrative and mechanical positioning, means that he actually has an extraordinary and almost (but not actually, as I'll show) counterintuitive capacity for both growth and trust.

(Buckle in. This is a long one.)

In particular, I would argue, knowing now that many places where the plot touches Ludinus have long been marked for connecting back into the current plot, that he was quite possibly built as a prime candidate for radicalization by the Ruby Vanguard. He felt isolated from his culture, he was desperate for other connection, and he was certainly of the type to believe he was too smart to be drawn into such a thing, given his initial belief that he could control the situation and the fallout. If things had gone any other way, he easily could've been on the other side by now.

As such, he has been hallmarked by being fairly open to suggestion, perhaps for this reason, but the thing about that kind of trait is that it is both how people are radicalized and deradicalized. This is certainly true of Essek, who experienced genuine kindness and quite frankly strangeness from the Nein and was able to move from the isolation the Assembly had engendered to meaningful and genuine connection, largely propelled by his own internal reflection. By the time Nein are aware of his crimes, he's already begun to express regret to an extent and, furthermore, doubt in the Assembly, including explicitly drawing a line against Ludinus, even in a position where he was on his own and probably quite vulnerable.

Similarly, when the Nein reach the Vurmas Outpost some weeks later, he has moved from regret for the position he's ended up carrying a heavy remorse. This makes sense! He's fairly introspective, seems used to spending a lot of time in his own head, and was left with plenty to mull over. It's not some kind of retcon for him to have progressed well past where the Nein left him; it just means he's an active participant in the world who has done his own work in the meantime.

This is another interesting aspect to him. I've talked about this a bit before but I cannot find the post so I'll recap here: antagonists in D&D have significantly more agency than allied NPCs. Antagonists are active forces, against which the party is meant to struggle; allies are meant to support the PCs, which means they tend to be more passive in both their actions and their character growth. Essek was both built as an antagonist, in a position that gives him significant agency, and also was then given significant opportunity to grow specifically to act as a narrative mirror for Caleb's arc. Even when he becomes a more traditional D&D ally, he still retains much of that, though he occupies a supporting role.

I believe that this is especially true because of the nature of Caleb's arc, which I've already written on; the tl;dr of this post is that Caleb is both convinced that he is permanently ruined and also desperate to prove that change is possible. Essek is that proof, because he is simply the character in a position to do so. But this also means that his propensity for introspection and openness is accentuated! He has to do the legwork on his own, for the most part, because that's where he is in the meantime.

But he still ends the campaign necessarily constricted; he is under significant scrutiny, he's at risk from the Assembly, and he goes on the run fairly soon after the story ends. He spends most of the final arc anxious and paranoid, which is valid given the crushing reality of his situation. It would be very easy to extrapolate that seven years into this reality, he would be insular, closed off, and suspicious of strangers, even in spite of the lessons he's learned from the Nein and their long term exposure.

So seeing his openness and lightness now is surprising, but at the same time, given this combination of factors in his position in the narrative over time and his defining traits, it's not by any means unreasonable.

But one thing that I found so delightful is how much trust he exhibits, which is obviously a wild thing to say about Essek in particular, given much of what he learns is both earning and offering trust, which was something he says explicitly in 2x124 that he's never really experienced: "I've never really been trusted and so I did not trust." It makes up much of the progression of his relationship with Caleb, and the trust that he is offered by the Nein in walking off the ship is the impetus he needs to grow.

But I think it's easy to talk about trust when it comes to people who have proven themselves to you or to whom you've ingratiated yourself, and that's really the most we can say about Essek by the time he leaves the Blooming Grove. There is this sense in a lot of discussion of trust (not solely in this fandom) that it is only related to either naivete or love, but there's far more to it. Trust at its best is deliberate—cultivating an openness to the world at large is a great way to combat cynicism and beget connection instead. It allows a person to maintain curiosity and be open to experience, but it can be incredibly difficult to hold onto.

It is clear that the Essek we meet now is a very pointedly and intentionally trusting individual. He trusts Caleb and by extension Caleb's trust in Keyleth, as he shows up and picks up a group of strangers from a foreign military encampment and walks in without issue. He trusts the Hells to follow his lead moving through Zadash and to exhibit enough discretion so as to avoid bringing suspicion upon all of them. He trusts that Astrid will respond well to his entrance, but he also trusts himself and the Hells enough to execute a back-up plan in the case that she doesn't. In the end, he even trusts them enough to give them his name and identity.

He doesn't scan as someone who has spent half a dozen years living like a prey animal, afraid of any shadow he runs across in an alley, withdrawn into himself and an insular family, which would've been an easy route for him to take. He scans as someone who has learned the kind of trust borne of learned confidence and a trained eye for good will and kindness, which are crucial weapons one would need for staving off cynicism in his circumstances—as if he has survived thanks more to connection and kindness than paranoia and isolation. (If we want to be saccharine about it, he scans quite poignantly as a member of the Mighty Nein.)

So it is easy to imagine this trust and openness as a natural progression of his initial search for perspectives external to his own cultural knowledge. Though he makes those first connections with the Assembly to try to vindicate his personal hypotheses, he finds in them exposure to the deepest corruption among Exandrian mortals, which could've—and did, for a time—turned him further down that same dark path.

But it's also this same openness to exposure from the wider world that allows the Nein to influence him for the better, and in spite of the challenges he's certainly faced simply surviving over the past seven years, he seems to have held onto this openness enough to move through the world with self-assurance and a willingness to extend the kinds of trust and good will that he has been shown.

(I would be remiss not to mention that I was reminded about my thoughts on this by this lovely post from sky-scribbles and their use in the tags of 'light' to describe Essek's demeanor this episode, which is really such an apt word for it.)

[silentagecinema]

oh to cry is to feel

[moireia]

lost and led by stars — the titles of alyssa snow

"I’ve been given many titles throughout my life. Bastard, Lady, Princess. I have no desire to add Queen amongst them." —Alyssa Martell, 302 AD (inspo)

taglist ✨: @dragonsbone @lorettastwilight @dio-nysvs @julianblackthcrns @arrthurpendragon @endless-lilach @drbobbimorse @luucypevensie @the-witching-ash @megdonnellys @emilykaldwen @ocappreciationtag want to be added/removed? click here!

[babybells123]

(ASOS, Sansa II)

(ASOS, Jon XII)

[harbingersecho]

she should've been problematic at the club

[they-call-me-youngermoney]

how it feels to be in the dbh fandom when your fav isn't a white guy

[burst-of-iridescent]

not to beat the "sokka's misogyny" disk horse even further into the ground, but while i agree with the take that sokka being sexist logically doesn't make sense, i would go further to say that the water tribes themselves being sexist is both illogical and thematically contradictory.

the flaws of each nation in atla have always been linked to their element, and specifically what those elements represent. fire is the element of power; power, left unchecked, leads to imperialism and authoritarianism. earth is the element of substance and stability; stability, prioritized too highly, creates and justifies the rigid class system and rampant corruption of ba sing se. air is the element of freedom; freedom, taken too far, becomes irresponsibility and abandonment.

meanwhile, water is the element of change... therefore the water tribes cling to antiquated ideas about gender roles instead of adapting with the times (especially when the times involve a fucking war going on).

not only is this unrealistic, it also breaks the thematic pattern of the nations' flaws being virtues taken to extremes, and how this dovetails into the show's overall message about the importance of balance. if we're keeping with the pattern of virtue and vice being two sides of the same coin, then the flaw of the water tribes has to be related to change. and here is where some of the (badly executed) ideas in the comics and legend of korra could have come into play: change, left uncontrolled, can lead to progress... but at the cost of tradition and spirituality.

(imagine a nwt cut off from the world and forced to rely solely on itself, ingenuity and creativity flourishing out of sheer, desperate need. imagine a nwt where waterbending is nothing more than a tool, used to build and defend and maintain a fortress always at risk, its spiritual origins slowly lost to time. imagine a nwt more military than community, whose architecture and technology far exceed anything the world has ever seen, who look down upon their less advanced sister tribe, and see no need for the avatar - after all, where was he when they had no one but themselves for the last 100 years?

when warned that the fire nation is coming, they show no fear; they have held strong on their own for the last century, bolstered by their weapons and wits, and will continue to do so. you need the spirits, aang implores, and is met with derision, for there is no place for spirits in a society always chasing more, greater, better. the spirits have not helped us before, avatar. why would they now? we are all we need.

when the moon spirit falls, unprotected and forgotten in an abandoned, rundown spirit oasis - so do they.)

not only would this fit better thematically, it would also ensure that the nwt's flaw plays a role in its own downfall. where the fire nation's warmongering resulted in the poverty and suffering of its own people, and the earth kingdom's corruption led - at least in part - to the fall of ba sing se, the misogyny of the water tribes is never shown to negatively impact them in any way. the north isn't defeated by the fire nation because they relegated half the population to healing. the south doesn't suffer raids or lose their waterbenders because they (supposedly) didn't let women fight. this lack of narrative punishment means that - outside of a few girlboss moments for katara - the sexism of the nwt isn't significant to the overall story whatsoever.

furthermore, while the ba sing se arc last almosts half a season, and the fire nation's actions drive the entire show, this supposed systemic oppression of women shows up for one episode in the first season before disappearing entirely. pakku is reminded of his lost love, magically turns into a feminist, and somehow the entire tribe follows suit? no one else protests, not even the other students or the chief?

and yet, though there are still no female waterbenders other than katara, or agency for kanna in her relationship, or any indication that women stopped being forcibly betrothed - the entire issue is simply swept under the rug and never brought up ever again in the show. i understand this was a children's cartoon made in 2005, and that even having female characters openly speak about and challenge misogyny was a radical feat for the time and genre, but the reality of patriarchy is that it's structural, sustained and immensely difficult to resist - if the show was going to depict that resistance, it should have done so with greater depth and nuance, as it did for many of the other difficult topics it tackled.

ultimately, handwaving misogyny away like it never existed is far more disrespectful to katara's character, her fight against injustice, and the girls who saw themselves in her, than simply toning it down or removing it could ever be.

[rwby-encrusted-blog]

Anyone else think rusted knight jaune and tarnished spardan pyrrha would be prone to public displays of affection and weiss would love watching them?

I think it's less Loving watching them, and more Jealous/fantasizing

RK!Jaune: *Holding Pyrrha's hands, pressing Foreheads together* I love you~

TS!Pyrrha: *Doing the same thing* I love you too~

Yang: Isn't that Sweet Weiss?

Weiss: *downtrodden* very ...

~~~~~

TS!Pyrrha: I gotta go real quick! Be right Back! *Kiss*

RK!Jaune: Bye hun! Take care!

Weiss: Never thought I'd be jealous of Jaune ...

Ruby: Huh?

Weiss: What?

Ruby: What'd you say?

Weiss: I Didn't say anything. I don't know what You're talking about.

Ruby: ... Okay. Fine. Keep it to yourself.

Weiss: I'm glad you weren't Blake.

Ruby: Okay, now I know-

~~~~~

J+P: *Cudding while asleep*

Weiss: ...

Blake: Man. I can't imagine your Crush coming back to life and falling back in love with the guy you rejected.

Weiss: ... Excuse Me?

Blake: Not only that, but finding them as messy, mature folk that just need a little Loving~ Good thing I got Ya- AAH!

Weiss: *Pouncing at blake* YOU SHUT THE HELL YOU MOUTH-

[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.

[purplysugary]

for chapter 500!! loved the north sea arc too. keep being a badass.