#i hope things get better for us out here

[ammorfati]

good luck, me!

inside me there are two wolves: one is screaming 'I TOLD YOU SO!' on top of its lungs to the other, and the other is, well, on the receiving end, met face-to-face with reality.

in another life, i would be in a karaoke room with my girlfriend, singing this song and laughing until we can’t see because our eyes are scrunched too tightly from how wide we’re smiling.  in this universe, though, where i’m not granted with that luxury, i’ll have to be content with singing this inside my own room, dancing unabashedly and visioning her in front of me, matching my steps and looking at me like i hung all the stars in the sky.

i have moved on, yes, but if the world were kinder, i wouldn’t have budged in the first place.

[luck-of-the-drawings]

[<==PREV PAGES] [NEXT PAGE==>(not out yet.wait a year.or maybe more.imagine.]

saw alot of comments on prev pages; saying 'i HATE that mean teacher! im gonna FIGHT HIM!!' & i LOVE the energy!! it WOULD be nice. to have that catharsis. but the story of young tidestrider is Not one of catharsis. it is a story of being so small and so special and sucking so bad.

[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.

[silusvesuius]

this tree from my new drawing looking goated afffffff 👑👑

[butterflieswhisper]

looping echidna beastlife gif from trying to figure out toonboom

[b4kuch1n]

frog documentation. frogcumentation

I think I mentioned a while back I'd post nibling frog momence after the gift's done given. which happened on the 2nd this month I just forgot lmao. anyways we can do it now. I used the boigameista pattern scaled up to four pieces of A4 print paper and decided to double deck it to a two layer thing, not unlike a pillow, for ease of washin. because it was gonna be gifted to a one year old child

took a long time and made a number of mistakes bc hand sewing makes me worse as a person but this guy was done in time for the birthday occasion and that's what matters. chose non-fuzzy fabrics for it because we live in a dense city in the tropics and from personal experience if I hug something made of fur I would explode. the original plan included felt patterns on its back for bonus textures for baby but that wouldn't stretch well along with the rest of the thing so had to hold that back. eventually we got this

zipper across its ass, the coat type of zipper bc I miscalculated when ordering. but it did have a shape and that's all that matters to me. will be a fun game for the baby to grow up and be severely misinformed about what a frog looks like

happy extremely late birthday to this thing also

[moe-broey]

Sketch I accidentally put too close between other doodles

[hunsa-jars]

Dread be dreading

[spacebubblehomebase]

hi, just letting you know that ahmed 90s-ghost doesn't verify fundraisers anymore! he quit after it got too overwhelming, so you shouldn't @ him asking him to. you can probably find the post about it by searching his blog.

Thanks for letting me know, Anon...

I get it... I REALLY do.

I understand. Y'know I used to be so excited to get Asks. It means someone wants to talk about art and silly cartoon characters with me. But now all I feel is dread. Not because I don't want to help, but because the help I give is never enough. I used to privately mesage back to those Asks, but one became 6 became 10 to... Well. I can't donate. Euros and dollars are valued a lot higher here, thus the opposite is also true. The value of our money is but a paltry bread's worth and even if I split it in crumbs, with the amount of people who approach me for help, it'll soon run dry, but I'm just a student who still rely on my parents financially. So I thought I'd share instead, but that quickly got out of hand. I post one thing and get multiple asks by the HOUR. I already had to apologize for struggling to meet demands before and I only had 3 or 6 rare to come-by short Asks about art. Now I have a hundred and counting I have to check personally. I didn't want to admit it, but I've also long been overwhelmed. I just didn't feel like I had the right to say so. I still don't. But the truth is, anyone can say they're verified too, which is terrible because not only will I be partially responsible for my followers who got scammed by bots or scumbags who take advantage of those at war with fake fundraisers, but even worse is that the help and money may not even reach those who actually need it. I thought I would be fine the first time. I don't really like posting too much about our depressing reality or watching news in general because my account was supposed to be a "safe SPACE" and a "nice little BUBBLE" for us to be happy and escape for awhile, so I didn'tmthink much about rebloggingit at first. I only wanted to help. But it just kept going and I got swept away. There's so many of them, but there's only one of me and I've been spiraling lately. So for now, I will no longer take any Asks about this subject (which I always avoid mentioning directly because the algorithm has it out for putting you guys down and I wanted you all to make it so I didn't tag those reblogs with such). I'll still take Asks provided they're related to my actual content and of course I'll still support raising awareness for Pal est ine, yet I also get it if this may appear selfish to some of you. I tried. I really did. But if you'd rather ignore, unfollow, or block me for this decision, I understand. I'm just sorry it had to come to this and that I wasn't strong enough to help more. -Bubs.

[rainbowpufflez]

An Artfight piece reminded me how much I love drawing dragons and I was like,,,, hmmmm gotta draw more dragons then I remembered “hey a moot on tumblr has a dragon au” so I drew @sp1derc1der ‘s dragon Cyrus !!!!

[ioannemos]

the particular bad guy of this episode, a little apprehensively: the audience wants to see me die?

nate, with more sincerity than anything he's said to anyone in her presence before: like you wouldn't believe

[pallanophblargh]

Had a pretty good birthday, for the first time in... a while? I don’t mean for that to sound sad, but it’s what ya do when you’re depressed and aging. (IYKYK)

An old friend from high school days came up from Iowa to celebrate with me, which was very welcome! We had plant themed fun together, and rants, and wrestled traffic together, and had tacos and margaritas. We were therapists for each other. We laughed about dumb shit most of the time and reveled in our shared weirdness. In many ways, it was as if no time had gone by. We were definitely both overdue for this, which is usually the case when you’re in your 30s and living in different states.

The unexpected side effect is realization on my end of how much I’d benefitted from leaving things behind: I’d always known that leaving more or less saved my life, but reminders from my friend who is so much like myself of how things still are there kind of shattered my comparatively pleasant little urban bubble I’d made for myself. And so I began my exercise in gratitude, that, regardless of how flawed this city and state may be, it’s been so good for me to be here, to learn, change, and grow.

And so, I say: I love you, Minnesota. Even if you are that Midwest flavor of banality (so what?) and you reek of that infamous passive aggression, you could be doing a lot worse. After all, progress, not perfection!*

I dunno. I just felt maybe I need to be more deliberate about noticing things I am/should be grateful for. Especially since I’ve spent my entire life focusing on everything that is wrong.

*Plenty of things NEED improvement/change, but considering the neighboring states and the country as a whole... yeaaaaah...

[deathsmallcaps]

I swear. I comprehend I’m not the best teaching intern in the world. I also was not the best camp counselor, cashier, and so on. But if my observer gives me so much criticism that I cry again I’m going to be so motherfucking pissed.

Especially since she’s asking me to stay late just to review me. While I have family visiting. And I’m gone for most of the day. And my commute is over half an hour. Which isn’t bad around here but still.

[gardenianoire]

my one lunch break is my one break and this is the coworker that was "helping" me in my class yesterday. And by help I mean she sat and a chair and left me to do everything by myself

[magnifiico]

@howthesleeplesswander || are we ready to die? i think we're ready to die 8'D

He had no concept of time down here. Only that enough time had passed for his mind to clear, reality to assert itself, and King Magnifico to find—

Well, a dungeon cell was no more befitting a king than the mirror just as abhorrently containing him. So, what was he? After all he had done for Rosas, the sacrifices he’d made, the protection he’d offered them for years beyond count, they would treat their king like some common criminal? His queen would dare to turn her back on…

His queen. Amaya. Amaya.

Magnifico had run his muddled mind through the events of that day on a near tireless loop: picking at bits and pieces of his memory, recollecting flashes here, a foggy and distorted mess there. And despite all that he had gathered—a puzzle he’d had plenty of time to build—he’d yet to trace back to what had offended her so. What had antagonized her, driven her to stand against him as if he were the villain betraying the very kingdom he had built?

I built this. We built this.

And he’d promised from the beginning he’d do anything and everything it took to protect it. No questions asked. No holds barred. Magnifico used that book because he had to. The people hadn’t given him a choice; if he had let them—

No. No, no no. We said we’d never let that happen again.

But nevertheless, here he was. Dethroned. Defamed. He’d almost convinced himself his queen planned on letting him rot eternally, but when he heard the creak of a door on that fateful day—could’ve been morning, afternoon… or perhaps his darling had decided to pay an evening visit when all had quieted down—Magnifico hadn’t needed to see her to know. Her footsteps were a recognizable rhythm, soft and elegant, down the steps. Somehow, the echo seemed to penetrate his magical prison just as well, and in some way, each beat trembled down to his core.

When she stood outside the bars, however, peered in at that loathsome little mirror on the wall, he was ready to face her. That is, he’d convinced the faint flutter in his chest that he was.

“You’ve placed a magical mirror in which I am already very securely contained—trust me, I’ve had plenty of time to determine that’s the case—within a literal prison cell,” he observed blandly, head cocking while a bitter smile tugged on his lips. “Is that not just a touch excessive, my dear?”

[andresylupin]

My gift for @heranintomyknife23times for the @officialtolkiensecretsanta 2022!

I too love Eowyn, so I did some web weaving with old english poems and artefacts (+ my own embroidery) that i felt related to Eowyn’s journey!

sources under the cut:

The Fortunes of Men, trans. Aaron K. Hostetter / Sutton Hoo shield, British Museum / Judith, trans. Mary Savelli / Gilling sword, Yorkshire Museum / The Wanderer, trans. Sean Miller / The Wanderer (Exeter Book), Exeter University / Nine Herbs Charm, trans. R. K. Gordon / Old english herbal, British Library / Azarias, trans. Aaron K. Hostetter / Gold finger-ring, British Museum

handmade embroidery, based on a pattern found at regia.org