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greenerteacups · 27 days

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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.

#using the tags as a footnote system here but in order:#1. quentin MAY not be dead according to some theories but in the text he is a charred corpse #2. arianne is great and i love her but to be honest. my girl is kinda dumb. just 2 b real.#3. faegon is totally a blackfyre i think it's so obvious it may well be text at this point #it's almost r+l = j level man like it's kind of just reading comprehension at this point #4. relatedly there are some characters i think GRRM has endings picked out for and some i think he specifically does NOT #i think stannis melisandre jon and daenerys all will end up the same. jon and dany war crimes => murder/banishment arc is just classic GRRM #but i think jon's reasoning will be different and it'll be better-written.#im sorry but babygirl shireen IS getting flambeed. in response stannis will commit epic battle suicide killing all boltons i hope #brienne will live but in some tragic 'stay awhile horatio' capacity. likely she will try to die defending her liege and fail #faegon will die there's zero chance blackfyres win ever #now jaime/cersei I do NOT think he knows. my brothers in christ i don't think this motherfucker knows who the valonqar is!!#same with tyrion i think that the author in GRRM wants to do a nasty corruption arc + kill him off but the person in him loves him too much #sansa i have no goddamn idea what's going to happen. we just don't know enough about the northern conspiracy to tell #w/ arya i think he has... ideas. i don't think she's going to sail off to Explore i am almost certain that the show doing that was a cover #because the actual idea he gave them was unsavory or nonviable for some reason. bc like.#why would arya leave bran and jon and sansa? the family she's just spent her whole life fighting to come back to and avenge?#this is suspicious this does not feel like arya this does not feel right #bran will not be king or if he is it'll be in a VERY different way not the dumbfuck 'let's vote' bullshit #i personally think bran is going to go full corruption arc and become possessed by the 3 eyed raven. but that could be a pipe dream #the thing is he's way too OP in the show so the books have to nerf him and i think GRRM is still trying to work out #a way to actually do that.#i don't think he told them what happened with littlefinger or sansa. i think sansa's story is vaguely similar #(stark restoration through the female line etc)#but the queen in the north shit is way too contrived frankly. and selfishly i hope she gets something different #being a monarch in ASOIAF is not a happy ending. we know this from the moment we meet robert baratheon in AGOT #and we learn exactly what GRRM thinks of the people who 'win' these endless wars of succession #and they are not heroes #they are not celebrated #and they are neither safe nor happy

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the-red-thread-that-strangles · 7 months

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I was wondering what Akai is up to in the sweater weather AU, so here you go

Akai Shuichi is a thrillseeker at heart, but even he has his limits.

So when his mother, conveniently pocket-sized but still as sharp as ever, threatens him with a gun and lays into him, not for faking his death, but, of all things, for not mentioning his partner to her, he privately questions her priorities but decides to tell her the truth. He certainly likes to live dangerously, but he wouldn't be alive today if he didn't know how to pick his battles.

While she seems initially confused, the conversation about Akemi quickly veers off-track when his mother asks him to repeat her family name. Miyano, as in, her sister's daughter Miyano Akemi. Shuichi didn't even know he had an aunt. Not that it matters much, since he knows Akemi's parents died years ago. Eventually his mother leaves him alone, both of them too caught up in their heads to continue the conversation.

Shuichi's not really sure what to feel about all of that. So he doesn't.

He's not always been good at managing his emotions, but it's pretty close. When his father taught him how to hunt, and the misery of seeing proud game succumb to his shots had almost swallowed him alive, something cracked under the pressure. And whatever that was, despite Shuichi's best efforts, it has never quite healed alright. It left him with a slight gap between his thoughts and feelings, giving him that bit of extra distance necessary to keep going instead of breaking down. He'd come to understand, then, with a clarity born from numbness, death as an integral part of life. It comes for all living things, sometimes too early, and there really is no way to escape it. There's no use in fighting. Better get used to it.

The FBI counsellor called it repression, many years later, and while it was not even close to immediate grounds for disqualification from the program, she tried to give Shuichi reading materials on mindfulness and self-reflection. He hasn't touched them; the ability has been too helpful so far. He would've shattered several times over without it; when his father disappeared and his world threatened to break apart; when he decided to leave his family, including an unborn sister, behind for the ghost of a chance to find his father; and most often since he went undercover for the FBI. There's no fooling himself, compartmentalization and repression are probably the only reasons he can talk about the years and years of dirty work, including everything from blackmail to torture and murder, without losing his sanity. People call him cold-blooded and emotionally unavailable, and mean it as an insult. Shuichi can't bring himself to care. Life is complicated enough without emotions thrown into the mix. He needs to control some factors and keep them simple. Himself, he can control - mostly. So he does.

And he's good at it, but some days, it's too much.

Dealing with Akemi's untimely demise has always been difficult. He made a mistake when he got attached to his target. He can't even claim that he didn't know better, at the time, because he did, he just chose to ignore his better judgement. Couldn't help it, really. She was so easy to get along with, gentle yet tough as nails in a way that gave him, too, the strength needed to make a name for himself as a hitman. Those first couple of months before he learned not to sleep too much, when he came back from his missions feeling stained in blood that never even touched him, when he maintained his cover throughout the day and threatened to break apart by night, she was there to steady him. And she allowed him to be gentle with her, to hold her and love her and promise her the world. He needed desperately to not just be a monster, and she managed to see the man in him.

Now he's left to wonder if the easy familiarity he settled into with Akemi was a result of their relation. Such a pointless question.

With the help of a few glasses of Maker's Mark, a pack of cigarettes, and a probably unhealthy amount of emotional distancing, he manages to lay the matter to rest, for now. Until the organisation is dealt with, he can't afford to let his emotions get in the way, so he buries them as deep as he can, and applies logic to the problem.

Ultimately, he reasons, rhythmically assembling and disassembling his IWI Jericho to give his hands something to do, it doesn't really change things. What matters is that he loved her and she died for it. Whatever he learned after can't tarnish that memory. It's a simple fact that he needs to keep going to avenge her; aside from that, all he can do right now is remember her, and honour her last request. That's the active parameter he can affect: he will see to it that Miyano Shiho is protected, or die trying.

Shuichi considers telling the girl they're cousins, and eventually, he will - if she doesn't figure it out before that, keen as she is. But for now, she still doesn't trust him, has too much to worry about, and honestly, for a supposedly dead man he has enough tetchy family connections already. Maybe, when all of this is over, he can tell Masumi - she's a bit too careless to be told now, and he hopes his mother shares this assessment. But his little sister is great at breaking the ice, and he's sure she would love to hear she has more family. It might do Shiho well, too, knowing she isn't as alone as she might think. Their family is odd enough that she'll fit right in.

He's not sure he'd wish it upon her, though. Dealing with his darling mother always involves a headache of some kind. He is reminded once again why he didn't join the MI6, and why he tries to keep contact with her to a minimum. Still, somewhere deep down and buried, he's glad she seems to be well enough to feel like going out and threatening him. It's almost cute, even if she's deadly.

Despite his best efforts not to let it affect him, emotional exhaustion sticks to him through the next couple of days, uneventful as they are. Sleeping would probably help, but he keeps himself awake with coffee where he can, only napping a couple hours a day. Shuichi's life is one of constant vigilance, of surveillance and planning and striking at precisely the right time. And it suits him just fine, patience is in his nature. But while he's not on a mission, it sometimes leaves him just a little bit bored. The Kudo library is extensive, but there's only so many mystery novels he can read before his mind starts to wander. Trying not to think of Akemi's death is like trying not to think about pink elephants once he has been reminded of them. The comparison is uncharitable, and he knows she wouldn't appreciate his brooding, but it's not like he has much else to occupy himself with. Yes, there are the preparations for a joint operation against the organization coming up in a little over a month, and there's a class Okiya Subaru has to attend Tuesday evenings, but it's not like they require his full attention. He still tries to give it to them.

II.

Shuichi's not sure whether it's a blessing or a curse that he's meeting with Furuya Rei a couple of days after the ill-fated encounter with his mother.

Their relationship is tumultuous at best, and murderous at worst, complicated in the way all interactions containing Furuya tend to be, as the man is dictated by exactly the kind of emotions Shuichi tries to avoid. Granted, it is a rather one-sided disagreement; as with most things, Shuichi has no strong feelings about Furuya. He respects the other agent's abilities, particularly the fact he is still undercover, and teasing him is surprisingly fun. That's about it. Shuichi's keenly aware of Furuya's flaws, but as long as they don't bother their operations, he's not going to do anything about them.

In fact, in the last weeks - months really, at this point - he's been enjoying going along with Furuya's whims, meeting him to exchange the sweaters he seems to be so obsessed with. When he's not trying to hound him, Furuya can be somewhat decent company, chattering away about the mundane things that irritate him. Until he realizes he's been too pleasant, at which point he gets a little volatile to make sure Shuichi understands they're not actually friends. It's nothing Shuichi can't handle, and to be completely honest, he appreciates a little less boredom in his life.

Today, though, doom and gloom and failure still on his mind, he's not really up for playing games with the PSB agent. They know each other better than anyone else alive, aside from maybe Morofushi. Furuya will understand.

So he prepares a bag, shoves the sweater Furuya requested in, double-checking it's the right one because he really doesn't need another lecture right now, and waits for the agent to break into the Kudo mansion so he can hand it over and be done with it. Considering he's an ally now, Shuichi would offer him a key, but he's got the distinct impression Furuya would somehow misconstruct it as an insult to his abilities.

Exactly five minutes ahead of schedule, there's the click of the first-story balcony door, and Shuichi pads down from the sniper nest in the attic to meet his guest. Wordlessly, he holds out the bag to Furuya in the hallway. "Not even a good evening? Lacking in manners as usual, Akai Shuichi." Shuichi shrugs, can't be bothered. Shakes the bag. "Here's what you came for." Furuya's eyes narrow, scan across his form, then his brows furrow. An expression Shuichi hasn't seen on him before crosses his face, and before he has time to interpret it, it's gone, replaced by a smirk. "Hey, Akai." He stretches, dangling his own bag overhead. "That takedown you performed on the serial killer two weeks ago. Teach it to me." Shuichi stares back, unimpressed. "Maybe next time, I'm not-" Two quick steps, and Furuya's in his space, eyes blazing blue, looking up at him so impossibly bright. "That wasn't a question, Akai." He grins, eyes shining. "Or you're not getting your sweater back."

Shuichi almost lets out a laugh. That's gotta be up there somewhere in the top five stupidest threats he's ever been issued. Which is really saying something, considering he spent his teenage years in a high school in the US, and then some more years with FBI trainees in Quantico. What is it with Furuya and his sweater fixation? Akai doesn't care, he can have them all if it gets him out of his hair.

Unfortunately, Shuichi's best death glare doesn't seem to have the desired effect. Determination is either Furuya's best or worst quality, depending on how much trouble his current agenda involves, and for the sake of Shuichi's time, it's probably quicker to go along with him than to try and forcibly relocate him, even if he's certain he could. With a quiet sigh he makes for the basement gym.

Where his temper shines through in conversations, Furuya's presence in a fight is that of a wildfire, contained in a person. When he fights, he burns, sucking the oxygen and attention out of his surroundings, doesn't allow for distractions or he'll singe and bite and sting whatever is in his path. He takes to Akai's instructions easily, and soon enough they're no longer practicing but engaged in a sparring match. Furuya doesn't leave him time to consider anything else, at all, and damnit, that fervour of his is contagious. The battlejoy kicks in, hard, and Shuichi finds himself mirroring the PSB agent's mad grin as they wrestle for dominance, toss each other into the mat, twist and turn and struggle on the fine line between play and serious fighting.

Once they're staying down on the mats, the battle is over quickly; one moment he has Rei in a full-body pin, sure of his surrender; only for the man to twist his legs, shift their positions, and straddle Shuichi, bending down to choke him. He's stunning like this, flushed and panting for breath, his scorching gaze focused intently on Shuichi and Shuichi alone, looking for an opportunity to make him yield. An effigy of life itself.

Shuichi can't help it; his heart soars, his blood sings, his body shivers. Rei is a pinpoint focus of light, and then everything goes dark.

Sweater weather AU masterpost

#akai might know his limits and pick his battles accordingly. this does not help whatsoever when rei picks the fights for them.#rei is contemplating heavily ever trying to help Akai again. here he is being nice and Akai faints on him.#rei: you're supposed to tap out BEFORE you loose conciousness ffs (not that he would surrender either)#akai thinking: don't get distracted or he'll eat you alive. also akai: gets distracted #recreational choking is not where I thought this would go but here we are #yes I know I'm an advocate for Akai being a better fighter than Rei #but he's going through things it's fine #also I do believe he has an eye and appreciation for brilliance #sweater weather AU #iris writes things #long post #damn it I always forget to tag a thing #akam #there we go #if I knew what I was doing I probably should've left it at Akai moping. but I couldn't let him stay that down :/

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