#who would have a whole character arc

[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.

[beneathsilverstars]

In Stars And Time Classpects

Siffrin - Thief of Time Mirabelle - Page of Space Isabeau - Heir of Blood Odile - Seer of Heart Bonnie - Sylph of Hope

Explanations under the cut!

Siffrin - Thief of Time Of course Siffrin literally manipulates time, but Time as an aspect is also associated with death, destruction, and inevitability, which are huge themes in their story. Nothing says "time player" more than marching onwards through a thousand deaths, fighting against a fate that seems impossible to avert. And as a Thief, Siffrin specifically steals time from others in order to have more for himself. Whoops! Time players are relentless, and thieves are active, self-centered. They won't sit still and accept the inevitable; they'll struggle towards their goal at any cost. It's incredibly fitting for a Thief of Time to hold their objective so tightly that the reason they wanted it disintegrates in their grasp, lost to entropy.

Mirabelle - Page of Space As the chosen one spearheading the mission to collect the orbs and save the country, she seems like the obvious choice for the other essential aspect and its quest, collecting frogs and ensuring the continuation of life. Luckily, the metaphorical side fits perfectly as well: Space is about creation, just like the Change religion! But as a Page, Mirabelle doesn't use her aspect herself; instead, she leads using it, and leads others to use it. She inspires others to change, learn, and improve. Pages reach their potential slowly – they may struggle for a while with feelings of inadequacy and stagnation. After a long hard journey with lots of reflection and personal growth, though, they can end up the strongest of all! And for Mirabelle, as a Page of Space, that means learning to let go of the urge to force personal change, inspiring external change on a greater scale instead.

Isabeau - Heir of Blood Blood means relationships, trust, and obligation. Heirs embody their aspect, and perhaps attract it, receive it, are controlled by it; the perfect class for someone who specifically crafted himself into the kind of person others would reach out to. Heir is one of the most active of all the passive classes, but it's still passive – Isabeau makes space for bonds, commits to bonds, but doesn't take the first step to create the bonds himself. His choice to follow Mirabelle was a natural continuation of his obligations as defender. He couldn't bring himself to confess to Siffrin, but that passive crush was a powerful narrative force. Isabeau didn't assemble the team, but he reinforces the bonds that allow it to function!

Odile - Seer of Heart Heart is the aspect of self and identity, which is the heart (heh) of Odile's quest. She wants to learn about herself, and her chosen method is learning about other people. Seers seek a comprehensive knowledge of their aspect and then use it to coordinate and advise others; Odile analyzing enemies and deciding team tactics is a perfect example of this! The Seer prevents their party from making mistakes related to their aspect, so a successful Seer of Heart would understand each teammate's personality well enough to guide them through their character arcs and prevent self-destructive behavior. Odile noticed Siffrin's increasingly out-of-character behavior, and had the ability to figure out why they had changed... except he kept thwarting her efforts by stealing her time. But in the end she managed to thwart them instead, forcing them to stay put and go through their character development already!

Bonnie - Sylph of Hope Hope is one of the most literal aspects; Hope players raise morale, stick to their convictions, and believe that a better world is possible. The Sylph of Hope would be someone who uses Hope to heal other people, or fixes and maintains Hope itself. Obviously, Bonnie literally brings hope and healing by passing out the potions, but they're also the snack leader! Nothing boosts morale like a nice meal. Hope is also the antithesis to Rage, which represents possibilities being cut off. Bonnie reacts poorly to situations that invoke the Rage aspect, like the adults discussing death (the ultimate end of possibilities), and Siffrin getting injured in their defense (which no amount of belief can heal); in fact, they react with anger and an urge to tear down any positive that's left! Since Hope is associated with black and white thinking, it's not surprising that when Bonnie loses hope, they lose it, leaning into their aspect's opposite. But that's not where they stay – when they protect Siffrin in their friendquest, they're able to not just heal their own hope, but give hope to Siffrin as well. Bonnie believes that they and their friends can all protect each other, and in the end, they do!

[lorillee]

in honor of kakashis birthday i thought i might as well finally release my half finished mini concept of "inverse lost tower where baby kakashi comes to hang out with shippuden era team 7. Badly" because obviously baby kakashi seeing his older self have relationships and happiness that baby kks doesnt think he can or deserves to have pisses him off on such a fundamental level hes so filled with rage he barely knows what to do with himself. not to mention that adult kakashis general outward lackadaisical demeanor also makes him angry because how can they have gone through all the same things and yet he still doesnt take anything seriously etc etc u already know all this. regardless the issue more than anything else was that im not much of a writer so i could never get the words to feel right so it'll probably stay unfinished forever, but take these anyways

[moofshroom]

this scene is so important to me because post-school mystery mitsuba has just had his main motivations as to be a person, be someone with an identity. hes a whole different entity from mitsuba the og but hes trying so hard to emulate that sense of humanity and this scene is so integral to that because its this exchange of, “you care for me like im a person and not just a jumbled mess of somebody else’s memories” and kou’s reaction to that and realizing this and i just.... guys im not okay

[demadogs]

oh my god guys why the fuck would they kill karen lmao

[jaxihammer]

You will never convince me that Isabel Lovelace is not disabled post-canon. Think about it.

Of everyone in the crew, she's spent by far the longest time in space. Sure, she's probably been exercising, but that isn't going to fully stop her muscles atrophying. Her bones are going to weaken. Not to mention the fact that she went into the cryo chamber, which we know isn't GREAT for you (I know Eiffel is kind of an outlier but still. Even once is gonna fuck you up at least a little).

Then add to THAT the fact that the body Lovelace has now was created by the dear listeners. Not only are they recreating a body that's already undergone almost a thousand days of the trauma of space; they're doing it with zero existing knowledge of how a human body functions in Earth's gravity. The clones are almost perfect, but there are notable differences in internal organs, and I wouldn't be surprised if Lovelace was put back together with some inconsistencies.

All this to say, I think Lovelace would become a mobility aid user when the crew lands back on Earth. Everyone on the crew would probably end up in physical therapy, but the damage done to her body would be by far the most extensive. Whereas I don't doubt Jacobi, Minkowski, and Eiffel could regain most if not all of their mobility, I think Lovelace would use a wheelchair, and eventually with PT could use crutches or a cane some days. Even if she were to regain muscle function, she would probably have some sort of chronic pain that would necessitate mobility aids!

In conclusion Let Her Be Disabled thank you for coming to my TED talk

[seventeendeer]

just started book 3 of my ATLA rewatch and, all goofs aside, I do think it's a massive shame how many genuinely interesting ideas are in here which never get to shine because the headwriters are fundamentally uncomfortable with the themes they inserted into their own story.

they want to write a story introducing kids to the concept of war, but all of their main characters are inexplicably insanely competent and powerful, so we only get a handful of scenes depicting the war with any amount of realism. these scenes usually involve very minor one-off characters, and while evocative to adult viewers to an extent, they are likely to go over kids' heads because they're not grounded in the central narrative.

the writers are eager to borrow concepts from various asian mythologies and schools of thought, but they cherry-pick the parts they think are "cool" or "deep", while ignoring or shouting down ideas that don't neatly line up with what they themselves are already able to relate to (see the whole "opening the chakras"/"letting go of katara" plotline).

they want to portray strong, independent female characters standing up to sexism, but every female character must still on some level aspire to be someone's wife (and the dark-skinned girls are depicted as already fitting the mold perfectly; it seems to be the price they pay to be allowed in the story at all. the writers attempted to branch out a little in the sequel series with korra, but immediately felt so uncomfortable they felt the need to put the character through an insanely traumatic plotline as punishment for creative choices they made!).

there are many more of these, but you get the pattern. it's what happens when creatives like the idea of doing something meaningful, but ultimately can't bring themselves to leave their own comfort zones.

I'd honestly be interested in reading fanfiction of ATLA by writers who have a better understanding of the themes it's trying to depict, because there are a lot of interesting pieces on the board and I would love to see them moved around by players who aren't fucking stupid and actually know what the hell they're talking about

[amaranthdahlia]

god i will never stop fawning over how absolutely SPECTACULAR afo vs bakugou was. genuinely one of the best fights in the entire manga in terms of art, the themes, the pararells, the gayness, the fight itself, and just. everything about it makes me wanna scream into my pillow and chew on it

[codexbrainhasbrokenfree]

omg they found a family in each other and are taking a family photo together

full party chat under the cut

[bacchuschucklefuck]

since more of like the class swap etc started going up every once in a while there will be a question in my inbox that would take me literally multiple comics' worth of art to answer adequately lol. and I don't wanna do that under an ask I want that to have its own space! so if I don't answer ur question know that it's probably that^ above there and not that I think ur question sucks

[headfullof-ideas]

Presenting two more characters and their redesigns in my HTTYD/The Deep story! One is more involved in the story, but the other makes PLOT, and neither really ever interact or connect to one another plot wise to my immediate knowledge in the overall story.

Introducing Savage and Eret!

Savage is not an Outcast and Alvins right hand man, but a true Berserker warrior, serving Oswald and his family for years. But when Oswald the Antagonistic becomes Oswald the Agreeable, Savage starts to grow restless. The Berserkers aren’t at war with the Berkians and surrounding tribes anymore, Oswald trying to maintain a semblance of peace in the dragon-war ridden Archipelago. Savage is a follower, not a natural born leader, but years of peace treaty after peace treaty, and babysitting Oswalds whelps has made him seek out other like-minded Berserkers, planning an uprising against the passive Chieftain. Oswald seemed to have caught on to what Savage was doing, escaping their attempted assassination, and now Savage is trying to commandeer the Berserker Tribe as a whole through sewing doubt amongst the tribe against Oswalds children, and trying to pit the siblings against one another in hopes they’ll simply get rid of the other for him. Savage isn’t good at thinking things through though, especially what the aftermath of his plans to stage a coup or civil war amongst the tribe to try and take leadership might be.

Eret son of Eret is a budding Dragon Trapper, partaking in his father’s business of trapping dragons and bringing them to Auction Markets run by the Grimborn brothers. Dragon Trapping was introduced to Erets family through his paternal Grandfather, with loans being taken from the wrong people, with no money to pay them back leading his Grandfather to Dragon Trapping. With similar habits being passed on to his son, Eret Sr, Eret has been taken on as crew for his fathers quest to pay off the debts his grandfather failed to pay, and his fathers own drunken mistakes. Eret isn’t sure how to feel about it all, his father pushing the looming mantle of Captain on to Eret as his eventual future, leaving whatever debts his father fails to pay before retirement for Eret to try and absolve, with old bedtime stories from his deceased mother and her side of the family speaking of dragons being more than wild animals. Eret’s been grappling with his internal struggles for a few years now, and a sudden interaction with some Archipelagon teenagers apparently riding dragons only rattles his inner beliefs even more.

I decided to go a bit of a different route with Savage in this story, making him a member of the Berserker tribe instead of the Outcasts. There are a lot of elements of his prior design still in this one, but he’s got a lead part in a lot of the early Berserker central arks and plots, especially in Heathers early story, and why she makes some of the decisions she does in Riders and Defenders of Berk, which has a sort of butterfly effect on the way she is in RTTE. He’s not a MAIN villain like the Grimborn brothers, Alvin, Heather, Drago, and a certain someone from the games, more of a small villain and a reoccurring nuisance. He gets his comeuppance however, as he’s not good at thinking things through, especially in the long run, and eventually gets revealed for all his nefarious schemes, and promptly exiled

Eret is a little different to the swashbuckling Dragon Trapper that’s in HTTYD 2, but he’s also nearly five years younger, a little older than Dagur and around the age that the riders were in RTTE. So, eighteen-nineteen-nearly twenty. He’s not Captain of the ship yet, and dealing with a lot of inner family struggles and trying to come to terms with what his future may hold. Generational and pawned off debt is how I play off (Headcanon wise) how he came to be under Drago’s employment in the films, and I’m playing with the setting of the early stages of how that happened here. With his grandfather and father both taking loans they couldn’t keep or pay back, and turning to Dragon Trapping to try and pay them off. Afterall, dragon parts and living dragons sell for a LOT of money. The Dragon Riders throw a bit of a wrench in things though, and Eret ends up being one of their first allies beyond Dagur and someone else in the Archipelago. He’s also a little shorter and not nearly as beefy as he is five years from then, not having the experience to build up that kind of muscle yet. I did this partly because of his age, and partly because Nico Marlets early concept art for him (whose HTTYD art I love and want tattooed to my brain) had him being a little more scrawny, and so I thought that was a nice callback

More characters to come…eventually, as it takes time to draw these, especially with the designing process I go through

[slightly-depressed-sloth]

Gentle reminder;

Burying your gays as a trope doesn't apply to media where literally every character is queer and only one of them dies

That's just called regular character death

[iwritenarrativesandstuff]

ghhhh ep 76 of hxh annoys me so much. such an utterly baffling change from the manga. kite you deserved better

[mintharasthrone]

okay so larian really just shat all over minthara’s character and her arc huh

[worstloki]

not a fan of people saying Odin and Loki are similar in a moral or decisive sense, particularly when it comes to Thor. that makes it sound like Loki doesn't know Thor or care about him beyond what he symbolises (regarding Asgard/the throne/family/worthiness), when that's a defining part of their relationship

[sskk-manifesto]

Ep 6!!!