Thinking about it, with the exception of Arya’s murder of the stable boy back in Season 1, D&D have not translated a single one of her kills to our screens correctly.
And yes, this affects her story in a rather significant way, because these kills just become a meaningless list of dead bodies that D&D can tick off. Just like they do with every other “plot point” in every fucking plotline. So what that it doesn’t make sense for the Black Brothers to stab Jon given that he does nothing wrong, breaks no vows, and was an eye-witness to the army of the dead? Who cares that any meaning from the Walk of Shame was removed given Carol Lannister’s perpetual victimhood? What difference does it make that Deadpan’s marriage to Hizdahr was never seeded and had no impact on the plot? Tick, tick, tick.
Yoh, yoh, yoh! Brand new post, Secret AU coming through!
FINALLY i finished this secret AU illustration! God, everyone was ready for four long months, excluding Kristoff. I was soooo uninspired to draw him (thanks dude *punches his face*) but yesterday my muses came from vacation and i was able to pull it off. Bless.
Okay, so this is my secret alternate universe for the fandom:
★ FROZEN SOUL ★, a crossover between one of my favorite animes of all time, Soul Eater, and Frozen.
This AU is simply perfect for Hans and Anna, i had soooo many ideas for it! For those interested in the plot adaptation, please read under the cut.
For those who aren’t, simply reblog! :D Many thank! (｡･ω･｡)ﾉ♡
Oh, and please do NOT remove my caption, it’s crucial to contextualize the piece. Thank you.
Do you think they are scared that a 5th series might be not allowed because of political circumstances? So they decided to make johnlock canon earlier than initially planned?
Any thoughts on that?
I’m feeling super happy that it might become canon in series 4. But I take it with a grain of salt as now I’m thinking: if they are just doing this earlier because they are scared the show could get cancelled - might the very neatly planned plot be suffering from that? Many of us assume that BBC Sherlock is planned as a classical 5 act story. Will Mofftiss manage to adapt the plot without loosing quality? I feel like they had such a good plan and now I’m scared. But still, I think it is best to make Johnlock canon in series 4 than in series 5 - that’s much better then the prospect of the show getting cancelled after series 4 and therefore never having canon johnlock at all.
Also, this throws a whole new light on Moffat’s warning that “this series could be last”. Because IF they initially did not plan the canon moment in series 4 and are now moving this moment forward in the plot line, THEN the show could actually end. Like: Are they trying to squish series 4 und 5 together into series 4 now? Do you know what I mean? I am just thinking: Are they honestly changing their plan or did they have this plan anyways? I hope so much this was their plan anyways because I would be so sad for them if they had to adapt the stories pace in order to “not be too late”. If they had this plan from the beginning, then I’m not that scared of series 4 being the last one.
Can someone calm me down or has some input on this issue?
From what I’ve seen so far, I’m apparently in a bit of a minority because of how much I enjoyed this episode, even after twice through. Was it perfect in its structure and execution? No. But I loved the character moments and the way they adapted a plot that, in the book, I found convoluted and ridiculous. What’s more, with so many of the episodes so far this season, things have felt overloaded. Much as I loved 02x04, there was just too much in the episode for the significant moments to breathe, for the audience to get that extra few seconds to process the information before moving onto the next thing. Last episode and then this episode both felt less frenetic and rushed (though the transitions between scenes in this episode could still have been smoother).
Because there has been so much negative criticism, I feel like I should start by addressing some of the concerns that I’ve seen most often, starting with the way the episode starts. A lot of people don’t care for the tonal shift between the end of last episode with the fight between Jamie and Claire and where this episode starts/where we first see the two of them together (with Jamie giving Claire a foot massage). There are several reasons why this doesn’t bother me at all.
Plot: Berthier learns Sailor Mercury’s secret identity while targeting a Crystal Point.
The plot was loosely adapted from Act 16 of the manga.
The character designs slightly changed after the commercial break.
This was the second Ami-centric episode that featured the debut of a new opening animation sequence. The first was episode 27. Masahiro Ando served as the animation director for both of these episodes.
Sparkling Wide Pressure had a different background in this episode.
A move during Ami and Berthier’s chess game was inspired by a play used in the World Chess Championship 1972 match.
There was a new animation sequence for the opening credits.
Dark Water was finally named on screen, but this episode contained its last appearance.
Dark Water Full Power was only seen here.
Although there was others, Chess Tower was the last Crystal Point shown in the series.
DiC’s English dub (titled “Checkmate”):
The body lines on Berthier/Birdy were erased during her purification scene.
The best thing I can say about SMC is that they are actually trying to improve! I almost stopped watching in season one, because the plot felt poorly adapted (and the artstyle wasn’t really my thing), but then the plot got better in season two, and the art in season three so far is making me so happy! I am glad because a fellow tumblrer convinced me to give season two a chance. So thanks to TOEI for trying and thanks to my tumblr friends!
Take it slow. And I mean that. The best way to get through a trilogy is to remind yourself that it’s a big task that will take you awhile.
The first step should always be planning, no matter what you’re writing. Remember that this story needs to have a beginning, middle, and end (which is the simple way of saying 3 books), but that each of those books also needs a beginning middle and end. Lay out your plot points so you know what the goals are for each arch of the story. But don’t feel a need to stick to this rigid form either.
Part of trilogy writing is that you will probably change your mind about something later on, and that’s okay. That’s the way writing should be. Allow yourself to go back and rewrite or adapt your plot chart to match the changes of the story.
You also need to know what your characters will be like at the beginning of the story and at the end. Three books is an incredible amount of time to change, so by the end of each book, they should have grown as a person until they reach their “mega form” at the end of the trilogy.
And finally ASK YOURSELF WHY THIS NEEDS TO BE A TRILOGY. This is advice I can’t emphasize enough. A lot of people think that only trilogies make good books or that they can play around as much as they like and avoid the plot line if they write a trilogy. I definitely used to think like that.
The idea behind this is metacognition: thinking about your own thinking. Evaluating why this story deserves three parts will help you sort out how to plan these books, and focus on the things that really do matter in the story. Take it slow and think about why three smaller chunks is better than one bigger chunk. Where does the story stop and start? How much time is passing between books? How is 3 books more beneficial to the characters?