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#this vs that book
essektheylyss · 6 months
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"must a story have conflict?" yes. hope this helps <3
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holdoncallfailed · 11 months
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SPILLED.
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realtacuardach · 1 year
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One difference between the Lord of the Rings books and the Peter Jackson films that I find really interesting is what the hobbits find when they return to the Shire.
In the books, they return from the War, only to see that the war has not left their home untouched. Not only has it not left their home unscathed, battle and conflict is still actively ravaging the Shire. They return, weary and battle-scarred, to find a home actively wounded and in need of rescue and healing. All four launch themselves into defending their home and rousting those harming it, and eventually succeed. But their idyllic home has been damaged, and even once healed, is never quite again the Shire they set out to save.
In contrast, in the Jackson films, they return to a Shire shockingly untouched by the horrors of war. The hobbits of the Shire talk, in the Green Dragon in Fellowship of the Ring, about not getting involved with issues "beyond our borders," and it seems those issues have not invaded their sanctuary. After having been bowed to by kings, dwarves, elves, and men alike at the coronation in Gondor, their only acknowledgment upon returning home is a skeptical head shake from an older hobbit.
One of the most poignant scenes to me in Return of the King (and there are a considerable amount) is the scene where Frodo, Sam, Merry, and Pippin are sitting in the Green Dragon. The pub patrons bustle around them, talking loudly, clapping excitedly, drinking cheerfully, just as they had in the beginning of the story. But the four hobbits sit silently, watching almost curiously at what was once familiar but is now foreign to them. Their home has not changed. But they have.
Which is the deeper hurt? To come to your home to find it irrevocably changed, despite all you did to keep it untouched and the same? Or to return home but no longer feeling at home, because it is only you that is irrevocably changed?
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egophiliac · 3 months
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don't think I'm not still deep in the episode 7 brainrot. because OH BOY AM I
(also one more extremely, obnoxiously self-referential thing, I'm -- I'm so sorry)
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midwestmunster · 10 months
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Scott Pilgrim vs. the World (2010)
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nemkero · 22 days
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zuko when i make him my oc (hi)
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velvet4510 · 3 months
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Ok, time for a hot take.
It really bothers me that Rosie and Sam’s relationship is reduced and made so shallow in the films, with the implication that they’ve never even talked to each other, and Sam is pining for this girl he doesn’t really know….
Like …
… this actually misses the entire point of their relationship in the book.
In the book, Sam and Rosie grew up together. His warmest memories that bring him comfort in the darkest place are the memories of playing with her in the pool when they were kids.
The point of Tolkien’s Rosie is that she’s someone familiar to Sam, the face that comes into his mind when he thinks of home. He remembers an actual moment he spent with her, a moment of fun and bonding. Then when he comes home, it turns out she could somehow sense the moment the Ring was destroyed, and knew he was coming home. They have this special, deep bond that brings Sam a sense of comfort and stability.
She’s not supposed to be some distant, unknown figure that Sam has built up in his head but has never actually talked to or gotten to know. That’s literally the antithesis of Tolkien’s Rosie Cotton.
It’s like the films swap Sam’s initial relationships with Rosie and with Frodo. In the movies, he starts off more familiar and friendly with Frodo; they apparently go to the pub together frequently like typical buddies do, whereas Rosie is in another world, dancing and making drinks behind the bar, and Sam is just too unsure of himself to even make small talk with her.
But Tolkien’s portrait is the exact opposite. Rosie is the one who Sam spends a lot of time with and has known for a long while. Frodo is the one who Sam is distant from and doesn’t really have the nerve to make chit-chat with, because he is Frodo’s servant and thus he thinks it’s not his place to be too friendly with “his betters,” as his dad says. (And then the journey takes the two of them out of that restrictive class system and frees them to bond and get to know each other as people.)
Then when they come home, there’s an actual sense of coming home, because Rosie embodies everything that is familiar and safe for Sam. Not everything that is unknown and scary.
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suntails · 3 months
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reality
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verdantmeadows · 7 months
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SPLATOWEEN 2023 CONFIRMED!
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batcavescolony · 20 days
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Fans: Dick was a HORRIBLE brother to Jason. He hated him. He refused to accept him as Robin, He-
Canon Dick when he teams up with Jason's Robin:
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sillyfairygarden · 1 year
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[h20 voice] oh no, cleo!
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UNRELIABLE NARRATORS; FINALS.
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Eugenides Propaganda:
the entire plot hinges on a detail he lets the reader (and every other character) assume is true. I don't want to spoil it because it's a really fun reveal but he is lying from the first second he appears on the page and you can't trust him to tell the full truth about ANYTHING related to himself and his goals. he mostly does it to keep his advantage and not have other characters be suspicious of him but it's just so fun when you realise he's been lying the whole time
Lemony Snicket Propaganda:
(I would like to preface this by saying that Lemony Snicket is the author's pen name, not a real person, and he exists as a character in-universe as well as being the one in-universe who writes the books!) I'd say he's unreliable because he spent time collecting information about the Baudelaire kids and then... wrote books about it. He has no idea what any of their dialogue actually was, what they were thinking, or even the whole plot, he's just doing research into the incidents and then filling in the gaps to make it a story. What ACTUALLY happened to the Baudelaires? Nobody really knows for sure
While the Baudelaire siblings are in potentially life threatening danger, he will randomly start talking about his own life and just leave the siblings hanging. For example, once Count Olaf was threatening to kill Violet, and then Lemony randomly began talking about how he met the love of his life at a costume party. This man CANNOT stay on topic. Usually when a new character is introduced, Lemony tells us right at the start that they’re either going to die or that the Baudelaire siblings will never see them again. Foreshadowing is not subtle in these books. CONSTANTLY emphasizes how miserable he feels while writing these books. At one point he admits that he had to put his pencil down and go cry for a while because of how sad it made him. Once he filled an entire page with nothing but the word “ever” to emphasize how dangerous it is to put forks in electrical outlets. He also repeated a paragraph about deja vu later on in the book to give the reader deja vu.
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writingwithfolklore · 2 months
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Character Agency
Your characters should have agency. That means they have the power to influence what’s happening around them. We talked a bit about agency last time, revolving around how many female characters get agency stripped away from them. But overall, agency is important for any character to make them active participants in their own stories and feel necessary to the plot.
              So here’s how you enable your characters agency:
1. They make active decisions
Okay this is the obvious one in theory, but still manages to sneak by in stories undetected. An active character with agency makes things happen through their decisions, instead of just their reactions. Take these two examples of a scene plan:
John is walking home when he is caught by a sudden storm. Looking to hide from the rain, he ducks under the cover of a bus shelter. Inside is Mya, and they strike up a conversation about their shared sucky situation.
Vs.
John is walking home when he is caught by a sudden storm. Luckily he brought an umbrella in his bag, and draws it out. Then, he sees Mya getting drenched by the rain ahead of him. He jogs to her, offering to share the umbrella. They strike up a conversation.
In the second example John isn’t just reacting but making a choice that’s changed something in the world. He may just happen to run into Mya, but it was his decision to run up to her, to offer her his umbrella. This action is a great indicator of his personality—he’s kind, trusting, and thoughtful even towards strangers.
That’s the most important part. A character who just reacts to everything doesn’t show off any personality, whereas action lets you demonstrate who your character is at their core (especially in difficult situations that call for difficult decisions).
2. Their actions have consequences
Similarly, the decisions your active character makes aren’t really decisions if they don’t impact any part of their world. For good or for bad, every decision your character makes should have a consequence. This could be shown through their relationships with others, their environment, or even their own mental, physical, or spiritual state.
If we’re going from the example above, John sharing his umbrella with Mya maybe starts their friendship, but her jealous, toxic boyfriend sees them through his window, making her and now his life difficult.
It’s a decision that has multiple consequences throughout his life—a new friendship, and also a new enemy. And Mya is also facing consequences—from her decision to walk with him, and his decision to offer her the umbrella.
Make sense? How do you ensure your character has agency?
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musubiki · 2 months
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danmarch 🐉💎
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egophiliac · 1 year
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couple more quickies, because I gotta work through my Shroud-family feelings before I can even begin to process the Diasomnias, please bear with me 🙇
anyway, I couldn't decide which composition I liked better, so I did both!
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yuridovewing · 9 months
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