#bran stark theories

[hollowwhisperings]

"Speaker For The Dead": Bran Stark as a Reference to Ender Wiggin.

I read the first two Ender books when FAR too young to handle their themes of, y'know, the intimacy of xenocide when you're a child soldier. Scary stuff for a kid of age with the protagonist.

So colour me Unsurprised upon relearning that the language the aliens of SFTD's aliens to speak with humans... is named "Stark".

Because of course GRRM would find joy in a conveniently horrifying-by-implication Pun.

The Premise of "Speaker For The Dead" (the sequel to "Ender's Game", a Differently Horrifying inspiration for some of my childhood nightmares) is this: human colonists and the local alien species had been more-or-less at peace until a human is Suddenly & Inexplicably Murdered by the aliens who considered him a Friend.

Due to [the Plot of Ender's Game], Humans are wary of Jumping To Conclusions as to this seemingly Senseless Violence and Ender Wiggin (of Ender's Game) stops at the planet to Speak at some Funerals. To properly Speak for the Deceased, Ender investigates the Murders and because of [the plot of Ender's Game] feels certain that there has been a Fatal Translation Error.

Spoilers for SFTD & comparisons to Bran's POV Arc under cut.

He's Right.

The Piqueninos (the aliens) are still learning to communicate with the humans they're sharing a planet with, using a language named "Stark". The deceased men were both held in great esteem by the Piqueninos, one of the primary reasons why [A Xenologist Expert] was sought after: why kill someone who was their Friend?

It turns out that Ritualistically Vivisecting respected males of their society is how the Piqueninons Evolve: they had spent the entire book calling Trees their "Fathers" and they had meant that literally.

The gratuitously violent murders of their human friends were efforts by the Piqueninos to honour these men by making them Fathers, using the same method of Deification on the human men as they would to their own kind.

Cue the Horrific Revelation that, no, Humans Do Not Transistion From Life Phases via being Ritualistically Killed to Become Trees: the Piqueninos efforts to "honour" their Human Friends actually Killed Them. Permanently.

Now let's reevaluate what Bran Stark's been up with the Singers in ASOIAF.

Brynden Rivers has been sending Dreams to kids with Greenseer Potential and directing them North.

Jojen & Bran, inspired by such Dreams, go Beyond The Wall to seek out this "Three-Eyed Crow" who will teach Bran how to "fly".

Bran & Company end up in a magically warded Cave populated by the mythic "Children of the Forest" (Singers) and someone they call "The Last Greenseer", a man who has a weirwood tree growing through him & introduces himself as a Man Formerly Known as Brynden.

contextual clues identify him as "Brynden Rivers": one of three Great Bastards of Aegon IV had with Lady Melissa Blackwood*, Hand & Spymaster to Kings Aerys I & Maekar I, a Disappeared Lord Commander of the Night's Watch.

the Singers confirm the religious beliefs shared with the First Men as being Literal: the trees are gods and the gods are trees. Incidentally, Jojen brings up how Revered Greenseers are by those who worship the Old Gods.

Jojen has Greensight and Bran, as someone who can both Skinchange AND Greendream, qualifies for "Greenseer" status. Except... the Singers Very Consistently call Brynden "the Last Greenseer" even with Bran Stark right there contradicting that There Can Be Only One (the Singers also mention greenseers as existing in Plural, historically, & that those of their Own Species have "died out/[faded?]").

Brynden "The Last Greenseer" takes Bran as his [apprentice]. Part of this Training is going into the Weirwood Tree [Hivemind], a network that transcends Time & Space (because Roots, i guess?) and allows Bran to see all sorts of varyingly traumatising Visions.

Bran's lessons require his sitting on a Weirwood Throne beside Brynden who is, incidentally, a body horror Weirwood Tree-Human hybrid now.

BTW, Bran's "training diet" features an Ominously Described "Paste" fed to him by the Singers. It's made from Weirwood Seeds, apparently.

(hey isn't everyone stuck in this spooky underground cave because leaving it means getting eaten by zombies? whete are they getting these Weirwood Seeds from- oh. Hi there, Brynden the Tree-Man Abomination)

wait, if Bran's a Greenseet now then how come the Singers still call Brynden the "Last" Greenseer? is this, perhaps, an instance of, say... interspecies life phase transitions being Poorly Translated to humans due to Trees Being Gods and Trees Transcending Time & Death?

has Jojen, perhaps, Made An Assumption about "when" that Title of "Greenseer" is gained? He had said that Greenseers were Deified as Weirwood Trees, implying they were entombed upon death...

...but what if Dying is part of the deification process?

(well, for a given value of "dying"... *looks at Brynden The Tree-Abomination Rivers*)

...the Cave Singers are totally going to ritualistically vivisect Bran and make him their new Tree God, aren't they.

(and, from the looks of Brynden, some decades into HIS initiation... this process will Not Be Quick nor "Pretty")

Brynden is probably complicit in the Singers' Scheme to Make Bran A Tree, if only due to Brynden being the "Weirwood" Bran's Paste Training Diet is made from.

Brynden might also want Out from the whole "Unnaturally Alive & Conscious This Whole Time" thing because WHY WOULD YOU WANT TO BE ALIVE AS YOU ARE TURNED INTO A TREE.

let us Not Recall the descriptions of: Brynden's current appearance, the many non-peaceful expressions carved as Faces for Heart Trees, the states of humans "honoured" by the Piqueninos in SFTD, any descriptions of what Becoming A Tree involves...

...and any investigation into what, exactly, a Weirwood's "seeds" may be. I stop at "Horus in Set's Salad" and THAT WAS ENOUGH.

MOVING RIGHT ALONG, when Not Being A Tree Hivemind, Brynden & thus Bran seem to fulfil a role not dissimilar to that of "Speakers For The Dead": they examine historic events as Outside parties. Brynden instructs Bran on evaluating his Visions objectively, without reverance nor judgement. At least, I think he did. Again: preservation of own sanity > exact visuak descriptions of events in ASOIAF.

Interestingly, being an effective Speaker for the Dead requires much of the same skillset as a Competent Kingmaker (or, at least, a King UnMaker).

To Conclude, the Similarities*** between Bran's interactions with the Cave Singers and those of Human Friends & Piqueninos in "Speaker For The Dead" are Multiple &, knowing GRRM, probably Deliberate. Let's just hope Meera and Jojen have gone AWOL because Meera is Plotting Arson, not because they're of Interest to the Cave Singers' reproductive purposes too. Both series do enjoy subjecting female characters to Grim Maternity &/or Horrific Relationship Revelations.

Arson is my Ideal Plotline for Meera, Grand Elk Larceny as a distant second. All those "Last Hero" parallels Bran Stark has going on should be Recognised (by Meera) and AVOIDED (by Meera) WITH FIRE. I'm lowkey convinced Brynden would actually prefer being burned alive to "indefinitely trapped in rotting human flesh as he slowly becomes a Tree (potentially for the purposes of interspecies repropogation)".

Footnotes

*Lady Melissa Blackwoof was likely an aunt or sister of Lady Melantha Blackwood of Winterfell, Bran's great-great grandmother: there is almost certainly at least one other Blackwood in Bran's family tree, likely as one of his 4 unnamed great-grandmothers through Grandpa Hoster Tully & Grandma Minisa Whent.

It's also possible that all the Movement at the end of Brynden's reign as Hand (the Lords going to KL for the Great Council that made Betha** Blackwood Queen of Westeros & Grand Escort from KL to The Wall to send off Maester Aemon & Ser Brynden) was how Lord Beron Stark's Heir, Edwyle, ended up married to a Riverlander like Melantha Blackwood.

**Queen Betha & Lady Melantha were almost certaingly "cousins" of some sort to Brynden through his mother, Melissa Blackwood. The exact degree of relation is unknown but It's There.

The degrees of relation from "Lady Melissa, Paramour of Aegon IV" to "Lady Melantha of Winterfell" connect Brynden (through his Blackwood mother) to EVERY living Stark, courtesy of their one unanimously agreed shared Grandpa (Lord Rickard Stark, of "murdered by Aerys II & Part 3 of 4 Extremely Valid Reasons for Ned's Rebellion").

Lady Catelyn's being a Riverlander, specifically a Tully & a Whent of Harrenhal, make it likely that Brynden's related to HER too.

Jon, of course, has Black Betha as all 4 of his paternal great-great grandmothers AND Lady Melantha as one of his maternal ones (the others being Marna Locke, Arya Flint, & Lorra Royce): Jon's somehow being "5/8ths Blackwood" is how I got distracted by the blood ties of Brynden & Bran in the first place!

[jonsnowunemploymentera]

What makes the legend of the last hero stand out among the more prominent messianic figures in the story is its ‘every man’ sort of feel. The Prince That Was Promised can only ever be royal - since the existing requirement is to be born of Aerys and Rhaella’s line, who ruled as king and queen. Azor Ahai is interpreted in story as being related to a king. Yet the last hero was just some guy. His tale has been passed down across millennia, but he himself remains anonymous. We don’t know what family or region he came from. He may have been low born or high born, it doesn’t really matter. And what’s most interesting is how GRRM chooses to parallel his story in the published material. Waymar Royce, Bloodraven, Coldhands, Sam Tarly, Bran Stark, and Jon Snow all serve as narrative mirrors for the last hero. But there’s are quite a few differences. Waymar Royce is a highborn lord, but Jon and Bloodraven are bastards. Jon Snow is the typical fantasy warrior, yet Sam and Bran are GRRM’s deconstructions of what it looks like when a boy who doesn’t fit the chivalric ideal of knighthood gets to be the hero. Jon and Bran are also especially noteworthy because they are at the heart of one GRRM’s core thesis statements:

 “I have a tender spot in my heart for cripples and bastards and broken things.”

So as a propaganda piece, I'd imagine that repeating this tale goes a long way. Imagine you're some unassuming kid from Flea Bottom. You'll never be the promised prince because you're not related to the king. It's a bit hard to be Azor Ahai because where in seven hells will you get dragon eggs, and how will you attain the magic required to bring them to life? But then you COULD be the last hero. Regardless of who your parents are and what type of blood you've got, you too can gather all your friends and go on a hero's journey. And isn't that what children's dreams are made of?

[jeyneofpoole]

well.

[myimaginationplain]

I've found that when it comes to discussing who has the best claim to the iron throne and/or the Targaryen dynasty, there's often this implicit assumption that when Jon finds out about his true parentage, the knowledge will inevitably leak to the general Westerosi public. People love to theorize about whether or not the Northerners would continue to support Jon if his being Rhaegar's son came to light, or if he would be pushed as heir to the iron throne over Dany & Aegon, & I'm just like...how would any of them find out about it? Why would any of them find out about it?

I feel like some people believe that when Jon finds out about R + L = J, he'll, I dunno, send out news letters about it or something? Publicly renounce his status as Eddard Stark's son? I don't exactly understand what people think Jon would do with the information, but anything less than keeping as tight a lid on it as possible would be very out of character for Jon. Guys, we're talking about the same guy who purposefully gave a young mother the wrong baby. He's not gonna be cavalier about this.

The only people we can really be certain he'd feel the need to tell the truth to are Arya & Sansa. We know that Bran is likely to already know the truth himself by then through his greenseer tree-god bullshit; Rickon, even if he is found & taken to Winterfell by the time the other siblings reconvene (which I find highly unlikely), would probably be considered too young to trust with information like that.

Daenerys is also an extremely likely candidate for being one of the few people Jon would tell, although this is variable, as it depends on what sort of relationship you believe she & Jon will have by the time R + L = J is revealed. I for one am betting on she & Jon already being involved in some capacity by the time he finds out, thus making her one of the people he'd tell. But if you're in the camp of people who think they'll be enemies by then, he probably wouldn't tell her in that scenario.

Sam is furthest down on the very short list of people Jon would probably tell. I think it's likely, seeing how much he trusts Sam & leans on him for support. But still, it's not a sure thing.

So, including Howland Reed (who has successfully kept the secret for ~17 years now), that makes just 6-7 people who would be privy to Jon's parentage. None of whom would have much motivation to go screaming about it from the hilltops in any scenario where they're still behaving like themselves. (If any of you bring up show!Sansa here, then I'm gonna beat you with a hammer. Don't be a hypocrite; if you can acknowledge & accept that literally every other character was wildly ooc in Season 8, then do the same with Sansa. Betraying Jon's trust after swearing not to before a heart tree is just as ooc for book!Sansa as purposefully burning Kings' Landing to ash would be for book!Daenerys.)

Even in the event that Jon rides a dragon, I think that can easily be explained away by lying about Jon's mother. "Oh, why can I ride a dragon? Not many people know this, but my mother was actually a Lyseni whore. You know they have some Valyrian blood in them. She died in childbirth, though, which is why my lord father took me in." Who's gonna call his bluff on that? Ned's resolute silence on Jon's mother would absolutely work in his favor. The historical precident set by Nettles & others like her means that Jon can 100% just say his mother was the daughter of some unknown dragonseed or something.

IMO, the real question we should be asking is, if Jon were to have children, would he ever tell them the truth?

[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.

[atopvisenyashill]

Bran The Time Traveling Toddler

Yes that IS a reference to the Tyrion the time traveling fetus theory. The thing about MY insane theories is that they actually make sense and I’m right. Follow me please down the worm hole!!

There’s very clearly Someone Influencing things when it comes to the Starklings and even the overreaching plot in general - there’s enough weird magic surrounding them, whispering in the wind, that it’s a no brainer they’re being watched over. The question is WHO and WHEN. For me, personally, I think it’s Bran, and I think it’s an older Bran from the future (whether it be Bran In TWOW and ADOS or Bran post canon) trying to lead his siblings to safety.

Now, like my Harrenhal meta, I don’t think I’m saying anything new so much as compiling what people have said scattered across the interwebs. There’s a lot of theories about whether Bran can time travel, time travel in general in the series, how george has dealt with time travel before, and about the three eyed crow’s identity and I agree with bits and pieces of what other people have said - preston jacobs is a more famous example of this theory for example. But I don't want to get caught up on things like time travel paradoxes because, like, i don’t care about that, and george has talked about how time travel is more fantasy than scifi bc it’s just not really scientifically possible. do you know what that means? it means there’s no weird physical paradoxes because it’s ✨magic✨ and Bran isn't literally going through space and time. It's as Jojen says-

With two eyes you see my face. With three you could see my heart. With two you can see that oak tree there. With three you could see the acorn the oak grew from and the stump that it will one day become. With two you see no farther than your walls. With three you would gaze south to the Summer Sea and north beyond the Wall

Through his greenseeing abilities, Bran can see the whole of a lifespan, from conception to burial, and can pop out at any point in that lifespan, because a span of 100, 1000, or 1,000,000 years is all the same to the weirwood. So I don't think it's in the realm of Crazy Ass Theories to say that Bran is capable of a more magic based form of time travel. That he can whisper in people's dreams, on the wind, taking on the voice of the old gods themselves and doing his best to nudge things the way he needs them to be in order to keep the people he loves safe.

I also don't think Bloodraven is Three Eyed Crow (though I do think he also uses this metaphor of "flying" wrt magic, and that's why Euron also has a comment about flying in his dreams - I just don't believe that metaphor originates with Brynden himself. Rather, I think he picked it up from somewhere else), but instead, it's Bran, using the weirwood network to get all the pieces on the board he needs where he needs them to be for the endgame. Notice that Brynden doesn't seem to know what Bran is talking about when he mentions the Three Eyed Crow-

"Are you the three-eyed crow?" Bran heard himself say. A three-eyed crow should have three eyes. He has only one, and that one red. Bran could feel the eye staring at him, shining like a pool of blood in the torchlight. Where his other eye should have been, a thin white root grew from an empty socket, down his cheek, and into his neck. "A … crow?" The pale lord's voice was dry. His lips moved slowly, as if they had forgotten how to form words. "Once, aye. Black of garb and black of blood." 

Brynden mentions the watch, but doesn't mention the three eyed crow. Everyone simply refers to Brynden as the greenseer, not the three eyed crow, except for Bran himself, who simply assumes Brynden is the three eyed crow (and we know magical assumptions in this series are generally wrong!).

What’s double interesting to me about this “bloodraven is the three eyed crow” assumption is brynden himself makes his “a thousand eyes and one” comment - but doesn’t mention a third eye. Meanwhile, Bran’s narrative is obviously filled with bird references and the opening of his third eye from Bran feeding the crows on the towers before he falls then longing to go back to the crows afterwards, of a crow sending Jojen to “the winged wolf,” of his dreams of living as a bird in maester luwin’s rookery with his siblings - Jon Snow even compares him to a bird in their final scene face to face when he thinks bran has “fingers like the bones of birds.”

And notable that though both Rickon and Bran have a greendream where they talk to Ned in the crypts of Winterfell just before Ned is executed, Rickon makes no mention of a three eyed crow, but Bran explicitly sees him-

The mention of dreams reminded him. "I dreamed about the crow again last night. The one with three eyes. He flew into my bedchamber and told me to come with him, so I did. We went down to the crypts. Father was there, and we talked. He was sad."

"Shaggy," a small voice called. When Bran looked up, his little brother was standing in the mouth of Father's tomb. With one final snap at Summer's face, Shaggydog broke off and bounded to Rickon's side. "You let my father be," Rickon warned Luwin. "You let him be." "Rickon," Bran said softly. "Father's not here." "Yes he is. I saw him." Tears glistened on Rickon's face. "I saw him last night."

What that says to me is that the Three Eyed Crow has the ability to speak directly to only Bran and can only otherwise appear in a more ephemeral way to others. With the established rules about not being able to communicate properly with the past, I think this makes sense - being able to use the weirwood hivemind/greenseeing powers to appear in a different form to yourself but unable to appear in a concrete form to anyone else.

I think it's even likely we'll see Bran doing some of this nudging and whispering on page in ADOS or maybe as early as TWOW, but it won't be the exact same sort of "Bran can literally reach out and touch someone in a weirwood dream" that they had in the show with the later scenes. It'll be more like that very first scene in the show where we see Bran influence the past slightly - you know, when he calls out "father!" and young Ned turns around, having heard a voice on the wind-

And there's a direct parallel to ADWD here, where Bran is certain Ned heard him speaking in the godswood but Brynden says it's not possible (not possible for Brynden perhaps!)-

Lord Eddard Stark sat upon a rock beside the deep black pool in the godswood, the pale roots of the heart tree twisting around him like an old man's gnarled arms. The greatsword Ice lay across Lord Eddard's lap, and he was cleaning the blade with an oilcloth. "Winterfell," Bran whispered. His father looked up. "Who's there?" he asked, turning … … and Bran, frightened, pulled away. His father and the black pool and the godswood faded and were gone and he was back in the cavern, the pale thick roots of his weirwood throne cradling his limbs as a mother does a child.

It's not quite time travel. It's like the acorn and stump metaphor - Bran can't appear in his physical body in the past but he can make a bit of noise, perhaps even be mistaken for one of the old gods.

As TWOW and ADOS go on, I think we'll see Bran's powers grow (likely in ways that frighten him and horrify the reader), and we'll see the very beginnings of him influencing the plot that happens during the previous books, showing up in scenes we've already experienced, similar to the Ned scene above. I think this because, well...he's already done it!

Now, as for What Time Traveling Bran Has Already Done - it’s tricky because we have a LOT of magic users waking and shaking. I’m not including every single instance of weird whispering or funny birds here, just the moments I think are more likely to be Bran than anyone else because I think Bran mostly deals with his siblings. I imagine they're easiest to reach out to magically because they already have the ability to access magic, and they're also the people he cares most about. The most obvious to me is in A Clash of Kings, when Jon hears a voice on the wind, very similar to the young Ned scene in the show-

Jon VII in A Clash of Kings

The call came from behind him, softer than a whisper, but strong too. Can a shout be silent? He turned his head, searching for his brother, for a glimpse of a lean grey shape moving beneath the trees, but there was nothing, only … A weirwood. It seemed to sprout from solid rock, its pale roots twisting up from a myriad of fissures and hairline cracks. The tree was slender compared to other weirwoods he had seen, no more than a sapling, yet it was growing as he watched, its limbs thickening as they reached for the sky. Wary, he circled the smooth white trunk until he came to the face. Red eyes looked at him. Fierce eyes they were, yet glad to see him. The weirwood had his brother’s face. Had his brother always had three eyes?

Not always, came the silent shout. Not before the crow. He sniffed at the bark, smelled wolf and tree and boy, but behind that there were other scents, the rich brown smell of warm earth and the hard grey smell of stone and something else, something terrible. Death, he knew. He was smelling death. He cringed back, his hair bristling, and bared his fangs.

Don’t be afraid, I like it in the dark. No one can see you, but you can see them. But first you have to open your eyes. See? Like this. And the tree reached down and touched him.

This moment was when I really started paying attention to Weird Shit Bran Might Be Doing because of that line "not before the crow." Now, we know Bran mentions talking with Jon later on, in the very last chapter of the book, here-

 He could reach Summer whenever he wanted, and once he had even touched Ghost and talked to Jon. Though maybe he had only dreamed that.

But I think it's both Bran in the present and Bran in ADOS speaking here - brothers reaching out to each other in their fear, and future Bran piggybacking off that connection to send a warning (this is back in Jon VII, during the shared Jon-Bran dream as before)-

Then he realized he was looking at a river of ice several thousand feet high. Under that glittering cold cliff was a great lake, its deep cobalt waters reflecting the snowcapped peaks that ringed it. There were men down in the valley, he saw now; many men, thousands, a huge host. Some were tearing great holes in the half-frozen ground, while others trained for war...This is no army, no more than it is a town. This is a whole people come together.

Bran warns Jon of the wildling army headed their way because he needs the Night’s Watch to stop fighting the wildlings, get them safely out of the True North (so they can’t be reanimated as wights), and focus on the Long Night. When you read the passage, it seems as if Bran is trying to awaken Jon’s third eye - something present baby Bran isn’t concerned with, because he barely understands his own third eye awakening. But a Bran in ADOS or beyond would know exactly what to say and do to get Jon and himself to wake up! Not just because of the paradox, but because of his connection to his brother and his vast understanding of his own magic. Similar to the idea that “who would know how to motivate Bran better than Bran himself” who would know how to motivate Jon better than one of his beloved siblings?

Arya X in A Clash of Kings

In the godswood she found her broomstick sword where she had left it, and carried it to the heart tree. There she knelt. Red leaves rustled. Red eyes peered inside her. The eyes of the gods. "Tell me what to do, you gods," she prayed.

For a long moment there was no sound but the wind and the water and the creak of leaf and limb. And then, far far off, beyond the godswood and the haunted towers and the immense stone walls of Harrenhal, from somewhere out in the world, came the long lonely howl of a wolf. Gooseprickles rose on Arya's skin, and for an instant she felt dizzy. Then, so faintly, it seemed as if she heard her father's voice. "When the snows fall and the white winds blow, the lone wolf dies, but the pack survives," he said.

“But there is no pack," she whispered to the weirwood. Bran and Rickon were dead, the Lannisters had Sansa, Jon had gone to the Wall. "I'm not even me now, I'm Nan."

"You are Arya of Winterfell, daughter of the north. You told me you could be strong. You have the wolf blood in you."

"The wolf blood." Arya remembered now. "I'll be as strong as Robb. I said I would." She took a deep breath, then lifted the broomstick in both hands and brought it down across her knee. It broke with a loud crack, and she threw the pieces aside. I am a direwolf, and done with wooden teeth.

Once again, we have a voice - it seemed as if it was her father's voice - telling a Starkling to do something specific, reminding that Starkling of their ties to Winterfell, the north, and home. The voice she hears, speaking her true name, is the kick in the pants Arya needs to grab Gendry and Hot Pie and get out of Harrenhal. There's something interesting, engaging, heartbreaking, that when Arya is at one of her lowest points, lamenting the loss of her pack, and out comes the voice of one of her pack urging her to keep faith, and helping to inspire one of her best moments - I am a direwolf, and done with wooden teeth. Again, we have a voice trying to get the Starklings to wake up and face their reality!

Sansa in A Storm of Swords

That night Sansa scarcely slept at all, but tossed and turned just as she had aboard the Merling King. She dreamt of Joffrey dying, but as he clawed at his throat and the blood ran down across his fingers she saw with horror that it was her brother Robb. And she dreamed of her wedding night too, of Tyrion's eyes devouring her as she undressed. Only then he was bigger than Tyrion had any right to be, and when he climbed into the bed his face was scarred only on one side. "I'll have a song from you," he rasped, and Sansa woke and found the old blind dog beside her once again. "I wish that you were Lady," she said.

To be clear I think there’s a large change this is nothing. BUT. Considering Bran seems to be reaching out to his siblings, I like the idea that Bran, and magic in general, is trying to talk to Sansa but she can’t quite hear it. Winterfell and it’s magic and it’s family is calling it’s daughter home, even torn from her magical guide as she is, still trying to reach out through her dreams and through the animals around her. I’m desperately hoping that at some point in Sansa’s early TWOW chapters, we’ll start to see birds acting and speaking funny around her as Bran tries harder to reach his lost sister.

Theon Greyjoy in A Dance With Dragons

BUT. I don't think it's just the Starklings that get these messages from Bran - it's everyone he cares about, everyone he loves or will love. One of the other more obvious examples of this is Theon Greyjoy, himself clearly capable of some degree of magic, just like the Starklings-

The night was windless, the snow drifting straight down out of a cold black sky, yet the leaves of the heart tree were rustling his name. “Theon,” they seemed to whisper, “Theon.” The old gods, he thought. They know me. They know my name. I was Theon of House Greyjoy. I was a ward of Eddard Stark, a friend and brother to his children. “Please.” He fell to his knees. “A sword, that’s all I ask. Let me die as Theon, not as Reek.” Tears trickled down his cheeks, impossibly warm. “I was ironborn. A son … a son of Pyke, of the islands.” A leaf drifted down from above, brushed his brow, and landed in the pool. It floated on the water, red, five-fingered, like a bloody hand. “… Bran,” the tree murmured. They know. The gods know. They saw what I did. And for one strange moment it seemed as if it were Bran’s face carved into the pale trunk of the weirwood, staring down at him with eyes red and wise and sad. Bran’s ghost, he thought, but that was madness. Why should Bran want to haunt him? He had been fond of the boy, had never done him any harm. It was not Bran we killed. It was not Rickon. They were only miller’s sons, from the mill by the Acorn Water.

“he had been fond of the boy” please allow me this moment to contemplate killing myself thanks.

okay back on track but this is very self explanatory - we know Theon has some sort of capacity for magic because he had a vision of the Red Wedding in ACOK and unlike Jaime who just fell asleep on a weirweed tree, Theon was just up in bed. We see it again here, where Theon can hear a voice on the wind and then seems to see Bran’s own face in the face of the weirwood tree. Once again, the voice on the wind is trying to help a loved one of Bran’s find their way back to themselves, back to home. And Theon, for all the harm he has done, is still so so loved by Bran, and loves Bran in return.

Samwell Tarly III in A Storm of Swords

Sam made a whimpery sound. “It’s not fair …” “Fair.” The raven landed on his shoulder. “Fair, far, fear.” It flapped its wings, and screamed along with Gilly. The wights were almost on her. He heard the dark red leaves of the weirwood rustling, whispering to one another in a tongue he did not know. The starlight itself seemed to stir, and all around them the trees groaned and creaked. Sam Tarly turned the color of curdled milk, and his eyes went wide as plates. Ravens! They were in the weirwood, hundreds of them, thousands, perched on the bone-white branches, peering between the leaves. He saw their beaks open as they screamed, saw them spread their black wings. Shrieking, flapping, they descended on the wights in angry clouds. They swarmed round Chett’s face and pecked at his blue eyes, they covered the Sisterman like flies, they plucked gobbets from inside Hake’s shattered head. There were so many that when Sam looked up, he could not see the moon. “Go,” said the bird on his shoulder. “Go, go, go.”

Whoever this is - it's Bran!!!! - helps to save Sam and Gilly's lives, actively tells them to run for it, and just a little bit later, Sam is around to help save Bran in turn. I think there's also something to be said for the brotherhood connection here. They refer to each other as brothers in the book because of their connection to Jon; that connection to Jon, and therefore each other, means a lot to both Sam and Bran. There's a practical reason for saving Sam here in that he can help Bran in the "present" timeline, will likely help in the future, but more than that there's an emotional bond here and it seems to me that magic runs off emotions just as assuredly as it runs off of other important stuff like blood and and sacrifice and weirwoods.

Jon Snow XII in A Storm of Swords

With a raucous scream and a clap of wings, a huge raven burst out of the kettle. It flapped upward, seeking the rafters perhaps, or a window to make its escape, but there were no rafters in the vault, nor windows either. The raven was trapped. Cawing loudly, it circled the hall, once, twice, three times. And Jon heard Samwell Tarly shout, “I know that bird! That’s Lord Mormont’s raven!” The raven landed on the table nearest Jon. “Snow,” it cawed. It was an old bird, dirty and bedraggled. “Snow,” it said again, “Snow, snow, snow.” It walked to the end of the table, spread its wings again, and flew to Jon’s shoulder. Lord Janos Slynt sat down so heavily he made a thump, but Ser Alliser filled the vault with mocking laughter. “Ser Piggy thinks we’re all fools, brothers,” he said. “He’s taught the bird this little trick. They all say snow, go up to the rookery and hear for yourselves. Mormont’s bird had more words than that.” The raven cocked its head and looked at Jon. “Corn?” it said hopefully. When it got neither corn nor answer, it quorked and muttered, “Kettle? Kettle? Kettle?” The rest was arrowheads, a torrent of arrowheads, a flood of arrowheads, arrowheads enough to drown the last few stones and shells, and all the copper pennies too.

The Night's Watch seem to take this as some sort of divine sign, and Jon's friends take it as an excellent ploy from Samwell Tarly. But when Pyp confronts Sam over it a page later, Sam completely denies it -

“I had nothing to do with the bird,” Sam insisted. “When it flew out of the kettle I almost wet myself.”

Everyone has their theories about people warging Mormont's crow of course. I think what's interesting to me here is that Jon is really wrestling with the idea of leaving the Watch for Winterfell, in which case Janos Slynt was likely to take over command. Someone like Slynt being in charge when the Long Night is coming is a bad idea, and here, Mormont's bird directly contributes to Jon staying where he needs to be - watching over the wildlings and making sure they aren't turning into Wights.

(And this is getting into my other theories here, but IF Sansa as the Girl In Grey is true, I think this is a neat sort of timeline fixing - almost as if Bran is saying “no, not yet, the pieces aren’t aligned, Jon can’t leave yet, Brienne isn’t at the Vale to get Sansa, I haven’t trained enough, Jon still keeps slapping his hands over his third eye so he can’t see, I need to give myself more time here.”)

Bran II in A Game of Thrones

But...it's not just his family and friends that I think Bran is trying to help here, and of course, if he IS the Three-Eyed Crow, he isn’t YET. What I think is going to be a big climactic part of Bran's story is self sacrifice, giving up some of his own power, his own happiness, to save others. Yes, part of this is my absolute refusal to accept Borg Hivemind Fantasy Police State King Bran in that he will say NO to the hivemind, but I think there's something magical here as well!

I think in order to access great power you need to be willing to put your own body on the line.

Jojen mentions having gotten sick with "greywater fever" shortly before his greendreams started

Dany experiences a miscarriage then literally walks into fire in order to hatch her dragons

both Beric and Catelyn have to quite literally be gruesomely murdered in order for Thoros' fire magic to work to bring them back to life

Melisandre has to physically give birth in order for her shadow assassination to work

on and on it goes. In order to be capable of great power, you can’t just have a willingness to throw someone ELSE onto the pyre but yourself as well. But Bran is pushed out of the window instead of willingly jumping. Or...

The wolfling was smarter than any of the hounds in his father’s kennel and Bran would have sworn he understood every word that was said to him, but he showed very little interest in chasing sticks…Finally he got tired of the stick game and decided to go climbing….

The wolf did as he was told. Bran scratched him behind the ears, then turned away, jumped, grabbed a low branch, and pulled himself up. He was halfway up the tree, moving easily from limb to limb, when the wolf got to his feet and began to howl.

Bran looked back down. His wolf fell silent, staring up at him through slitted yellow eyes. A strange chill went through him. He began to climb again. Once more the wolf howled. “Quiet,” he yelled. “Sit down. Stay. You’re worse than Mother.” The howling chased him all the way up the tree, until finally he jumped off onto the armory roof and out of sight.

I think this is future Bran, finally becoming the Three Eyed Crow, inside Summer. Summer shows no interest in the game and it’s only then that Bran decides to go climbing. Future Bran is sacrificing himself for the greater good - but can’t stop his mournful cry of the fate that awaits his own young self.

[fromtheseventhhell]

You definitely don’t need to answer if you’d prefer not to, but I love your Asoiaf analysis and was eager to get your take on the Arya/Tyrion/Jon love triangle from the 1993 outline. I’m not sure if this something you’ve already touched on but I was curious what your thoughts on it are, especially at it relates to Tyrion. Often when I’ve seen this aspect of the outline mentioned, many are quick to dismiss/scoff at the very idea of it…which is truly such a shame because if nothing else, it’s certainly a springboard for many interesting discussions. Though I do think George has scrapped the triangle from the story, I’m curious what, if any, impact it’ll have on how he writes the initial meeting/subsequent “friendship” between Arya and Tyrion. Arya has been established as a character who makes friends easily and is not at all judgmental of others based on appearances and I imagine that would be very appealing to Tyrion. Given his recent cynicism, I don’t think they would “hit it off” right away but I can definitely see them developing an admiration for one another. I recently reread the Mercy chapter and was struck by Arya’s mention of how apt she found one of “Tyrion’s” lines from The Bloody Hand.

I'm a "the original outline still has relevance" truther until I'm proven wrong, so I do still think Tyrion and Arya's relationship will have some significance. If nothing else them being two of George's favorite characters is enough for me to believe we'll get some interesting on-page interactions between them. How relevant will their relationship be? That I don't know but I can definitely see them getting along. They'd play off each other very well and I'm personally really looking forward to them meeting. Arya's interaction with Bobono and, like you said, her memorizing "Tyrion's" lines could be a hint toward the dynamic they'll have in the future. Her Mercy chapter also hints at a relationship between her and Daenerys, so we might see that trio interacting sooner than expected. With the love triangle angle being scrapped, it is possible he has some other subplot planned for them. We don't really know enough to speculate so we'll just have to wait and see though.

[winterprince601]

so we all know that the got show wildly underutilised the direwolves and robbed them of all magical significance, which annoys me because the starks finding the direwolves in chapter one of got seems to be a direct counter to the existential threat posed by the others in the prologue. they don't just mark the beginning of political upheaval, but also the return of magic to westeros. like daenerys' dragons, they are the magical counterbalance to the evil power of the others - one of the many incarnations of ice in the prophesised song of ice and fire.

having said that, they also have personal roles for each stark. the nominal determinism of the pups has been well analysed but i think you could read thoroughly into the behaviour of each one - for instance, nymeria connecting arya to westeros and her identity as a stark warg and summer matching bran's weird-girl green-seer energy.

to cut a long-winded post short, however, i think ghost is going to have to die in order for jon to be resurrected. i hate the thought as much as you likely do - ghost has been a close companion of jon and the reader throughout the series but unfortunately, that's what makes the sacrifice so meaningful. i do think jon's resurrection will require a sacrifice: it won't be like the show where jon sits up, is sad for five minutes and then hops off the dissection table to swing a sword about.

one of the many things ghost's name seems to foreshadow is jon's resurrection. not only that, but theon suggests the albino wolf is bound for death, saying he will "die faster than the others". however, when jon retorts "this one belongs to me", he takes responsibility for ghost's life. this is what all the starks do for their pups, but in jon the rescue is especially marked: he turns back to find ghost and whilst he is the runt of the litter, under jon's care he grows to be bigger than his siblings. jon gives ghost life and it makes a lot of symbolic sense for that life to be eventually returned. moreover, ghost with his weirwood colouring represents the old gods of the north - jon even muses that he might be some kind of agent of them. i don't think the lord of light alone can bring jon back: it has to be a rebirth of ice and fire, a spring-like mix of both elements of jon's nature.

jon's resurrection will mark a major change for the direction of his character and is potentially the first step towards realising his targaryen heritage and maaaybe becoming a dragon rider. the death of ghost, of his past as the invisible bastard of winterfell, might be necessary for this. however, i don't believe ghost or his identity as a wolf, as a stark, will truly leave him. if he has warged into ghost and lives on for a period of time in his body, it only makes sense that ghost will live on in him even after he has died. prolonged warging can create slippage between man and beast which we've already seen between living jon and his direwolf. we won't lose ghost entirely and perhaps with the affirmation of robb's will and finally turning home towards winterfell, jon will realise he doesn't need the physical emblem of a direwolf to be a stark - he has the wolfblood of the old gods and the first men within him always.

[catofoldstones]

Now that I am rereading AGOT, I feel like Bran is set up to be king since the first chapter.

This was the first time he had been deemed old enough to go with his lord father and his brother to see the king’s justice done.

The whole theme of the chapter is to introduce Bran to the responsibilities of a ruler. Well actually the whole series starts with Bran being introduced to the duties of a leader. Not to mention his chapter comes straight after the final villain of the books have been introduced so we know that he will be instrumental in defeating them from the get go. There’s a reason he named his direwolf Summer but I digress. The chapter continues on to Ned’s famous lesson

“…and we hold the belief that the man who passes the sentence should swing the sword. If you would take a man’s life, you owe it to him to look into his eyes and hear his final words. And if you cannot bear to do that, then perhaps the man does not deserve to die.

This is clearly more metaphorical than it is literal. It reminds me of Gandalf’s philosophy from the Lord of The Rings

Many that live deserve death. And some that die deserve life. Can you give it to them? Then do not be too eager to deal out death in judgement.

It is the same message, life is precious and violence is barely ever the answer. So King Bran might not swing the sword on his own but will remember what his father had said when meting out justice.

The most apparent foreshadowing I found in this chapter was Ned directly talking to Bran, teaching him, and preparing him for a ruler role, though as Robb’s bannerman but a ruler role nonetheless.

“… and justice will fall to you. When that day comes, you must take no pleasure in the task, but neither must you look away. A ruler who hides behind paid executioners soon forgets what death is.”

The last line is as plainly as it could be said. You will be a ruler Bran, be a just one.

And that is all I could find in the first chapter.

[adoptable-fanfic-prompts]

During the 170s AC, House Tully faced quite a scandal: the heir of Riverrun had fallen in love and married a commoner, a woman with dark curls for hair and a lovely set of violet eyes. What made it worse was that little was known about her family’s history, save that she was raised by her fisherman grandfather who had lost his memory as a boy. In the end, they decided to hide the embarrassment away, eventually disappearing from their history save for a few members that kept the story alive yet secret.

It was too bad as it became somewhat relevant years later, especially for when Catelyn Tully (now Stark) had her children. For not only did each proclaimed child of Eddard Stark have a direwolf…

… each one eventually acquired a dragon…

[fanfictionroxs]

Obviously they had to kill off all the Rhaewin boys (Jace, Luke, Joffrey) because they could have completely changed the dragon game since the descendants of the First Men can warg and if even ONE of them got that ability then they woulda been a powerhouse.

Imagine blood of the first men through Harwin (warg ability) mixed with targ blood through Rhaenyra (connected with dragons) = Jace, Luke, Joffrey aka kids with the genetic mix of being able to warg into freaking dragons.

It would be communication with dragons on a level never seen before. I know that targ + first men kids might have existed earlier too, but none had access to dragons the way the strong boys did. No wonder they were all killed :(

PS Maybe Jon will get this ability? Bran could guide him through it since Bran seems to be powerful enough to warg into dragons without targaryen blood.

[mryoyo000]

more TWOW predictions and theories

-Osha gets a degree in library science

-Lady Stoneheart tries French fries

-Stannis tries ice skating

-one of the Children of the Forest tries to involve Bran in a pyramid scheme

-Dany buys jeggings

-Cersei becomes a cryptozoologist

-Arya takes a course in nature photography

-Sam Tarly goes to a wedding and doesn’t enjoy it

-Cersei goes to a wedding but purposefully goes against the dress code

-Jaime buys a frozen pizza

[hellgram]

also with all the damage the show did to jon's reputation as a good northern lad and wildling i hope germ comes out with like. yeah he's rhaegar and lyanna's son and the name she gave him while bleeding out on the birthing bed alone but for her big brother holding her hand in a tower with no way to know that baby aegon had been murdered leaving the title of Egg 6 up for grabs was like. howland.

[khaleesi-in-the-north]

Jon Snow’s character is more interesting in the books. He was a hater and I love that for him. The show made him this handsome nice fellow to the point he was kinda boring when he was actually a funny dumbass in the books. Like, Myrcella merely smiled at Robb and Jon decided that she’s insipid. That’s a hater right there. Imagine the joint slay he would have with Catelyn if Catelyn didn’t hate him for being Ned’s bastard. Lmao.

Perhaps that was what kept Ned from telling Catelyn the truth. He could barely manage Cat and Sansa together, he couldn't bare the thought of allowing Jon to join them. It was for his own sanity.

[hollowwhisperings]

Jojen is Fine, Actually: "Weirwood Paste" is Weirwood Paste.

CW: humanitarian diets, body horror, general blasphemy, mention of grooming (in the context of creepy tree wizards).

Okay so my being a HUGE Jojen (& House Reed in general) fan gives me an Obvious Bias against the idea of Jojen Dying Offscreen.

My being a huge literary nerd & lore geek, however, informs my Metaphor Senses that Jojen is Fine*, Actually.

The "Weirwood Paste" is Weirwood Paste: made of weirwood seeds, locally sourced. Said "Local Weirwood Tree" being. Y'know. Brynden Rivers.

It's Brynden Paste.

(*Fine: chronically ill, majorly depressed, freezing cold, surrounded by creepy tree people, stuck in a zombie wasteland, if he ever goes home he Dies, repeatedly dreaming of his own death... but, at least, Not Dead nor Being Eaten by the Prince of his Dreams? He's "Fine".)

First and foremost: storytelling conventions, even in a series as "deliberately unconventional" as ASOIAF, tend to tell audiences that NO ONE is genuinely "dead" until you see a body. And personally check its pulse. And test for rigor mortis. And maybe stab them in a lethal place, jusr to be Sure. And then burn the body, scatter its ashes, send couriers off in different directions to hide what remains in Remote Places never to be known of by the other couriers. Maybe Silence the couriers if they come back.

Er, you get the picture.

Most subscribers to "Jojenpaste" are in it for the lolz or assume The Worst due to Jojen's non-presence in the latest Bran chapters (aaand Jojen's being Very Permanently Dead in That Dragon Show). It's also an "easy" assumption that Since GRRM Is GRRM, any & all opportunities for Humanitarianism will be fully utilized.

Except... the weirwood paste is ALREADY "made of people" just because it's Weirwood (specifically, weirwood seeds) and the series has consistently described weirwood trees as "[human]".

Weirwood have "bone white" bark; they have Faces carved into them; they "Watch" and "Listen" and "Witness": this is consistent across POV characters, even before Jojen casually brings up "oh they're what Greenseers Become" or any meetings with a Literal Tree Man.

Weirwoods are described in human terms, doing human things, and at least 1 major character has been directly equivicated with Weirwoods for Plot Purposes: Ghost the Direwolf (and wolves, of course, are consistently used to mean "someone of House Stark" and the Starklings especially).

Then there is The Creepy Tree Man in the room: Brynden Rivers, called "Three-Eyed Raven" by Bran and Jojen (for that was how their Dreams interpreted him) or "The Last Greenseer" by the Singers (...despite BRAN very pointedly Being There To Prove Otherwise).

Brynden is also, as mentioned, a Tree Now.

A Weirwood Tree.

Y'know. Like the ones whose seeds make the Paste Bran's been eating.

So, unless the Singers have been sneaking about in Others' Territory to collect seeds from a different weirwood tree... that Paste is made of BRYNDEN.

Bran being fed "Brynden Paste' while Brynden Indoctrinates Teaches Bran to be a Tree Wizard makes far more sense, logistically & thematically, than Jojen getting shanked offscreen to belatedly be revealed to be "part of Bran all along".

For one thing, Meera would gladly set the Cave & everyone in it on fire if anyone so much as looks at her baby brother suspiciously. For another, Brynden is Right There for the eating & is filled with all sorts of Prophecy Juice: he's a Blackwood, he's a Targaryen, he's a Royal Bastard, he was an Infamous Spymaster with "A thousand eyes and one", he's done weird sacrifice BS before, he's a Greenseer (Jojen "only" has Greensight), he's a Living God (as per Singer & First Men Lore), the Cave Cult is trying to turn Bran INTO him...

There is a lot more "logic" to Bran's Magic Lessons featuring his knowingly (subconsciously, at least) eating Brynden than his secretly eating his friend. Human sacrifice tends to require Knowledge of the cost being paid & being Willing to do it anyway: Bran might be too tripped up on Paste to consciously connect the "Weirwood Paste" he eats with "that Human Weirwood Tree i'm sitting next to" but the Singers explicitly tell Bran the Paste is made from Weirwood Seeds. Bran "knows".

Godeating (metaphoric & literal) is a trope that is most commonly found in JRPGs, nowadays, but it has Precedent throughout western mythology: the Titan Kronus ate each of his children as they were born, Zeus alone escaping, in an effort to Dodge Prophecy; Zeus inherited Said Prophecy and, being his Father's Son, ate his first wife. The details of the Titanomachy (the War against the Titans by their reasonably upset kids) are Lost but Zeus, at least, gained all his Wife's Wisdom (& her pregnancy too) after eating her: Athena may or may not have Taken It Back upon breaking out from her Eaten Mother & Dear Old Dad.

Consuming something in order to "become" what is eaten is Fairly Common, if not with that specific phrasing: vampires seldom explain their reproduction as "eat me to become me", whilst the adorable Nintendo character Kirby & his method of Powering Up via Playing Vacuum, is Rephrased out of Sheer Self-Preservation (no one, not even I, likes to admit that The Cute Pink Blob is an Eldritch Abomination). Many JRPGs & works in eastern media use similar themes of "monster eats monster" and "let's eat god" for the purposes of High Stakes Action. Japan & East Asia has a lot less "baggage" when it comes to utilizing themes from Abrahamic verse, meaning that western works using themes of [consuming the divine] and [apotheosis] use Vampire Methodology. Such is the case in the Dragon Age series & its Order of Grey Wardens (who are, From A Certain POV, dragon god vampires).

Within the ASOIAF series itself, Dany's eating a horse heart (raw) has Humanitarian Themes in service of Prophecy and [Divinity]: the horse heart to the Dothraki, a society of horselords, could be what weirwood seeds are to First Men (especially given Jojen's whole "btw, the trees are gods are former greenseers").

Brynden & the Cave's Singers (whom I dearly hope are some long-exiled Cult & not reflective of Singers as a whole) are not particularly subtle in their Intentions for Bran: he is to be their New "Last" Greenseer. Bran is to Become Brynden or Brynden is to Become Bran: either and possibly both are plausible, though how compliant with the Singers' goals Brynden may be has yet to be revealed.

(the Brynden of F&B and D&E strikes me as someone who would gladly bodysnatch some poor kid for his own Agenda: the Singers seem unlikely to support fire-breathing foreigners, not without a Contingency Plan; somewhat likely to want Bran for the purposes of installing a Tree Hivemind Police State; and maybe, possibly... "just" wanting a Second God for their Cult in Bran, who probably Smells Better).

SUMMARY

Weirwoods are Personified in almost every appearance. Weirwood Trees are considered Gods. Jojen (& some Singers) have stated that the Next Evolutionary Phase of a Greenseer is "Weirwood Tree". Brynden "the Last Greenseer" is part of a Weirwood Tree.

Brynden & the Singers are Turning Bran Into A Weirwood Tree.

Bran's current diet is Tree Paste. His magic teacher, Brynden, is Part-Tree. The Nearest Tree to make Paste from is Brynden. The Paste is made of Brynden.

(Let's NOT think too hard on which parts of Brynden: I've only gotten this far in this Meta by using "Hunanitarian" as a pun.)

Eating Gods to Become A God is an existing Trope. Brynden is a God, by Singer & First Men definitions. Bran is being Groomed to Become Brynden, a God. To Become Brynden, Bran must Eat Brynden.

TL;DR

The Weirwood Paste is Weirwood Paste and Brynden is the Weirwood: the Paste is not "Jojen", it's BRYNDEN.

Jojen is Not Paste: Jojen is Alive but Not Well & Very Depressed.

[cthoniian]

i think the most fundamental thing about jon snow is, he was raised by ned stark. he was trained alongside robb, but the wall & the wildlings & his treatment, influences how ned’s training shapes him. he is such a northern embodiment. he is so much a son of house stark.