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jonsnowunemploymentera · 2 months ago

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I have a few jumbled thoughts about the ending of the Long Night, especially as it would relate to the whole idea of “the dragon has three heads”. The Long Night represents a disruption in a larger, cyclical framework—a period where imbalance overtakes the natural order. And within this context, I see each ‘head’ of the three-headed dragon as uniquely responsible for restoring balance and bringing the world back into harmony. Each ‘head’ embodies a distinct facet of restoring balance to the world, yet they work together, either in tandem or sequentially, to set things right once more. So I’ve been trying to tie together some thoughts I have regarding what each being in this triumvirate is uniquely suited to do. Because I personally don’t think any one person will be responsible for being the hero, as that just seems so antithetical to this series; and I also think the Long Night is just way too multifaceted to be ended by a singular action or person.

This is what we know about the Long Night:

“Oh, my sweet summer child,” Old Nan said quietly, “what do you know of fear? Fear is for the winter, my little lord, when the snows fall a hundred feet deep and the ice wind comes howling out of the north.Fear is for the long night, when the sun hides its face for years at a time, and little children are born and live and die all in darkness while the direwolves grow gaunt and hungry, and the white walkers move through the woods.” “You mean the Others,” Bran said querulously. “The Others,” Old Nan agreed. “Thousands and thousands of years ago, a winter fell that was cold and hard and endless beyond all memory of man. There came a night that lasted a generation, and kings shivered and died in their castles even as the swineherds in their hovels. Women smothered their children rather than see them starve, and cried, and felt their tears freeze on their cheeks.” Her voice and her needles fell silent, and she glanced up at Bran with pale, filmy eyes and asked, “So, child. This is the sort of story you like?” “Well,” Bran said reluctantly, “yes, only …” Old Nan nodded. “In that darkness, the Others came for the first time,” she said as her needles went click click click. “They were cold things, dead things, that hated iron and fire and the touch of the sun, and every creature with hot blood in its veins. They swept over holdfasts and cities and kingdoms, felled heroes and armies by the score, riding their pale dead horses and leading hosts of the slain. All the swords of men could not stay their advance, and even maidens and suckling babes found no pity in them. They hunted the maids through frozen forests, and fed their dead servants on the flesh of human children.” (Bran IV, AGoT)

We focus so heavily on the Others—understandably so—that we often overlook some crucial details. The Others don’t exist in isolation. They arrive in the wake of an extreme winter, which enables their existence for they are “demons made of snow and ice and cold” (Samwell V, ASoS). And with the sun and its heat gone, they move within the darkness. So confronting the Others in battle, in and of itself, does not end the Long Night. The true struggle lies in addressing the elements that allow them to exist in the first place. To fully defeat the Others, our heroes must first restore light and the balance of the seasons.

No single character in this series has the ability to achieve this on their own. Even the key magical protagonists are only equipped to address certain aspects of the conflict. That’s why the dragon must have three heads, each embodying a crucial responsibility: one to restore the natural cycle and end the long winter, another uniquely positioned as the antithesis to the Others, and a third tasked with confronting darkness by bringing light back into the world.

By now, you can see where I’m heading with this, right? I believe the three heads are Bran, who represents summer and stands as the antithesis to winter; Daenerys, whose dragons are the direct counter to the Others; and Jon, who occupies a more complex role as both the one who harnesses light and embodies it. Beyond this, each of these characters has been positioned as a chosen one, with distinct yet mirrored magical destinies that set them apart from the other POV characters.

I’m reminded of a quote from Arya’s POV in Dance:

One time, the girl remembered, the Sailor’s Wife had walked her rounds with her and told her tales of the city’s stranger gods. “That is the house of the Great Shepherd. Three-headed Trios has that tower with three turrets. The first head devours the dying, and the reborn emerge from the third. I don’t know what the middle head’s supposed to do….”

While I have more detailed thoughts on this passage, for now, I believe Daenerys represents the first head, Bran the third, and Jon the middle. Each head is tasked with a unique responsibility—one that is specific to them, that the others cannot fulfill. To end the Long Night, the three heads work together, but each plays a distinct part. There is some overlap, particularly with the middle head, who might serve as the balance between the extremes, yet each figure is positioned to occupy a particular space within this framework.

So I want to lay my thoughts here and see if we can get some wider discussion 👀

The first aspect of the Long Night - and perhaps the most important if we’re thinking of what makes it happen in the first place - is the long winter that precedes it.

Bran looked down. There was nothing below him now but snow and cold and death, a frozen wasteland… (Bran III, AGoT)

This winter provides the very elements that sustain the Others: snow and ice. It’s this aspect that I believe extends humanity’s struggle during the Long Night. With an almost endless supply of ice and snow, can our heroes truly defeat the Others through direct combat alone? I really don’t think so. The abundance of snow, accompanied by a persistent cold, suggests that new Others can continuously be ‘created’. While this is largely speculative given how little we know about them, I find it compelling that the Others seem to materialize out of the darkness itself (see Prologue, AGoT). And when Sam kills the Other in Storm, it simply dissolves…

Sam rolled onto his side, eyes wide as the Other shrank and puddled, dissolving away. In twenty heartbeats its flesh was gone, swirling away in a fine white mist. Beneath were bones like milkglass, pale and shiny, and they were melting too.

And that might not mean much in and of itself, but I’m inclined to think of the ADWD prologue:

The white world turned and fell away. For a moment it was as if he were inside the weirwood, gazing out through carved red eyes as a dying man twitched feebly on the ground and a madwoman danced blind and bloody underneath the moon, weeping red tears and ripping at her clothes. Then both were gone and he was rising, melting, his spirit borne on some cold wind. He was in the snow and in the clouds, he was a sparrow, a squirrel, an oak. A horned owl flew silently between his trees, hunting a hare; Varamyr was inside the owl, inside the hare, inside the trees. Deep below the frozen ground, earthworms burrowed blindly in the dark, and he was them as well. I am the wood, and everything that’s in it, he thought, exulting. A hundred ravens took to the air, cawing as they felt him pass. A great elk trumpeted, unsettling the children clinging to his back. A sleeping direwolf raised his head to snarl at empty air.

The Other and the human skinchanger dissolving after “death” is so fascinating. And it raises many questions. Death wasn’t the end for Varamyr as his spirit went into his wolf. So is that the same with the Other who also dissolved into white air? As long as magic and suitable conditions (i.e., winter and all its elements) exist, then the Others can never truly die and thus could take on another form?

If that’s the case, then winter itself must be addressed to cut off the Others’ vital resources—along with the magic that sustains them, though we’ll get to that later. And who better to combat winter if not Bran Stark of “Winter-fell”?

Now you know, the crow whispered as it sat on his shoulder. Now you know why you must live. “Why?” Bran said, not understanding, falling, falling. Because winter is coming. […] Bran touched his forehead, between his eyes. The place where the crow had pecked him was still burning, but there was nothing there, no blood, no wound. He felt weak and dizzy. He tried to get out of bed, but nothing happened. And then there was movement beside the bed, and something landed lightly on his legs. He felt nothing. A pair of yellow eyes looked into his own, shining like the sun. The window was open and it was cold in the room, but the warmth that came off the wolf enfolded him like a hot bath. His pup, Bran realized … or was it? He was so big now. He reached out to pet him, his hand trembling like a leaf. When his brother Robb burst into the room, breathless from his dash up the tower steps, the direwolf was licking Bran’s face. Bran looked up calmly. “His name is Summer,” he said.

Bran’s wolf, a reflection of his own identity, only receives his name after Bran glimpses his magical destiny. With winter’s horrors looming, Bran must become the summer that rises to challenge it.

As the Prince of Winterfell, Bran’s title and inheritance—rooted in the Stark legacy from the first Long Night and Bran the Builder—signify a dominance over winter. He is the summer prince, heir to the place where “winter fell, defeated”.

“And who is Summer?” Jojen prompted. “My direwolf.” He smiled. “Prince of the green.”

Prince. The man-sound came into his head suddenly, yet he could feel the rightness of it. Prince of the green, prince of the wolfswood. He was strong and swift and fierce, and all that lived in the good green world went in fear of him. (Bran I, ASoS)

Because winter brings death to the land, summer is needed to restore warmth, vitality, and breathe life back into the world. And that’s why Bran’s identity not just as the “prince of the green”, but as the last of the greenseers (of course once Bloodraven kicks the bucket) puts him in a unique position during the Long Night.

He will be the one to end the winter.

I’m still piecing together what this might ultimately look like, as we need more information about greenseeing and how Bran may fully harness it. However, from what we do know, it seems greenseeing is extends to earth magic—shaping and manipulating the natural world, as seen with events like the Hammer of the Waters. Additionally, greenseers can perceive past, present, and future, which essentially aligns with the passage of time. And isn’t that what the cyclical nature of the seasons embodies? Time flows, and with it come physical changes in the land: winter brings barrenness, spring rebirth, and summer growth. Humanity needs someone who understands this cycle and possesses the power to influence the earth itself.

Since Bran has already glimpsed the heart of winter, it’s possible he will find himself returning there, perhaps retracing the steps of the last hero. Additionally, the Isle of Faces and the God’s Eye, rich with weirwoods and sacred significance, seem like fitting locations for him to play a pivotal role in restoring balance; especially when we consider his role as a Fisher King/Grail figure who is linked with the renewal of once barren land. Whether Bran has to dig deep into the earth’s roots or manipulate the flow of time itself, the Long Night cannot end without his dominance over winter.

However, while restoring the balance of the seasons is crucial, neutralizing the immediate threat posed by the Others and their thralls is extremely important- and that’s where Dany comes in!

That night she dreamt that she was Rhaegar, riding to the Trident. But she was mounted on a dragon, not a horse. When she saw the Usurper’s rebel host across the river they were armored all in ice, but she bathed them in dragonfire and they melted away like dew and turned the Trident into a torrent. Some small part of her knew that she was dreaming, but another part exulted. This is how it was meant to be. (Dany III, ASoS)

I’ve argued before that, of our three chosen ones, Dany is the best suited to take on the role of military commander—and I don’t think that’s a far-fetched claim. She has one of the cleanest and most impressive military records in the main series, proving herself a formidable tactician. Not to mention, she commands the dragons—living embodiments of fire—who have been positioned as the direct counter to the Others, creatures of ice. While the Others bring cold and death, Dany and her dragons are fire made flesh, a force of life and renewal.

There are other narrative arguments for why Dany’s role is going to be so heavily militaristic.

Until one day Prince Rhaegar found something in his scrolls that changed him. No one knows what it might have been, only that the boy suddenly appeared early one morning in the yard as the knights were donning their steel. He walked up to Ser Willem Darry, the master-at-arms, and said, ‘I will require sword and armor. It seems I must be a warrior.’” (Dany I, ASoS)

“No one ever looked for a girl,” he said. “It was a prince that was promised, not a princess. Rhaegar, I thought … the smoke was from the fire that devoured Summerhall on the day of his birth, the salt from the tears shed for those who died. He shared my belief when he was young, but later he became persuaded that it was his own son who fulfilled the prophecy, for a comet had been seen above King’s Landing on the night Aegon was conceived, and Rhaegar was certain the bleeding star had to be a comet. What fools we were, who thought ourselves so wise! The error crept in from the translation. Dragons are neither male nor female, Barth saw the truth of that, but now one and now the other, as changeable as flame. The language misled us all for a thousand years. Daenerys is the one, born amidst salt and smoke. The dragons prove it.” (Samwell IV, AFFC)

“Azor Ahai, beloved of R’hllor! The Warrior of Light, the Son of Fire! Come forth […]” (Davos I, ACoK)

Azor Ahai is said to be a warrior, and while Dany doesn’t fit the traditional image of what that means, she is still an active participant in warfare. Moreover, one of the central aspects of her character is her role as an agent of freedom:

“…this Mother of Dragons, this Breaker of Chains, is above all a rescuer.” (Tyrion VI, ADWD)

She has spent much of her arc directly combating slavery which might seem unrelated, but the Others come with their own type of bondage in their creations of undead. The slavery of the Others is not just physical, but spiritual, and Dany’s role in battling them aligns with her fight for freedom. She isn’t suited to combat winter itself, as Bran is, but her strength lies in physical battle, which Bran is not. To put it another way: if Bran is Frodo journeying into the depths of Mordor, Dany is Aragorn, turning Sauron’s eye with her dragons and leading the fight to defeat his armies.

But I don’t think her role ends there.

The Others are not dead. They are strange, beautiful… think, oh… the Sidhe made of ice, something like that… a different sort of life… inhuman, elegant, dangerous. SSM

I’ve already mentioned that beyond the elements of winter—snow, ice, and cold—the Others are sustained by magic. Building on the idea of the Other dissolving into mist, it’s possible that magic is what binds these beings together: magic fuses a consciousness with snow and ice into a corporeal entity. So, in addition to battling them physically, our heroes—and Dany in particular—may have to confront this magic that gives the Others their form and power.

“Half a year gone, that man could scarcely wake fire from dragonglass. He had some small skill with powders and wildfire, sufficient to entrance a crowd while his cutpurses did their work. He could walk across hot coals and make burning roses bloom in the air, but he could no more aspire to climb the fiery ladder than a common fisherman could hope to catch a kraken in his nets.” Dany looked uneasily at where the ladder had stood. Even the smoke was gone now, and the crowd was breaking up, each man going about his business. In a moment more than a few would find their purses flat and empty. “And now?” “And now his powers grow, Khaleesi. And you are the cause of it.” “Me?” She laughed. “How could that be?” The woman stepped closer and lay two fingers on Dany’s wrist. “You are the Mother of Dragons, are you not?” (Dany III, ACoK)

The birth of Dany’s dragons seems to have strengthened fire magic, tying her deeply to the very fabric of magic itself. The AGoT bookend suggests that the Others’ ice magic and the dragons’ fire magic may be connected, part of a larger magical ecosystem, or perhaps opposing forces that coexist on opposite ends of the spectrum. Ice and fire, death and life—both seem bound by the same mystical forces. Given Dany’s connection to magic and the fact that the reemergence of her dragons parallels the resurgence of the Others, she seems best suited to combat the magic that enables the Others to take form—serving as an inverse to her bringing dragons to life. And this underscores her dual role as both a destroyer and creator of life

The specifics on Dany’s confrontation with the Others and the magic that creates them remains unclear. She could venture to the heart of winter/the Lands of Always Winter and face the source of their power, creating narrative symmetry between the dragons of the Lands of the Long Summer and the creatures from the Lands of Always Winter. Alternatively, she might find herself in the Isle of Faces if her dream of fighting the Others at the Trident is fulfilled literally. The Isle, with its rich magical ecosystem, would be a fitting place for such a climax.

Bran, too, seems destined to go to the Isle of Faces (I’m a firm ‘Bran, King at the Gods Eye’ truther). This could be where their paths cross and their roles intersect. Bran, with his deep connection to nature and time, might provide Dany with guidance on how to engage with magic and influence its effects on the world. With Bran’s knowledge and Dany’s firepower, she could then deliver the final blow. While much of this remains speculative, what is clear is that their roles complement each other.

And that leaves Jon, the “light bringer”.

They said the words together, as the last light faded in the west and grey day became black night. “Hear my words, and bear witness to my vow,” they recited, their voices filling the twilit grove. “Night gathers, and now my watch begins. It shall not end until my death. I shall take no wife, hold no lands, father no children. I shall wear no crowns and win no glory. I shall live and die at my post. I am the sword in the darkness. I am the watcher on the walls. I am the fire that burns against the cold, the light that brings the dawn, the horn that wakes the sleepers, the shield that guards the realms of men. I pledge my life and honor to the Night’s Watch, for this night and all the nights to come.” (Jon VI, AGoT)

It’s important to see Jon’s primary function as an extension of his current role. He is a man who watches for the night—a sentinel standing against the encroaching darkness. This role is deeply embedded in his identity, and it’s fascinating to see how it manifests in his prophetic dreams.

It’s black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don't want to. I'm afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it's not them I'm afraid of. I scream that I'm not a Stark, that this isn't my place, but it's no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream." He stopped, frowning, embarrassed. "That's when I always wake." (Jon IV,AGoT)

Last night he had dreamed the Winterfell dream again. He was wandering the empty castle, searching for his father, descending into the crypts. Only this time the dream had gone further than before. In the dark he'd heard the scrape of stone on stone. When he turned he saw that the vaults were opening, one after the other. As the dead kings came stumbling from their cold black graves, Jon had woken in pitch-dark, his heart hammering. (Jon VII, AGoT)

The Winterfell crypt dreams contain many intriguing elements, but I’ll focus primarily on two key motifs: death and darkness.

Jon is the most natural fit for the middle head of the dragon because he exists at the intersection of extremes: light and darkness, destruction and renewal, death and life.

When the spirit stepped out of the open tomb, pale white and moaning for blood, Sansa ran shrieking for the stairs, and Bran wrapped himself around Robb’s leg, sobbing. Arya stood her ground and gave the spirit a punch. It was only Jon, covered with flour. “You stupid,” she told him, “you scared the baby,” but Jon and Robb just laughed and laughed, and pretty soon Bran and Arya were laughing too. (Arya IV, AGoT)

While Bran is connected to summer and warmth through his magical familiar, Jon possesses a unique sensitivity to death, embodied by his bond with Ghost.

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. (Jon VII, ACoK)

Furthermore, Jon’s fate at the end of ADWD implies that through his death and eventual rebirth, he becomes a ghost in his own right—caught between life and death, existing yet not fully alive. This intertwines with his connection to darkness, as Jon straddles the boundary between light and darkness: a shadow.

All in black, he was a shadow among shadows, dark of hair, long of face, grey of eye. (Jon VII, ACoK)

“I can show you.” Melisandre draped one slender arm over Ghost, and the direwolf licked her face. “The Lord of Light in his wisdom made us male and female, two parts of a greater whole. In our joining there is power. Power to make life. Power to make light. Power to cast shadows.” “Shadows.” The world seemed darker when he said it. “Every man who walks the earth casts a shadow on the world. Some are thin and weak, others long and dark. You should look behind you, Lord Snow. The moon has kissed you and etched your shadow upon the ice twenty feet tall.” Jon glanced over his shoulder. The shadow was there, just as she had said, etched in moonlight against the Wall. (Jon VI, ADWD)

Shadows, like ghosts, are echoes of something once tangible. They arise from obstructed light, existing in a realm that is neither completely dark nor wholly bright, hovering between presence and absence. They highlight where light is absent. But shadows also exist only in the presence of light, revealing the delicate boundary between illumination and the lack thereof.

So building on that idea, it’s significant that Jon’s frequent journeys into the Stark underworld, where death and darkness prevail, take a pivotal turn in ASoS when he becomes vividly aware of light fading in real time.

He dreamt he was back in Winterfell, limping past the stone kings on their thrones. Their grey granite eyes turned to follow him as he passed, and their grey granite fingers tightened on the hilts of the rusted swords upon their laps. You are no Stark, he could hear them mutter, in heavy granite voices. There is no place for you here. Go away. He walked deeper into the darkness. "Father?" he called. "Bran? Rickon?" No one answered. A chill wind was blowing on his neck. "Uncle?" he called. "Uncle Benjen? Father? Please, Father, help me." Up above he heard drums. They are feasting in the Great Hall, but I am not welcome there. I am no Stark, and this is not my place. His crutch slipped and he fell to his knees. The crypts were growing darker. A light has gone out somewhere. "Ygritte?" he whispered. "Forgive me. Please." But it was only a direwolf, grey and ghastly, spotted with blood, his golden eyes shining sadly through the dark…

This is particularly noteworthy because of a similar, parallel dreams:

That night he dreamed of the feast Ned Stark had thrown when King Robert came to Winterfell. The hall rang with music and laughter, though the cold winds were rising outside. At first it was all wine and roast meat, and Theon was making japes and eyeing the serving girls and having himself a fine time . . . until he noticed that the room was growing darker. The music did not seem so jolly then; he heard discords and strange silences, and notes that hung in the air bleeding. Suddenly the wine turned bitter in his mouth, and when he looked up from his cup he saw that he was dining with the dead. (Theon V, ACoK)

The fires that ran along the blade were guttering out, and Jaime remembered what Cersei had said. No. Terror closed a hand about his throat. Then his sword went dark, and only Brienne’s burned, as the ghosts came rushing in. (Jaime VI, ASoS)

The ASoS crypt dream runs parallel to Theon’s ACoK dream and Jaime’s ASoS dream, with a common element: the presence of death and growing darkness.

While the crypts are inherently dark, Jon perceives when other sources of light are extinguished—true to his role in the Night’s Watch, which is to keep vigil against encroaching darkness. This ability to sense the fading light underscores his ghostly nature, where he reflects light while simultaneously existing in a state of absence. It also highlights his role as a shadow, existing in the blending of light and darkness. As both a shadow and a ghost, he can navigate these dual states, acting within the world’s transitions between day and night.

Which brings us to what I consider a continuation of Jon VII; while that chapter is marked by a lack of light, this next chapter is characterized by an abundance of it:

Burning shafts hissed upward, trailing tongues of fire. Scarecrow brothers tumbled down, black cloaks ablaze. ‘Snow,’ an eagle cried, as foemen scuttled up the ice like spiders. Jon was armored in black ice, but his blade burned red in his fist. As the dead men reached the top of the Wall, he sent them down to die again. He slew a greybeard, a beardless boy, a giant, a gaunt man with filed teeth, and a girl with thick red hair. Too late he recognized Ygritte. She was gone as quick as she’d appeared. The world dissolved into a red mist. (Jon XII, ADWD)

At some point between these two dreams, Jon found (or even created) light and he wields it as a weapon. And it’s clear that Jon’s sword in this dream is the actual manifestation Azor Ahai’s Lightbringer:

“In ancient books of Asshai it is written that there will come a day after a long summer when the stars bleed and the cold breath of darkness falls heavy on the world. In this dread hour, a warrior shall draw from the fire a burning sword. And that sword shall be Lightbringer, the Red Sword of Heroes, and he who clasps it shall be Azor Ahai come again, and the darkness shall flee before him.” (Davos I, ACoK)

Lightbringer has two major requirements: to give off heat and to illuminate. Jon’s sword does both!

We’ve seen a number Lightbringer-esque weapons (e.g., Beric’s and Thoros’), but Stannis Baratheon’s sword is the most intriguing proxy.

Davos knelt, and Stannis drew his longsword. Lightbringer, Melisandre had named it; the red sword of heroes, drawn from the fires where the seven gods were consumed. The room seemed to grow brighter as the blade slid from its scabbard. The steel had a glow to it; now orange, now yellow, now red. The air shimmered around it, and no jewel had ever sparkled so brilliantly. But when Stannis touched it to Davos’s shoulder, it felt no different than any other longsword. “Ser Davos of House Seaworth,” the king said, “are you my true and honest liege man, now and forever?” (Davos IV, ASoS)

While Stannis’ sword is visually dazzling, it is, in essence, a well-made fake. Its bright glow meets one of the two requirements for “light-bringer”, yet its impressive variety of hues with no actual heat serve as a clue that it is not the true sword of heroes. When the world cloaked in darkness, a weapon that shines as brightly as the sun is undoubtedly a powerful symbol. And Stannis’ sword is bright….

….but it’s almost too bright. His sword emits the wrong kind of light—one that is all glamor with little substance. This great conflict is referred to as the “war for the dawn”. So what humanity needs is a reminder of the dawn itself:

As a red dawn broke in the east, Grey Wind began to howl again. (Catelyn X, AGoT)

A swollen red sun hung low against the western hills when the gates of the castle opened. (Catelyn IX, AGoT)

Dawn and the sun are often associated with red hues in the text, a color heavily tied to fire (e.g., House Targaryen and R’hllor). Stannis’ sword gives off light, but it lacks the essence of true warmth. In contrast, Jon’s sword is the real Lightbringer: it is hot enough to burn against the cold and it radiates the actual red hues of dawn, thus illuminating the world around it.

Jon’s role as the archetypal fantasy protagonist necessitates a magic sword—Lightbringer will be his Excalibur; his Anduril. But more than just being a weapon, his Lightbringer symbolizes the transition from darkness to light. Dawn, a moment of transformation, begins with deep red hues that retain the shadows of night before blooming into the full brightness of the sun. Like the early dawn, Jon straddles the line between night and day, existing between life and death, darkness and light. As the middle dragon head, he embodies balance.

I’m not really sure how that plays out in the endgame; hell, I still can’t figure out how Jon will “forge” Lightbringer in the first place. But he has to end up somewhere for his arc to reach its magical climax. I’ve speculated that Bran and Dany might find themselves at the Isle of Faces or the heart of winter. The latter is a strong possibility for Jon, especially if he too recreates the last hero’s journey; not to mention his connections to snow and winter. But he could also return to the Wall, a mighty structure that symbolizes the boundary between life and death. The Wall is also imbued with ancient magic that radiates outward (e.g., strengthening Mel’s magic and prolonging Maester Aemon’s life). Therefore, it could serve as the ideal location for Jon to reignite and wield the light that has long been hidden.

Though Bran, Jon, and Dany each have distinct roles in restoring balance, their actions are deeply intertwined, with shared themes across their arcs. Jon and Bran connect through their existence in darkness, as seen in their ACoK dreams. All three share connections to death: Bran inhabits the realm of the dead (Mel I, ADWD; Jon’s ACoK wolfdream), Jon embodies a ghost-like nature that straddles life and death, and Dany is called the “bride of fire, daughter of death”. Additionally, Jon and Bran are linked to winter, and both Jon and Dany share the legacy of Azor Ahai and Lightbringer, with dragon breath also echoing the red hues of dawn. Together, they are not just separate forces but three heads of the same dragon, working in concert to ensure that the Long Night ends and the cycle of life and death continues.

TL;DR:

The dragon has three heads, each with a unique role in maintaining the cycle of balance, despite their overlaps in common themes. Bran, the Prince of Winterfell, embodies summer and inherits the legacy of the kings of winter, making him the most suited to confront the Long Night’s origin: winter itself. The Long Night cannot end without Bran’s triumph, as winter represents death while summer signifies new life. Dany, linked to the ebb and flow of magic and the direct antithesis of the Others, is best positioned to engage them in battle and counteract the ice magic that enables their existence. As the perfect manifestation of fire magic, she serves as a powerful weapon, embodying the theme of destruction by being “breaker of chains”. Meanwhile, Jon straddles the boundaries of light and dark, life and death, destruction and creation. His unique position allows him to navigate these extremes, bringing forth the lost light while holding back the consuming darkness. As the embodiment of balance—dead yet alive, icy yet fiery—he ensures the proper equilibrium between these forces.

Dragons, symbols of life, fire, and summer, starkly contrast with the cold death represented by winter and its children. Daenerys, as the Mother of Dragons, embodies the nurturing aspect of life, actively bringing forth new existence by counteracting suspended states of life (e.g., awakening dragon eggs and freeing slaves). Bran, representing youthful vitality, symbolizes young life that is both born and maturing. Jon occupies a unique position in the middle; he is like spring, a new life emerging from darkness, akin to an awakened dragon—life once petrified but now revitalized. Together, these three form a multifaceted dragon that embodies various dimensions of life, each contributing uniquely to the fight against the Long Night.

#yikesssssss this might be the longest post I’ve ever written shajsbsjbshs #have a lot of thoughts so I hope this all made sense despite the length #but I’ve been wanting to write a more detailed post on thematic meaning of ’the dragon has three heads’#asoiaf #valyrianscrolls #jon snow #bran stark #daenerys targaryen #three heads of the dragon #the long night #the others #random speculations

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atopvisenyashill · 5 months ago

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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.

#valyrianscrolls #bran stark #getting on my soap box #starklings #twow speculation #ados speculation #magic in asoiaf #the winged wolf #rani attempts meta #lawyering for bran #i started writing this over a year ago alsdjflk #tbh i also did a write up bc the only 'bran is doing some light time travelling' meta i've found is in fact preston jacobs and people #that are building off of preston jacobs. and the thing is i fucking hate video format #give me a goddamn pdf or pure audio for the love of god. so i wanted a write up of this SOMEWHERE for my own reference #if nothing else!!!!!#anyways i know 'bran is a time traveler' sounds insane but 'bran can whisper through the trees even in the technical past' makes sense #i will be doing more bran posting i have had this blog over a year and i do not post about my son enough #i'm doing my fandom name thewingedwolf a disservice here #i’m basically just trying to write up all my various bran theories. i promise to post more than once a year for bran aksksjdjd #i gotta post this now or it’s gonna sit for another year so if there are spelling or grammar mistakes no there’s not

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