#but it will also be daenerys

[raventreehall]

sometimes when you guys discuss who is the REAL younger more beautiful queen you sound exactly like cersei. it's no one and it's everyone. it's the idea of a younger more beautiful queen simply existing. cersei thinks it's sansa, then thinks it's margaery, and it is. because cersei's crazy paranoid brain has done the work for her. the ymbq as a figment of her imagination has actually cast her down and taken all she holds dear.

[lukitua]

The moon floated on the still black waters, shattering and re-forming as her ripples washed over it.

Daenerys in the Womb of the World

[girlwithakiwi]

sorry I’ve been laughing for ten minutes because word

[vintrage]

fire cannot kill a dragon BITCH

[everythingsdestiel]

There’s something so tragic about Cersei hating Robert (rightfully so) but becoming him all the same.

She hates ruling but loves the power it gives her over others. She drinks heavily. Abuses those around her. She fantasizes about a life with Rhaegar a man she never knew and never loved in the same way that Robert obsessed over Lyanna. She becomes someone that even Tommen (her son whom she loves dearly) fears. It mirrors the ways in which Robert abused Joffrey, but she hurts Tommen emotionally as opposed to physically.

All her life she wanted to be Jaime but instead she becomes the man she despised.

[peachyxuan]

Mhysa | Daenerys Targaryen

[jon-sedai]

We don’t appreciate enough how GRRM made House Targaryen the poster children for his de/reconstruction of the fantasy chosen family trope, and we don’t appreciate how Jon and Dany are the main lens through which he does that. House Targaryen is fantasy on steroids—magic swords, magic look, magic lineage, perhaps the most magic pet one could have in the genre, and a magic destiny that’s specific to them and only them. There’s a foretold magical conflict and its main hero (as many would think), “the prince that was promised”, specifically has to be a Targaryen. This House’s history is so rich, but from a genre perspective, it is Aerys II’s reign and Robert’s Rebellion that’s the most interesting to analyze. Aerys isn’t special himself, but he is to sire the future savior of the world. Then Rhaegar is born and tragic as they are, all the signs point to him being the promised messiah. And Rhaegar becomes THE fantasy hero on steroids. He’s the perfect heir to House Targaryen’s legacy because not only is he to be the best of them, and many think he would have been had he lived, but he is the most perfect manifestation of House Targaryen as the personification of fantasy. There’s absolutely a point to him living and dying as the heir, the inheritor, the eternal symbol of what could have been of the Targaryen’s old glory.

Part of Rhaegar’s legacy extends to his son Aegon. Aegon had everything Rhaegar didn’t. A comet was seen at his conception—and this is an most important herald for the chosen one. So he is given a song, “the song of ice and fire”, and a king’s name to match his status as the new messiah. He didn’t live long but he inherited Rhaegar’s look in his youth too; the fantasy protagonist look. But Aegon died before he could be the hero.

You see Jon and Dany as chosen ones only works so well because of their House’s history, especially as (anti)parallels to Rhaegar and Aegon. They are the unexpected inheritors and challengers to their house’s legacy but in different ways.

Dany is the most immediate and obvious heir. There’s a beauty to her being the last of them and thus, the one bearing the entire house’s legacy. Dany is THE Targaryen. And in being that, she becomes THE hero. She’s got the hero’s look, the hero’s magic and destiny, and better yet, she got the hero’s sword and pet all in one. And, she’s legitimate! She is House Targaryen. But there’s a problem….shes a girl. And we all know House Targaryen’s history with girls.

Maester Aemon’s “no one ever looked for a girl” is quickly becoming my favorite Dany-related quote because it pretty much encapsulates her entire arc, especially as an inheritor to her house’s legacy. The hero they died knowing and expecting was the boy: first Rhaegar, then Aegon. But father and son are dead. Yet Daenerys lives. She inherits everything else they did and more! The Targaryens tried and failed to bring dragons back, but it was Dany who ultimately did it.

Now, Jon is Dany but flipped. From a meta point of view, he’s more fantasy protagonist than she is. He’s a boy, he’s got a big magic sword that he can swing about, and he’s perhaps fantasy’s most prolific trope in action—the magical hidden prince. But within this story, GRRM flips these two characters. Jon’s fantasy protag-ness doesn’t go away, it just morphs into something else. Unlike Dany, he may be a boy and he may have a sword, but he lacks literally everything else. He doesn’t have the look, his magic powers are from his other family, so is his magic pet, and his magic destiny has thus far developed outside his immediate association with House Targaryen. Dany is “what if Rhaegar was a girl?”, but we can’t even begin to ask these types of questions with Jon because there’s so much that precludes him from the fantasy hero role in story. He’s Rhaegar’s heir…but he doesn’t look like him…and he’s not even legitimate. So what do we do now?

GRRM destroyed his fantasy protag house and decided to build up again from the ground up, but did so by challenging the two most critical points—primogeniture and exceptionalism. With Dany, he makes a girl the Targaryen’s outward successor. This works really well because the Targaryens have a history of denying their female heirs. But now what’s left of them is a girl, and she is literally everything they could have hoped for. And she is a a reflection of her house, but her arc has at many times seen her be the antithesis of her ancestors. And I can’t help but think of the oncoming meta-textual showdown between her and Young Griff. On the surface Young Griff, a boy, is the preferred heir. But Dany is, in truth, the one.

Jon is interesting because, in my view, he challenges the Targaryen idea of exceptionalism. He’s easily the fantasy protagonist from the outside looking in. But he doesn’t have the Targaryen name, nor does he have the look. He has the blood, but what makes him special is that it is mixed with the other major fantasy protagonist house’s blood—he’s special in that he’s a hybrid. And this is interesting because if Aegon conquered the seven kingdoms because of a prophecy regarding him or one of his princely descendants, it’s quite the twist to have this messiah not even be a Targaryen prince (not in name anyway). That’s why all the hand wringing around “is Jon legitimate?” or “no one cares because he doesn’t look like Rhaegar” really isn’t the point. The point is for Jon to be the manifestation of the hero—the king—outside of that narrow framework. And if he succeeds, then GRRM would absolutely still be subverting prophecy and genre conventions.

There’s something to Jon and Dany being born as or after House Targaryen falls. House Targaryen has no crown, no throne, and their prophetic mandate has been usurped. But GRRM is so attached to them, and he certainly wants to rebuild them and hold fantasy to account. But to do so, everything we know about the Targaryens, everything the Targaryens knew about themselves, has to be challenged and put to the test by the personifications of all that a Targaryen hero couldn’t be: a girl, and a bastard.

[witchlingcirce]

Seeing people refer to Daenerys as entitled, or narcissistic is so actually mind boggling. Like DAENERYS???? The Daenerys who never even had a proper home??? The girl who said she would not rule of ash?? And wanted a happy kingdom??? The girl Who listens to all of her people’s complaints almost everydau??? Same girl who cried over chaining her dragons away??? THE GIRL who is legit kind to people who aren’t even close to deserving it (Viserys, Jorah)??? LIKE DAENERYSSS?!??!?!?!?!??

[beetlebaes]

mary-inspired daenerys!

[mariuspompom]

George Martin, 2013: "In a very basic level winter is coming for all of us. I think that’s one of the things that art is concerned with: the awareness of our own mortality. “Valar morghulis” – “All men must die”. That shadow lies over our world and will until medical science gives us all immortality… but I don’t think it makes it necessarily a pessimistic world. Not any more pessimistic than the real world we live in. We’re here for a short time and we should be conscious of our own mortality, but the important thing is that love, compassion and empathy with other human beings is still possible. Laughter is still possible! Even laughter in the face of death… The struggle to make the world a better place… We have things like war, murder and rape… horrible things that still exist, but we don’t have to accept them, we can fight the good fight. The fight to eliminate those things.There is darkness in the world, but I don’t think we necessarily need to give way to despair. One of the great things that Tolkien says in Lord of The Rings is “despair is the ultimate crime”. That’s the ultimate failing of Denethor, the Steward of Gondor, that he despairs of ever being able to defeat Sauron. We should not despair. We should not go gentle into that good night".

JRR Tolkien, 1962 : "One reviewer once said, this is a jolly jolly book, all the right boys come home [...]- this isn't true of course, he can't have read the story. [...] Human stories are practically always about one thing, really, aren't they? Death. The inevitability of death. . . . . . (He quotes Simone de Beauvoir) 'There is no such thing as a natural death. Nothing that ever happens to man is natural, since his presence calls the whole world into question. All men must die, but for every man his death is an accident, and even if he knows it he would sense to it an unjustifiable violation.' Well, you may agree with the words or not, but those are the key spring of The Lord Of The Rings".

"Lotr is all rainbows and unicorns and Asoiaf is nihilistic and grimdark". Wrong, and wrong. In all its hope and radiance, lotr often gets very dark, and despite all the death and suffering, the hopeful moments in asoiaf shine bright. The meeting point of these two is this: having hope while in despair, and even better, refusing to give up because you have to go on despite not having any hope left.

[snake-berry]

my queens <3 arya, sansa, & dany

ok before this starts controversy the crowns were so fucking random you have no idea. dany's is just the classic, arya's is a lineup of wolf teeth bc why not, sansa's is intended to be a wolf face with wings lol. pls dont ascribe secret hidden meanings to the crowns bc there is none i have no agenda and 0 horses in this race. i chose for aesthetics not for fandom discourse propaganda

anyways i love all 3 of these girls and it was fun to draw them older than their canon ages :)

[nedseii]

Jonerys I made for a friend

[secretmellowblog]

Victor Hugo says that Madame Thenardier named Eponine after a heroine from her favorite melodramatic popular women’s romance stories (specifically she’s named after the virtuous Eponina, heroic wife of Sabinus)…..So here’s a poll for what Modern AU Eponine’s name would be.

[effemar]

AND IF THAT'S ALL THAT I'M GONNA BE / WON'T YOU BREAK THE CHAIN WITH ME?

[blasphemousclaw]

“Hear me, Daenerys Targaryen. The glass candles are burning.”

[dragonseeds]

do you think dany knew what she was doing when she hatched her dragons or was it just an accident?

oh yes i think she knew exactly what she was doing. the magic in her blood and the eggs and the fire was speaking to her, coming through in her dragon dreams—especially that last fever dream after her miscarriage. i think she knew it was possible before because she could feel the eggs stirring and the magic waking up (and she was already connecting with drogon and drawing strength from him), but it was mirri maz duur who actually taught her how to do it.

i love that what she’s actually doing is never explicitly stated, yet everything she’s doing saying and thinking gives her away. like she swears to jorah she doesn’t intend to die with drogo, she directly compares herself to aegon, she places the eggs on the pyre and tells mirri maz duur that she’s going to take her life because only death can pay for life, etc., but the closest dany ever comes to directly saying it is when it’s done and the last dragon is about to hatch:

like calling herself mother of dragons and then calling them her children is unequivocal, but before that grrm’s building the suspense and creating this heady wild momentum. it feels very similar to reading her wake the dragon fever dream, and provides such a great insight into her character. the space in the narrative where she doesn’t acknowledge what she’s doing or exactly why she’s doing it is where the magic lives, and it also gives her a place to hide any lingering uncertainty or fear, while still making it clear that she understands what’s happening: that she is in fact making it happen.

but like speaking of accidents, i’m obsessed with the difference between dany’s success and egg’s flop tragedy. she uses her husband’s funeral pyre, the husband whose life she traded her son’s for, to wake the dragons (including herself) and creates life from death. aegon v tried to hatch dragon eggs during rhaegar’s birth (the child he and jaehaerys ii traded rhaella’s happiness and agency for) and instead made a pyre of summerhall and most of his family. rhaegar was the last dragon, born in fire, and now it’s her—but it was always her and he always had to die. “the face within was her own.” crazy. insane.

i’m sure people have pointed this out before, but the magic here always makes me think of this line from the last unicorn: “real magic can never be made by offering up someone else’s liver. you must tear out your own, and not expect to get it back.” grrm’s use of magic is very similar, just as the unicorn and dany are similar, and i think it’s very possible that other attempts to hatch dragons in the past failed in part because whoever was trying didn’t understand this (and also because they were a. men and b. not daenerys lol). magic has a price, and it’s always high. this is one of the hardest lessons dany has to learn, and she thanks mirri maz duur for it in the end, because she understands that it had to be her own child, her womb, her husband, her sun and his fire that’s really hers burning someone’s life away—and this whole time, the entire book up until this point, she’s been cracking open like the moon, like the eggs on the pyre, and then she joins them in the fire.