#i want to see more depictions of her tenderness towards her family (except her brother. lol) and her mercenary attitude towards

[fideidefenswhore]

elizabeth howard and the boleyn sisters in cecil no joou!: https://livedoor(.)blogimg(.)jp/newcomics/imgs/f/5/f575df1d.jpg

anne: i want to marry a king too! mary: i myself like the prince of france! anne: i'm sure [i'll] be joined to someone wonderful. elizabeth: my adorable daughters.

[perperam]

Do you have any Harlivy fic recommendations? Preferably something that is already completed?

OH I'VE BEEN WAITING FOR THIS ONE

okay okay so quick little tangent fact !! I actually just finished my undergrad degree in "english literature analysis & writing" and reading fics is so fun bc I get to analyze them and break them down and if it's particularly well written the stars align and it's just UGH so good. 

ratings are: E (explicit) M (mature) T (teens and up) and G (everyone) anyways here is a HUGE list of my favorite fics to date, their stats/details/plots, reasonings as to why they're on the list to begin with, and a short analysis:

SHORT STORIES (less than 30k words)

for your convenience they’re in order of length bc I’m focusing on this super hard rn

KISS YOUR BEST FRIEND CHALLENGE (T)  STATS — 340 words, shenanigans, fluff PLOT — Harley, TikTok and general Social Media queen, decides to do the trending challenge to kiss your best friend. The best friend? Her roommate and the woman she’s been crushing on for fucking ever: Poison Ivy.

AM I TOO CLOSE? (CAUSE YOU FOLD INTO ME LIKE A HEART WITH A BEAT) (G) STATS — 839 words, fluff, shenanigans PLOT — Harley genuinely wasn’t looking for trouble, but it’s hard to just have a day out when you’re one of Gotham’s most wanted. Running into Ivy, she takes drastic measures (and her hoodie into the mix) to distract the police from looking in their direction.

I’M HOME (G) STATS — 892 words, domestic fluff PLOT — After a long and rough day at work, Ivy comes home to Harley. Relaying the details of her day, she basks in the comfort of her girlfriend, who provides gentle questions and is a phenomenal listener. General cuteness.

CONFLICT DIAMONDS (G) STATS — 990 words, wedding shenanigans, banter, humor PLOT — Batman and Renee Montoya respond to a break-in at a jewelry store, except even though the owner is duct-taped to the wall, it isn’t really a break-in; Harley’s just trying to shop for a ring for Ivy, and that’s difficult to do when the owner is screaming in the corner. Batman and Renee both pitch in to help pick something nice for Harley’s girl, resulting in hilarious banter.

OF COURSE (T) STATS — 1.1k words, hurt/comfort (kinda), harley quinn animated tv show centric PLOT — In the aftermath of Ivy’s death, rebirth, and the fall of Joker Tower, Harley collapses onto the ground. Since she never mentioned that her parents are the reason for most of her injuries, Ivy isn’t sure why she’s so out of it.

PERFECT MORNINGS (T) STATS — 1.1k words, domestic fluff/bliss PLOT — Ivy, who usually wakes up early and before Harley, takes a moment to look at the countless muscles, ridges, scars, and tattoos on Harley’s body as she sleeps. General cuteness.

I’D LOVE TO CHECK YOU OUT (T) STATS — 1.7k words, university au, fluff PLOT — Harley visits the library virtually every day, and it’s definitely not because she needs to work on her university courses and homework. She finally works up the courage to speak to the alluring redhead she sees there every day while absentmindedly looking at a book on sharks. 

I’LL LOVE YOU IN THE MORNING (NOON, NIGHT) (T) STATS — 2.1k words, angst, hurt/comfort PLOT — A snapshot look into Ivy and how she comes to know, care, and love all the sides of Harley—from psychiatrist to criminal to girlfriend. She loves her throughout it all. 

DAY-DREAMING (T) STATS — 2.2k words, shenanigans, psychiatrist Harleen PLOT — Ivy’s falling for her psychiatrist—her humorous, intelligent, caring, and downright gorgeous psychiatrist. It’s difficult, to say the least.

WHAT HAPPENS IN THEMYSCIRA (DOESN’T) STAY IN THEMYSCIRA (T) STATS — 2.3k words, humor, wedding shenanigans, angst with a happy ending PLOT — In a surprise twist of events, Harley and Ivy were drunkenly married at Themyscira. When asked at the wedding if anybody had objections to the union of Ivy and Chuck, Wonder Woman and the Queen of Themyscira herself come to object. Ivy, for lack of a better word, wants to die a little.

NOT A ROCKER CHICK (T) STATS — 3.1k words, rock band au, fluff PLOT — The last thing Ivy wants to do is go to a rock band concert with her best friend, Selina. Despite her best efforts, she can’t help but completely fall into the rhythm of the band and their music, so different than her own norm. And okay, maybe the singer (who Selina was friends with and called “Harley”) was also kinda hot...

A TENDER HEART AMONG THE GREEN (T) STATS — 3.2k words, gotham city sirens raise Lucy au, domestic bliss PLOT — Harley and Selina come back home to the apartment to find Ivy passed out asleep with Lucy cuddling into the crook of her neck and Selina’s cats cuddling her legs. Knowing that Ivy would rather be caught dead than in such a compromising situation (after all, she is the Poison Ivy, who “hates humans”) the two take a photo, since it lasts longer. Shenanigans and cuteness ensue.

BUILDING YOUR GIRL’S SECOND STORY (M) STATS — 3.3k words, university/grad school au, angst with a happy ending PLOT — Snapshots of Harley’s battle with her violent and abusive boyfriend, Jack, and the way in which Bruce, his boyfriend Clark, and her best friend (and potentially lover) Pamela all love Harley and will do anything, anything, to make sure she gets the help, care, and love she needs.

A DIFFERENT KIND OF NORMAL (T) STATS — 3.6k words, coronavirus pandemic/quarantine au, family au PLOT — Ivy is requested by the Justice League to help create and manufacture a vaccine for the COVID-19 virus. As she works on the vaccine, she video calls Harley and their daughter Lucy, both of whom miss her very much. 

RABBIT IN THE GARDEN (T) STATS — 4.4k words, implied suicide attempt, hard angst PLOT — Winters are difficult to Ivy. When Harley comes home one day to see her submerged fully in water in the bathtub, the only thing Harley can do is cry and take her out. Ultimately Ivy is alright—but it doesn’t make it any easier.

WE WILL BE (EVERYTHING THAT WE’D EVER NEED) (T) STATS — 5.8k words, high school au, angst, hurt/comfort PLOT — Harley and Ivy are best friends from high school, living in the middle of Arizona. Ivy is absolutely head over heels for Harley, but the latter is in a growing and increasingly abusive relationship with the older “bad-boy” (literally) Jack. Eventually, the two grow together in more ways than one.  

WHERE THE RED FERN GROWS (EXCEPT NO DOGS DIE) (M) STATS — 9.7k words, domestic bliss, no powers just botanist & psychiatrist au PLOT — After her abusive ex-boyfriend tries to maniacally tear down the front door of her apartment with an ax as her best friend, Selina, pushes the table against the splintering wood, Bruce recommends that Harley gets a dog. She gets two German Shepard brothers—Bud and Lou—who lead her one day on their walk to the most beautiful flower shop owner Harley’s ever seen. The story of Harley and Ivy, told with Bud and Lou present to witness every moment.

THE MOMENT I AWAKEN GHOSTS (T) STATS — 11.7k words, falling in love, feelings & realizations PLOT — A deep look into Ivy’s feelings and how they evolve from general hatred against Harleen the psychiatrist at Arkham to a blooming, kind and gentle love towards Harley Quinn, the crown jester of crime. 

HARLEQUIN’S ISLE (T) STATS — 17.5k words, hurt/comfort, happy ending, shenanigans, humor PLOT — Harley and Ivy decide to go on a vacation on Bruce Wayne’s new eco-friendly plane, but in a surprise twist of events, things go terribly wrong, Ivy falls out of the plane, and the two (as well as all the other rich and wealthy big-name CEOS on the plane) get stranded on an island with someone actively trying to rob the investors. Harley and Ivy will fight them, god damn it, because they deserve this vacation and they will have it.

LONGER STORIES (30k words to 100k words)

YOUR LOVE (DÉJÀ VU) (G) STATS — 33k words, slow burn, mild angst, canon divergence PLOT — A what-if-Harley-found-Ivy-first fic, YOUR LOVE wonderfully illustrates Dr. Harleen Quinzel treating Ivy in a wonderfully humane and kind way, including learning floriography, the language of flowers, in order to better relate to her. Ivy is taken aback by her doctor's genuine care and begins to develop feelings, all the while Harleen falls hard and fast which wholly confuses and frightens her. The one caveat is that while this is happening, Harleen is also treating the Joker as well, who tries (keyword: tries) to manipulate her. Ivy and Harley dance a timid tango around one another as they try to navigate this new playing field of romantic feelings for one another, and things come to a breaking point when Harleen realizes that, perhaps, all of her patients have a point and that the real villains are not the ones inside the asylum, but rather the ones running it. FAVORITE DETAILS — I just love the way this is written. It provides a wonderful and almost skinny-love like romance (except this takes place in an insane asylum) as Harleen and Ivy both try to understand their strong feelings for one another. The way in which the rogues and other inmates/patients all look out for one another was very heartwarming, and Waylon and Eddie's thinly veiled camaraderie with Ivy—and her thinly veiled appreciation for it—were both lovely and created a really warm environment. It really underlined why Harley loved them because you love them too in the process, and see how she reaches her breaking point.  CHARACTER DEPICTIONS — Harley, as she is in all of my favorite fics, is depicted as an incredibly intelligent and talented psychiatrist. Her caring nature is wonderfully outlined in this fic as she helps Waylon, Eddie, Ivy, and everybody else in the asylum be treated with genuine respect and care, going as far as to get them personalized gifts. Her psyche fracturing slowly never once makes her seem unintelligent to the reader, even as she actively places a ditz persona in order to fool the rest of the asylum staff (and the Joker). Ivy, on the other hand, is illustrated in a way that perfectly shows how all she genuinely needed was someone to listen. She's sometimes harsh and crass but you can see how she begins to soften as Harley helps her and treats her with: you guessed it, genuine respect. FINAL VERDICT — I would get this tattooed on my ass if I could

NOVEL LENGTH WORKS (100k+ words)

ACROSS THE WAY (M) STATS — 128.7k words, slow-burn, tattoo artist & flower shop owner au  PLOT — Botanist and flower shop owner Pamela Isley moves to Gotham from Seattle in search of a new life. Her shop is located directly next to a tattoo shop—one that is incredibly loud and bothersome. Upon walking in to give the shop a piece of her mind, she meets one of the resident artsits, Harley Quinzel, and cannot get her out of her mind. The two become best friends, and feelings slowly start to develop. On a night when Harley is most vulnerable and in need of a place to escape, Pam offers her apartment as a refuge, and from that point on things are never the same again (in the best way possible).  FAVORITE DETAILS — The SIT sessions were a wonderful touch and I loved seeing the recovery of both Ivy and Harley, because it was so real. I also loved how once Harley got out, she did everything in her power to protect both herself and Ivy from Jack, and we got to see her and Ivy grow into their wonderful, healthy romance. CHARACTER DEPICTIONS — I love how all of the characters are illustrated; Selina, who is the caring best friend and genuinely does her best to help others around her all the while being her cocky, usual self. Pam, who escaped Seattle and started anew in Gotham and is the crass botanist and also the insanely kind and caring lover. Barbara is the adorable coffee shop owner, Floyd is the caring figure for Harley that she never had, and everyone is just wonderful.  FINAL VERDICT — literally go read this rn, what are you even doing

MAD LOVE: THE BEGINNING & MAD LOVE: THE FINAL CHAPTER (M) STATS — nearly 400k words total, angst, canon divergence, domestic fluff, slice of life PLOT — imagine YOUR LOVE except this is much longer, much more heart-wrenching, a whole lot more angsty, and Harleen's break with Harley is a lot more prevalent. Another what-if scenario of Dr. Harleen Quinzel meeting and treating the illusive Poison Ivy instead of the Joker, MAD LOVE shows an interesting depiction of the way they manipulate, hurt, care, and love one another. The entire story is riddled with well placed metaphors, recurring themes, and both Ivy and Harley's characters are illustrated in the most complex and interesting way. All throughout both the initial and the sequel, Ivy and Harleen play a metaphorical chess game in manipulation as a means to gain the upper-hand on the other, which creates a dangerous foundation for their following love story. In the sequel, "The Final Chapter," the story starts with Harley and Ivy—already married near the end of "A New Beginning"—having two kids and the entire piece spans over Harley's lifetime until she's on her deathbed, with Ivy still stuck at 33 years old beside her. I personally stopped reading the story after Harley died (I was too emotionally vulnerable to continue on) but if you continue reading on, you get to see Ivy move on and appreciate Harley's impact on her life as she finds love and happiness again after the loss of her wife. FAVORITE DETAILS — We get insight into both Ivy and Harleen's trauma, and how not everything can be fixed with love. Neither Harleen nor Ivy (or their actions for that matter) are characterized as perfect in any way, and the story never excuses any of their more-than-questionable actions; in fact they make MANY mistakes and manipulate one another throughout the story, and both have power over the other (Harleen is her psychiatrist, but Ivy could easily kill her, so emotional power over someone with immense physical power). CHARACTER DEPICTIONS — Harleen is depicted as an incredibly intelligent and capable psychiatrist, and the story somehow wonderfully mixes Harley's desire for violent chaos with Harleen's desire to help others. v Ivy is illustrated as the epitome of "I hate you and will not be nice unless you're literally either my wife or kids." She is seldom kind to others, is often crass, but an entire softy when it comes to Harleen and their children. She's a hard worker and is heavily involved in her research. Harleen, on the other hand, is equally cunning but more lighthearted, extremely athletic and active, the "fun" mom, and less into power trips (unless it's about Ivy). FINAL VERDICT — definitely the most interesting fics I've ever read in my entire fucking life, it's so complex and wonderful and a literal minefield of analysis worthy literature, I'd also get this tattooed on my ass if I could

[cloudofash]

The Future of the Destiny Islands Trio - Part 1

There is so much to discuss in regards to all of the information we’ve received in Kingdom Hearts Re:Mind and I have so many theories conjuring up in my head that I want to share with you all. For today, I would like to discuss the status of our main trio, the Destiny Islands trio. 

Nomura himself stated that Kingdom Hearts 3 depicts how each character feels about each other “in this new storyline”. Which means that their relationships going forward into the next arc have been defined. Therefore, we can analyze Kingdom Hearts 3 and get a good idea of where each character stands as of now and theorize where their relationships will be headed. However, I’ll be focusing on just the Destiny Islands Trio since I feel every other Trio has received their happy ending and their relationships are clearly defined. The Destiny Islands’ Trio future remains hazy. With that being said…

*SPOILERS AHEAD*

Sora and Kairi : Now

Let’s begin with analysis on Kairi and Sora since their relationship took center stage this time around. First, let’s look at some moments the two had together that were cute: they fed each other separate paopu fruits, they hug, Sora has a strong devotion to save Kairi’s heart, and they had a team attack “One Heart” where they shared angel wings. It is clear that in KH3 Sora and Kairi’s relationship is stronger. So where do they both stand? 

I would say that Kairi does have romantic feelings for Sora. We established in KH1 she returned Sora’s crush when she drew her hand feeding him a paopu fruit. She initiates the paopu fruit scene and directly states she wants to be in Sora’s life, the fruit itself implying that she means forever. She says she wants to protect him now, which shows she wants to change the dynamic of she and Sora’s relationship where she is always being saved and protected by him. She wants to reciprocate the desire to protect him, this shows a clear attempt at advancement. She’s ready to be Sora’s equal in their relationship. At the very end in the Limit Cut episode, she chooses to sleep for a year believing traces of Sora exists in her heart which shows she believes the connection between their hearts is very strong. Kairi is taking the initiative to advance their relationship, and this leads me to believe there are romantic motives behind her actions. Of course Nomura is Nomura and there’s a chance that Kairi’s motives are completely platonic but considering Kairi’s known crush on Sora and her insistence that they remain a part of each others lives, I would mark her actions down as romantic.

But where does Sora stand? 

Well…. 

Sora states early in the game that he has a lot to learn about love. He seems to be very clueless and is walking the line between liking and loving, friendships and romance and it shows throughout the game. His feelings are not as clear as Kairi’s so we will have to analyze all of the moments the two share to see if he either reciprocates Kairi’s feelings or initiates/participates in a moment that can unquestionably be interpreted as romantic. 

As Kairi initiates the paopu fruit scene, Sora looks baffled and confused which is a reaction completely opposite of what’s expected of him considering this is the same island boy who dreamed of sharing a paopu fruit with Kairi a year earlier. She says she wants to be a part of his life and he never responds directly to the idea he only says “Kairi, I’ll keep you safe.” Protecting Kairi and saving her from trouble is something he’s been doing since the start of the series and doesn’t really demonstrate an advancement in their relationship, and doesn’t imply romance since Sora has shown that he’s extremely dedicated to keeping everyone safe. You can interpret his statement as romantic but since it can also be interpreted as platonic I wouldn’t count it as a purely romantic moment. For this scene to be truly romantic Sora should have returned Kairi’s desire to be together forever, not just with eating separate paopu fruits because there is a high level issue with their exchange that I will cover in a bit. When Kairi loses her heart, Sora tells Chirithy that he is alright with losing the power of waking and even vanishing from the world, which shows that he is incredibly devoted to saving her. He demonstrates this devotion throughout all of Re:Mind, doing all that he can to find her heart’s pieces. However, he does this for all of the Guardians and saves them all from death by abusing the Power of Waking. Sora is, again devoted to saving all of his friends and he has shown this across all games, especially with Riku in KH2 where he nearly accepted that he and Riku could possibly be lost to the Realm of Darkness forever. Therefore I wouldn’t count Sora’s devotion as romantic, else we’d have to consider Sora’s devotion to Riku (and everyone else) as romantic. If Sora was devoted to Kairi alone then I would consider it romantic devotion but for now his devotion is universal (which is why I consider Riku’s devotion romantic because he has shown that he puts Sora above all others).

Now we get to where Sora saves Kairi and gives her a big, warm tender hug. This is something you could definitely consider romantic, it’s a great improvement to the incredibly awkward hug Kairi received from him in KH2. Unfortunately it can also be considered platonic because Sora also gives Riku a big, warm yet excited hug in DDD. He also fell down on his knees, held Riku’s hands and cried that he looked everywhere for him in KH2. The hugging and touching speaks to Sora’s character rather than romance. Sora is very passionate about his friends and gets very touchy when he misses them or when he’s relieved when he reunites with them, it seems he feels he needs to touch them in some way to make sure they’re really standing in front of him. If we call this hug romantic because its tender then we can call his tender moments with Riku romantic as well….which I have nooo problem with! Jokes aside, since most consider Riku and Sora’s DDD hug as well as their entire moment in KH2 as platonic I will go ahead and mark this one down as platonic too. We can’t say one is romantic while the other isn’t when Sora clearly exudes the same energy (being relieved that he has reunited with someone dear) in both cases. 

So then we have the team attack, One Heart. Well that certainly has to be romantic, it literally says they share one heart and they share angel wings. This has got to mean something right? I absolutely agree, the attack was super cute and I would definitely give a point to the romance team! Except….if you pay close attention to the feathers of the angel wings you can actually see memories on them. The memories aren’t just of Sora and Kairi, they’re of all of the Guardians. This means that One Heart isn’t just a Sora and Kairi attack, it’s a unified Guardians attack where they draw power from all of their friends. See some of the confirmed memories that appear on their angel wings below:

I give YoSora rights on Twitter full credit for noting this discovery!

There is also the fact that Sora and Riku their own unified team attack with the Combined Keyblade, commonly called “The Gayblade” because it is literally rainbow colored, where each half of the boys’ Keyblades create a unified winged heart which holds Sora’s crown at the top and has a paopu fruit attached to the keychain. They share a single heart with a single paopu fruit. Every piece of “romantic” symbolism is there and yet Sora and Riku are still referred to as friends or brothers. Unlike Sora and Kairi’s attack which includes the other Guardians, their combined keyblade is strictly theirs alone. If the Combined Keyblade is not romantic, then One Heart certainly isn’t.

With each new shared moment Sora has with Kairi, there is a near-identical moment Sora shared with Riku. From the energy Sora himself exudes down to the symbolism. Sora’s demeanor doesn’t change between Riku and Kairi, so we can not say “He is friendly with Riku but lovey-dovey with Kairi”. If there was a clear difference in Sora’s behavior towards them trust me I could admit to it, but there isn’t. The nail in the coffin is when Sora and Kairi get to the Final World and he directly states that he and Kairi looking around the Final World was a moment with a friend.

The bottom line is that Sora still views Kairi as a friend despite having a crush on her. He hasn’t reciprocated her feelings of wanting to be together forever, he’s made no advancement in their relationship. I honestly believe there was more advancement in KH2 where he imagined himself dancing with Kairi after watching Jack and Sally, that was an unquestionably romantic moment. The only other moment in KH3 would be when he held Kairi’s hand on the way out of the tunnel and imagined Rapunzel and Flynn together who are definitely a romantic couple, however he immediately thought of Elsa and Anna afterwards which is an example of sisterly love, not romantic. Sora was thinking of love as a whole, platonic and familial love included not just romantic love. 

Sora and Kairi : Future

So where does Sora and Kairi’s relationship go from here? As of now Sora is lost in the void somewhere between the Final World and an alternate universe with Yozora, and Kairi is in a self-induced coma with no sign of coming out of it yet. It will probably be a long while before the see each other in person again. I must also note that Kairi believed that her heart would lead them all to clues on Sora’s whereabouts but after a year of searching her heart nothing came up. This is concerning, since we’re at a point where we’re being led to believe that their hearts’ bond is growing stronger, they share all these moments together and now we’re being told Kairi’s heart has no traces or clues of Sora found for an entire year, yet Riku has a recurring dream and Fairy Godmother suspects his dream will lead everyone to Sora. Does this mean that Kairi’s bond with Sora is weaker than Riku’s? Or is her connection to Sora weakening overall? How can that be when the two shared a paopu fruit, their connection should be stronger than ever right? 

This is where Sora and Kairi’s relationship may take a turn for the worst. The paopu fruit scene has been widely considered the moment that Sora and Kairi’s relationship became canon and means they’re dating (some even said married??) but as I said earlier there is an immense issue with it. They did not actually share a single paopu fruit like the legend described, instead they ate two separate fruits and fed them to each other crossing their arms in the process. As many have theorized, most notably the Sleeping Realm Theorists, this may have doomed Sora and Kairi to be star-crossed lovers, where all the forces of nature will actively work to tear them apart. There is evidence behind this theory because Sora makes several statements where he shows that he is okay with not always being with those he cares about, most likely in reference to Kairi.

Sora and Kairi may end up having a relationship where they accept that they can never be together. Or perhaps, Sora and Kairi won’t accept that and will always fight to stay at each other’s sides. Only time will tell, but I believe the overall theme of Kingdom Hearts 3 is learning to accept that you’re not always going to be with those you care about, and to enjoy the time you do get to spend together.

I’m sure this analysis may have annoyed some but I ask that you please hear me out. Sora viewing Kairi as a friend is not bad, it means there is room for change. For growth. Sora may view her as a friend now, this doesn’t mean he will in future titles. Or maybe he will. We’re at the end of the Dark Seeker Saga and Sora is just now learning about love, I’m sure Sora will learn what love means to him in later titles.  He’ll fall in love eventually….When he gets swept away by Riku’s heroism and learns that he’s the light, bwahaha! >:)

Sorry, had to be a tad biased. Naturally I want Soriku to win.  ;-P

I am going to stop here because this is getting waaaaay longer than I initially anticipated (like usual) and I want to make sure I have enough space for the other two relationships: Kairi and Riku and Sora and Riku. Thank you all once again so so much for reading!

Please see Part 2 here.

[butterflydm]

The Untamed Rewatch (ep 6)

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aka in which WWX as a friend comes with many benefits *winky-face*

Yeah, this is definitely the episode where WWX goes from thinking of LWJ as an uptight person to poke fun at and try to provoke and starts thinking of him as a person with deep emotions hidden under lock and key. This is also the episode when WWX decides he actually wants to be LWJ's friend and starts working towards that goal. He does still provoke LWJ after this, but that's more due to his natural personality rather than intentional poking to get a reaction.

We learn more about schooldays WWX here, as we see that he and Nie Huaisang have a simple knock code for afterhours hangouts. The three bros are hanging out drinking and eating peanuts. They're all fairly drunk, judging their behavior. Jiang Cheng and WWX needle each other about their potential marriage prospects. Jiang Cheng apparently has QUITE a laundry list of requirements for his future marriage partner. Maybe. Jiang Cheng. Babe. Maybe this is why you don't have one in the future. Maybe your standards aren't realistic. So, we've got: beautiful, tender, diligent, can run a household, good family, quiet, frugal, not too high a cultivation level. It does seem like Jiang Cheng wants someone who will run everything behind the scenes but never challenge him — possibly because his parents' marriage is so contentious? 

We don't see many healthy & happy marriages on-screen in the drama overall — Madame Yu and Jiang Fengmian argue in front of their children (among other issues), Jin Guangshan and Madame Jin don't need elaboration, the parents of Lan Xichen and Lan Wangji have a very messed up story even if you look at it as generously as possible, the Mo family don't seem terribly happy either tbh and also raised a bully and continued to cosset him into adulthood, Jin Guangyao and Qin Su, well…

Two of the happy marriages we see end in the early death of both spouses, who leave behind a small child who needs to be raised by others — WWX's parents, and Jiang Yanli and Jin Zixuan. The only real exception is MianMian and her husband, who do appear to be happy and are also still alive by the end of the series, but obviously that can't serve as an example to any of our characters in the flashback episodes. Am I missing any examples of good marriages?

All of which is to say… if Jiang Cheng does have issues with marriage and maybe even sets his standards so high because he's hesitant to get married at all, I can understand why.

Lan Wangji comes in and breaks up the… party, and WWX takes advantage of him turning his back to place a talisman on him that forces him to act under WWX's control, which is definitely not a good thing for WWX to do. WWX does seem surprised that it worked but this ties into one of the main things that the… eh, evil, I suppose, characters do, which is turn other people into puppets to act through. I do think WWX learns his lesson here with this talisman, not because he himself was punished over the event, but because it meant LWJ got punished when he didn't deserve it. WWX, for all his trickster tendencies, does have a strong sense of fair play.

But, imo, the main reason of this choice on the part of the drama is because they need WWX to see through some of LWJ's emotional walls and start to see him as a person rather than a rulebook now, in the flashback, because they want to make sure to establish a mutual bond in the past as well (which I feel is related to their attempts to sidle around censorship rules since they know they won't be able to do the kisses or the "I really wanted to sleep with you back then" type moments). 

It's also about the rule of unintended consequences — WWX wants LWJ to relax and stop being so fussy over the rules, and instead he gets something completely unexpected that throws him for a loop and makes him reconsider who LWJ is as a person. He learns about the importance of the forehead ribbon, and he sees LWJ's loneliness and sadness.

There are a couple of different ways I can take LWJ going "yeah, that's fine" to WWX telling him no woman is gonna want to marry him: first, that he's not attracted to women and he knows and accepts it or, second, that having seen what happened with his parents, the idea of staying single seems more attractive than the idea of being married. Going back up to 'not a lot of examples of happy marriages in CQL' (there might be more in the novel), again, and LWJ would know about even fewer. His only real example of marriage is a set of matched cages, his and hers.

The moment when WWX realizes that LWJ's mom is dead is beautifully-played, I think.

He realizes they have something in common and confides to LWJ. Now, since we know LWJ is a black-out drunk in present-day, he probably doesn't remember anything that happened after WWX had him take a drink (which is why he doesn't already know why WWX is afraid of dogs when they talk again about it in the present-day), but WWX doesn't know that when he tells LWJ about his parents and about living on the street. 

We do also get WWX talking about his bad memory here — he says that he thinks he should be able to remember his parents, but mostly he remembers is the trauma that happened afterwards. From what I've read of people's posts about the novel, WWX's bad memory is used differently there but, in the drama, it seems to be tied to trauma overwhelming other things. And we get the flashback to tiniest bb!WWX with his parents and I die. It's so cute. He confides in LWJ and essentially begins the process of adopting him as a friend.

So, the Lan Qiren & Lan Xichen scene makes me wonder, and this might be answered later but, Lan Xichen and Nie Mingjue must already be friends at this point, yeah? They're both young sect leaders and Lan Xichen speaks highly of NMJ's integrity to Meng Yao. It's either implied or said flat-out, I think, that Nie Mingjue has sent Nie Huaisang to Gusu to study for multiple years, so obviously Nie Mingjue thinks highly of Lan sect's teachings as well. So, like, they had this established friendship going on that Jin Guangyao gets in the middle of and ultimately taints in a way by using Lan Xichen's teachings as the way he learns how to kill Nie Mingjue.

That's really sad!

Anyway, the bros (plus poor innocent LWJ) get busted for sneaking alcohol into the Cloud Recesses and other shenanigans and we learn that WWX's mom acted the way same when Lan Qiren knew her. They never talk about it on-screen during the time of the drama, but I like to think at some point, post-canon, WWX is able to weedle stories about his mom about Lan Qiren. Let me have my dreams! I'm not sure if Lan Xichen also met her at some point — he would have been pretty young since she died when WWX was a kidlet and he doesn't say anything about it, so probably not — or he's just amused because he thinks WWX is amusing.

Lan Xichen's face is so shocked when he learns Wangji (apparently) took part in WWX's secret drinking party. Like, he wanted WWX to be friends with his brother and maybe teach him to have fun, but this result was not expected! And since LWJ doesn't tell them what really happened and WWX gets cut off before he can explain, does LXC continue to think that WWX talked his brother into drinking with him or does he assume something more along the lines of what really happened?

So, I'm not sure if I need to say this or not but: I'm not a fan of violent punishments; I don't think they teach anything useful. But since the show doesn't really depict them as successful in that way, I don't necessarily have an issue with them being part of the narrative any more than I have issues with other violent choices by characters, if that makes sense? But just to make my own position on it clear, I guess! I don't think an authority figure hurting someone under their care is justified because that person broke their rules.

Anyway, Lan Xichen obviously doesn't hold WWX's apparent influence over LWJ's actions against him, because he points WWX in the direction of the cold springs, where he already knows his brother is chilling. 

We get the first scene between WWX and LWJ after WWX has decided they shall Now Be Friends. I've gotta say, this scene has the same energy as Darcy's first proposal to Elizabeth Bennet in Pride and Prejudice: I'm about to insult you (/your family) and don't realize at all this might be off-putting when I ask for a deeper emotional bond between us. And, much like with Elizabeth, I don't blame LWJ for being… 'no'. Like, WWX literally just said "hey, I thought you were boring but have now decided to give you the honor of being my friend". He's basically trying to neg LWJ into a friendship, it's a terrible approach.

I think we also get our first Gay Panic moment from poor LWJ here as his annoying, arrogant, stubborn-as-hell crush looks like he might strip in front of him. And then talks about the pretty girls back home. Poor LWJ.

They get yoinked into the cave where Lan Yi is holding the Yin Metal. I'm guessing this is all added since the Yin Metal wasn't a plotline in the novel, but it's a fun time (I mean, not really for the boys; they're pretty cold and wet). The show uses it as an excuse to put in some things they probably couldn't have otherwise sneaked in like WWX and LWJ getting tied together with the sacred forehead ribbon, plus it's also used to jumpstart the extra flashback stuff related to the drama-only Yin Metal plot. It's used to give us exposition in a way that's interesting for both us and the characters, plus there are bunnies.

Oh, they mention here that playing Spirit Inquiry is passed down through the family, and I remember I think that Lan Sizhui says that he's been learning it when we get to the future? That's so cute. If my memory is correct, hah.

Meeting Lan Yi and all the stuff with her is great. I understand (from what I've read of them) why some people have issues with the Yin Metal storyline in general. Obviously, as I was watching it without knowing it was drama-only, it did really work for me and it still does so far. WWX is less of an absolute genius, as he doesn't invent the discipline of demonic cultivation, but he does end up being the only person who is able to practice it large-scale without getting eaten up by it (... on his second try, but still). 

Instead, what the drama does is set up several cautionary tales/parallels for WWX. The sects joining forces to destroy the current master of demonic cultivation becomes a reoccuring theme — first with Xue Chonghai in the distant past, then Wen Rouhan in the early/middle flashback sequence, then Wei Wuxian at the end of the flashback sequence. 

Lan Yi was, apparently, the only female head of Lan Sect, but she did invent the cool musical technique that gets passed down from generation to generation. Lan Yi is a very likable character. She's polite and helpful and she raises bunnies and she readily admits to her mistakes of the past. She also has been working hard to try to mitigate the damage caused by her big mistake. She's a good person, but not perfect.

We also see the contrast here between Lan Yi and Lan Qiren — WWX essentially makes the same kind of suggestion here that he does in Lan Qiren's classroom but where LQR got angry and indignant over the idea, Lan Yi is sympathetic because she'd wondered the same thing. And one main difference between them that Lan Yi brings up is that she felt like she needed the edge because of the sexism she had to face as a female sect leader.

The first of our WWX-LWJ relationship parallels pops up here too — Lan Yi's one true friend was Baoshan. Lan Yi was young and aggressive, needed an edge, wouldn't listen to other people telling her that resentful energy was too much to handle, thought she could handle it all on her own. Baoshan was worried that the resentful energy would end up controlling and damaging her instead. It's a fairly blatant parallel. I really like that LWJ's parallel is the teacher of WWX's mom and WWX's parallel is LWJ's ancestor. Much like the other parallels we will run across, the story of Lan Yi and Baoshan ends more sadly than WWX and LWJ will; it's a cautionary tale. But even their endings do echo what happens at the end of the flashbacks — after Baoshan fails to stop Lan Yi from using the Yin Metal, she goes into seclusion and separates herself from the world emotionally, while Lan Yi is wounded and unleashed something dangerous she can't control.

So.... Wei Wuxian and Lan Wangji go missing together. For hours. When they get found (in the next episode), obviously Lan Qiren and Lan Xichen find out where they really were but… what exactly does everyone else think happened to them? When they were missing together. For hours. And come back soaking wet with LWJ's sacred forehead ribbon wrapped around their wrists and unharmed (...and shoeless). 

*gazes off into the distance*

*thinks about how all the disciples learn about the forehead ribbon in lessons*

*thinks about Jiang Cheng's reactions in the future when WWX ditches him for LWJ*

*gazes off into the distance again*

In the search scene, we get another moment when Jiang Yanli is Feeling Poorly. I swear, that girl is sick every time we turn around. I want to give her a warm blanket and have someone else feed her soup for a change. Ah, we get Jiang Cheng's first empty threat about breaking someone's legs here (chronologically-speaking). Honestly, Jin Ling is such a reckless kiddo. Despite having literally zero of WWX's genes, I feel like he gives Jiang Cheng WWX flashbacks all the time.

Speaking of Jin Ling, Jiang Yanli and Jin Zixuan get a classic romantic trope when she slips and he catches her in his arms (a romantic trope that WWX enjoys with LWJ many times in the future, bless). I've been wanting to keep an eye on him and his assumptions and his reactions to her. They do quite a bit of staring before they break away, and it does look like he's feeling something too. But then he immediately flees. It's a miracle he ever managed to marry her.

Next time: Lan Wangji falls in love; Wei Wuxian gets himself kicked out of the Cloud Recesses.

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[bighound-littlebird]

The Alarm that Never Sounded: GOT's treatment of the SanSan Romance

by Miodrag Zarkovic

Originally posted here.

When adapting female characters from ASOIAF into the TV show "Game of thrones", David Benioff and Dan Weiss aren't unlike Robert Baratheon: if they can't disrobe it, they're bored with it. Their rendition of Melisandre, for example, isn't an intimidating and imposing practitioner of dark and supernatural powers, but rather a seductress who's able to make people obey her only if she rewards them with sex (Stannis, Gendry) or gold (Brotherhood without Banners). One more example would be their rendition of Margaery Tyrell, who was turned from a teenage girl with a perfect facade and somewhat mysterious foundation, into a promiscuous lady willing to do anything – even have sex with both her brother and her husband simultaneously, as she proposes to the latter in Season 2 – in order to achieve her personal political ambitions that are literally limitless.

With that in mind, Sansa Stark never had a chance to be properly adapted in the show created by D&D. Now, the word 'properly' has a rather wide range of possible meanings, and this essay will attempt to examine at least some of them, but, for now, let's say that the most obvious aspect in which TV Sansa was shorthanded is her screen time. In "A Clash of Kings", the book that was the basis for the Season 2 of GoT, Sansa's POV chapters, along with Tyrion's, are the only ones that depict what's happening in King's Landing, the capital of The Seven Kingdoms and the center of political power in the story. This goes for the first two thirds of "A Storm of Swords" as well, e.g. until the moment Sansa escapes from King's Landing. In short, her chapters couldn't help but be of paramount importance in the narrative sense. In the show, however, Sansa's significance is greatly decreased, and not only because the show doesn't follow the "POV structure" of the novels, but because she's reduced to nothing but a prized captive for the Lannisters.

Yes, TV Sansa is a minor, and she's played by a minor, named Sophie Turner. Her age, due to the laws that forbid the usage of underage children in explicit sex scenes, prevented D&D from using Sansa in a way they adore. And her age couldn't be drastically changed without drastic consequences on her overall arc which is, in ACOK at least, built around her first period. That's why, for example, D&D couldn't cast Natalie Dormer – one of their favorite ASOIAF characters, by the way, because they did alter Margaery to suit the actress, instead of the other way around – in the role of Sansa, because Dormer, while certainly looking younger than she is, could never pass as a minor.

And that would probably be the only thing that makes Sansa off-limits for Natalie Dormer, or some other actress D&D adore, to play her in D&D's adaptation. Everything else would've been doable. Had George R. R. Martin not put her first period in the books, Sansa's age, promiscuity, vocabulary, even wardrobe, would've been changed accordingly to suit D&D's vision of a progressive Westerosi woman, which means the first three would've been amplified, while the fourth one – wardrobe – would definitely be reduced and freed from all the unnecessary parts. She'd probably even hook up with some rogue brute at some point; when she'd find the time for him, that is; after she's done with Joff, Tyrion, Lancel, and god knows who else, she'd certainly figure out cynical killers can occupy her bed just as good as other available men can.

Speaking of cynical killers – enter Sandor Clegane. One more character that, alas, couldn't be played by Natalie Dormer, and therefore not of particular interest to D&D. Sandor in the novels is a truly memorable fellow, who slowly but steadily grows in readers' eyes as the story progresses. At the beginning, he's nothing more than a merciless brute used only for killing people Lannisters want dead. Very soon, however, a reader finds out there might be some traces of soul under that rough surface. More and more we find out about Sandor, more and more intriguing and understandable he gets. Even – more likable.

Now, what makes him likable? The stories Littlefinger tells to Sansa?! Of course not. The stories Sandor himself keeps telling to Sansa are what fleshes him to the extent that was probably impossible to predict at the beginning of the series. Through his conversations with Sansa, we find out every important thing there is to know about him. Later on, when he hangs up with Arya, Sandor is already a fully developed character, whom we aren't discovering any more, but rather following. And he became like that precisely through his exchanges with Sansa.

The show went the other way, and a pretty odd way, at that. D&D decided it was better for Littlefinger to deliver the story of how Sandor's face got burned, and that decision carries some very serious consequences in regards to characterization. For example, Littlefinger appears as someone who does know the secrets of King's Landing, but, at the same time, as someone who doesn't hesitate to share those secrets with persons he doesn't have any control over. Yes, he warns Sansa not to tell anyone about the story; but, he warns her because, and here comes the funny part – Sandor is going to kill her.

Now, why isn't Littlefinger afraid Sandor's going to kill him? After all, isn't that the logical question because it's Littlefinger who offers Sandor's secrets to others? It seems there are only two possible answers: 1) Sandor is not that scary and dangerous as Littlefinger claims, or 2) Sandor is a dangerous fellow, but Littlefinger is the bravest individual alive, because he goes around telling the secrets of people that physically can literally eat him for breakfast; and he isn't shy even, because he doesn't fail to warn Sansa how dangerous is the situation he himself dares so boldly.

Whatever conclusion a viewer draws from there, something is going to be radically changed from the source material. Quite possibly, in fact, a lot of things are going to be altered. After the said scene, both Littlefinger and Sandor are drastically different than their book origins. And the characters we ended up with in the show, are not nearly as complex and intriguing as their book counterparts. This is especially true for Sandor, who's nothing if not scary and dangerous. He is supposed to frighten the living hell out of everyone who isn't his older brother. If you take that away from Sandor, you're only left with his tender side.

But, even his tender side was almost entirely removed from the show. This time, not only by Littlefinger, but also by Tyrion: in the throne room, when Joff orders Kingsguards to undress Sansa, Sandor stands there silently. His face expression suggests he isn't pleased with what he sees, but that's it. He doesn't stand up to his king with firm "That's enough" as in the book. It is therefore on Tyrion exclusively to deny Joffrey the pleasure of torturing the girl whose only crime was that she saw him in a moment of unflattering weakness. As in the books, TV Tyrion enters the room with his sellsword and he defends Sansa from Joff, but the important difference is that in the show it looks like Tyrion is the only one both willing to oppose Joffrey and capable of doing it. In the novel, we can sense that Sandor is ready to do the same thing, only, in his case, it comes with a much bigger risk, which is not without importance.

So, in this particular case, Sandor was sacrificed for the sake of TV Tyrion. TV Littlefinger, however, wasn't forgotten in that regard, because, once again, he's fed with lines that originally belong to Sandor. In the finale of the second season, it is Littlefinger who tells Sansa to look around and see how much better than her all those liars are. Just as the last time around, this change serves neither Littlefinger nor Sandor: the former's creepy-mentoring side is exposed much earlier than it would be logical, while the latter is robbed of yet another moment in which he shows how much he cares for Sansa and how protective he is toward her.

Sansa is a case on its own, as far as wrong adaptations are concerned. She's in the league with her mother Catelyn Stark, as two Stark women that were literally butchered in the show. The thing two of them have in common is the nature of their complexity: opposite to other female characters in ASOIAF, like Dany or Arya or Asha or Brienne or Cersei, Cat and Sansa aren't interested in hurting their enemies with their own hands, or, in the case of Dany, with her own dragons (this goes for Cersei, too, even though she's the one ordering the suffering of others, not committing it: her aggression is always personal, as we can sense in the first three novels). And, what's more, Sansa isn't interested in hurting anyone, actually. Cat does have an aggressive side in her; it's female aggression all the way, but aggression it is. Sansa, on the other hand, almost never desires other people to suffer in any way. There's only one noticeable exception: Joffrey. She does think on one or two occasions how nice it would be if Robb put a sword in Joff, and, by extension, she wishes Lannisters are defeated in the war against her family. However, we have to consider the situation she finds herself in at those moments – imprisoned by the Lannisters and at Joff's 'mercy' all the time; small miracle she wishes them ill. I've never been a girl arrested by the grave enemies of my family, but if I was, I'd definitely pray for their most horrible deaths every single night. And, we have to remember that, after Joff's death, she fails to feel happy over it, even though she tries to a little.

Therefore, it maybe isn't a stretch to say Sansa is probably the one character that is most unlike the author himself. Other major characters, especially POV ones, do resemble Martin at least partially. For males, it's obvious: even though GRRM never fought in a war, nor had any military training whatsoever, men are men; even in our day and age, no male is a complete stranger to war; while depicting all those dramatic battles and duels was quite an achievement (which no personal experience would make any easier, truth be told, because in ASOIAF the combat as a phenomenon is illustrated from any number of angles, each among them presented with an abundance of details), ultimately it was in himself where Martin could find a lot of answers about his male characters, whose position in a society is never independent from their combat prowess or lack of it. Female characters, on the other hand, had to be trickier, just like they always are for male authors – let's admit it, they are not that good in creating great females, just like women writers usually don't produce male characters that are a match to their female characters nor to the male heroes created by male authors. In our day and age, these "gender rules" are rarely spoken of, but they continue to exist, due to gender predispositions that are nowhere as strong as in the mind of an individual. There are exceptions, as in good male characters created by women and vice versa, but they are in a clear minority compared to underdeveloped or unrealistic characters whose only "fault" was that they didn't share the sex with an author. And in that regard, ASOIAF could very well be unparalleled: it is perhaps impossible to find any other story that features nearly as many memorable male and female characters both, as ASOIAF does (truth be told, that fact alone should be enough to inspire analysts and scholars to look at ASOIAF at a different, more demanding light, and not as a genre piece).

Martin's girls, however, aren't completely unlike the man who came up with them. Most of them are willingly participating in "men games", e.g. power-plays and/or wars, which makes for a precious connection to a male mindset of the author. They are thinking and behaving as women (or, in the case of Arya, and Dany to an extent, as girls), but all of them are interacting with something that, in all its glory and misery, can roughly be called "a man's world". Some of the most beautifully written chapters in the series are delivered from female POVs – The Red Wedding and Cersei's "Walk of Shame" come to mind right away; but, in a thematic sense, those and other female chapters don't differ too much from male POVs.

Except for Sansa's chapters, which unmistakably belong to something we can roughly call "a woman's world". Chapters of both male and female POVs in ASOIAF are often rich with testosterone, but Sansa’s ones are almost entirely driven by estrogen: look no further than her captivity in King's Landing, that actually is, as already said, focused around her first period – that decision solely should bring a lot of respect for Martin, because he had to know going that road is never easy for a male writer.

And the funniest thing is, it all fits. Sansa's storyline is distinctive in tone, but not odd. It is a legitimate part of the general plot of ASOIAF. In fact, as her story progresses, Sansa becomes more and more important for The Game, even though she showed no clear inclination to participate in it so far, but at the same time, Martin keeps Sansa away from all those "male" aspects he decorated other female characters of his saga.

And on top of everything, we're presented with her love story, a romance with no other than the man who, prior to discovering some delicate feelings for Sansa, could pose for an ideal brute of Westeros. At the beginning of the story, Sandor Clegane could be perceived as the exact opposite of Sansa. As someone who has no business whatsoever in her world, just like she has none in his. But, with some craft wording and master subtlety, Martin succeeds in illustrating the flood of emotions that go both ways in their relationship. Those emotions are never easy, nor appropriate, let alone allowed – even by Sansa and Sandor themselves! – but they're hard to be denied.

The complexity of their multilayered characters, of their respective positions in a society and in an ongoing war, and of their relationship that resists all known clichés, represent some of the strongest evidence that ASOIAF is much more than a genre piece. There's a lot in these novels that escapes genre boundaries, but nothing more evidently than SanSan. Stuff like that is not your usual fantasy element, no matter how flattering fantasy can be as a label (Homer, Shakespeare, Tolkien – to name just a few all-time greats that created unforgettable stories with supernatural aspects in them). Any author who comes up with that kind of love story involving those kind of characters – and with a legion of other characters, and with no less than four different religions, and with themes of honor, redemption, identity, bravery, equality, ancestry, legacy, freedom, revolution... – deserves to be analyzed not as a genre writer.

Now, one can only imagine what kind of enigma Sansa and Sandor were for Benioff and Weiss. And it pretty much remained unsolved, because, when faced with all the complexity of these two characters, Benioff and Weiss decided to remove it almost entirely, along with their relationship that is reduced to occasional and odd mentioning of 'little bird'. TV Sandor was simplified to a one-note brute that goes around TV Westeros and lectures people about the pleasures of killing, a one-note brute he never was in the novels, not even in the beginning of the saga. TV Sansa, on the other hand, was denied her book complexity by shutting down all her layers, one by one. For example, Benioff and Weiss completely removed her decision to go behind her father's back and inform Cersei of his plan. They simply refused to go down that road. They did something similar to Catelyn, whose infamous line to Jon they didn't remove entirely, but did replace it with a much softer one. It is pretty safe to assume that Cat's and Sansa's complexity did bother Benioff and Weiss from the get-go.

What's also removed from the show is Sansa's agency, primarily represented in the novels by her secret meetings with Dontos, a disgraced knight she herself saved from Joffrey. In the show, we got only the saving scene; it was filmed and executed clumsily, but it was there at least. However, until recently, nobody could be sure Sansa did save Dontos, because the man disappeared afterwards (he was briefly seen as joggling balls in "Blackwater" episode, in the scene in Cersei's chambers, but he was unrecognizable for the vast majority of audience). It is reported, though, that Dontos will be returning in Season 4, so yes, Sansa did save his life after all. But, even when he returns, Sansa's attempts at escaping will be two seasons younger than they should've been at that point, and it's hard to see a way D&D can remedy that neglect.

Show-lovers often defend D&D in regards to Sansa, by saying her personality is a difficult and tricky one for portraying on screen, because even in the books she's introverted. Now, maybe she isn't the most extroverted character ever, but she's pretty far from reclusive, as she does communicate with the outside world a lot at the beginning of the series, before she's imprisoned. And even while in captivity, she can't help but communicate with Sandor and Dontos. What's more, around two of them she is her true self, which provides a wide array of possibilities for a good and informative dialogue that, in an adaptation, could compensate for the lack of inner thoughts. With Dontos, she's open not only because she saved him, but also because he explicitly offers his help (and, truth be told, it is he who enabled her to leave King's Landing eventually, so, even though he wasn't exactly honest with her concerning his motivations, her trust wasn't as misplaced as it may seem at first). And with Sandor, she's open for no particular reason – other than those subtle, emotional forces, that both of them can't help but follow and eventually become the closest and most intimate beings to each other.

The way Martin incepted and developed the barely visible, but undeniable romance, between Sansa and Sandor, is nothing short of literary brilliance. With so few words and interactions, he managed so much. The vast majority of readers are aware of restrained attraction they mutually feel, even though they didn't share a single physical aspect of the romantic relationship.

Martin is indeed a master of subtlety, as evidenced by what looks like the endless amount of carefully hidden clues that point to any number of narrative puzzles, realization of which do make an entire story much richer than if taken at face value. And he's never more subtle than with two romances: Rhaegar/Lyanna and Sandor/Sansa. Now, the respective nature of subtlety of those two romances is rather different. With Rhaegar and Lyanna, a reader is – through Robert's retelling – offered a version that is actually the very opposite of what probably happened, and only later a reader can pick up clues here and there, and finally figure out the story of a fatal attraction between the two. But, the clues are presented throughout the text, so much that, even if you don't decipher everything after the first read, at the end of "A Game of Thrones" – the first book of the series – you'll probably sense that Robert's view on events wasn't exactly accurate.

The story of Sansa and Sandor is a very different one. Their relationship is never as much as addressed, even by themselves. Sandor isn't a POV character, and he's not exactly open to people, so his silence on the matter isn't unexpected. But, Martin didn't address their romance even in Sansa's chapters, which are typically packed with inner thoughts of the POV character. It looks like Martin decided to do it the harder way and make their romance somewhat a mystery even for Sansa, which, in hindsight, does seem to be the most logical way: what teenage girl would be fully aware of a romance that "inappropriate", and experienced in those dire circumstances?! As a result of that decision, the readers got a completely fascinating depiction of a romance, that can be described as a train you hear from miles away: at first, you can't even tell is it a train or some similar sound, but slowly, with every second, you're more and more certain that your ears didn't trick you, and very soon the train is so loud that it is the only thing you can hear at all. In the novels, a reader may find something strange at first, when Sandor shares the secret of his burned face with Sansa. Some alarm may be turned on deep inside. And it becomes more apparent each time two of them share a page, with a culmination during the Battle of the Blackwater Bay, when Sandor, after he decides to desert the Lannisters, visits Sansa in her room and offers to take her home to Winterfell.

It might be the only instance in the entire series where Sandor did ask anyone's approval, which does speak volumes about his feelings for Sansa. Considering the manner in which Martin described this romance, Sandor's actions on that day was as good as a confession of his deep attraction to her. Sansa, on the other hand, doesn't have a single moment which could be pointed at as a prime evidence of her undeniable love for The Hound, but this doesn't mean her feelings toward Sandor aren't palpable. It's one more mastery of the writer: through her frequent (and skewed, but in a telling way) memories on the last time she saw Sandor, he was able to show her feelings resonating more and more inside her.

In the show, Martin was denied a chance to do the same thing, even though he wrote the "Blackwater" episode in Season 2. Thanks to the already destroyed storyline, and to god knows how many changes, and to D&D's decision to remove from the final cut some scenes Martin referred to with his scenes, the one between Sansa and Sandor near the end of that episode, served more as a greeting to book-fans who like SanSan in the source material, than as a goodbye between two not unlike souls who shared much, and could have shared a lot more, and maybe are going to if they meet again. In that scene, Rory McCann was visibly better than usual as Sandor, and Sophie Turner was as good as usual, but, just like with anything ASOIAF, the scene doesn't have nearly the same impact and importance if taken out of context.

The exact context of their SanSan is yet to be fully revealed in the books, too. Because of the already mentioned subtlety – a quality that seems to intimidate showrunners Benioff and Weiss, who, in their turn, do retaliate with their on-screen war on subtlety (just recall what they turned other romances into; for example, the romance between TV Jon "Not The Brightest Kid In The Block" Snow and TV "I Know Everything And Therefore I Can't Stop Talking" Ygritte) – Sansa's and Sandor's love story is by no means an open book. Their romance has its own share of mystery, one of which may be: what inspired those two persons to feel so strongly for each other? Personally, I always thought their mutual attraction isn't only based on a "beauty and the beast" model. There is that, but in their case it goes deeper. If that was the engine behind his emotions, Sandor had more than enough opportunities to find a beauty for his beast long before Sansa entered his life. With Sansa, I'd say their mutual attraction is rooted in their personalities. For example, if you take away Sandor's aggression, he also isn't interested in hurting others. He's naturally talented for violence, and he lives in a society that respects that kind of talent, and that is why he's violent for a living, but at the end of the day, the suffering of others isn't any kind of reward for him. Possibly, because he isn't interested in other people that much. Though, when he is interested in someone, the interest is as strong as they come.

(We don't know at this point, but it's not a stretch to imagine that his reaction to the news that his hated brother was killed wasn't unlike Sansa's reaction to Joff's death. "Am I glad he's dead? Well, not exactly, even though I wanted him killed.")

Sansa may very well be like that, too. That would be one of the possible explanations of her AGOT actions. Like the rest of the Starks, Sansa is a complex character that has some issues of her own, without which neither she nor the other Starks would be such memorable characters as they obviously are; it is the fact that they are both willing and strong enough to fight those issues, that Starks stand out for. Without going into details (as if I could!), I expect that in the remaining novels Sansa is going to face the reasons that made her go to Cersei that damned night and with the consequences of that action. And whatever comes out of that soul-searching will be inevitably combined with her claim to Winterfell that Littlefinger brought up in AFFC. And that combination is going to elevate Sansa's arc to even bigger and more important levels than so far, even though so far she was the one Stark that was most engaged – unwittingly, but still – in the bloody dynastic war for the Iron Throne.

And she'll have to cross paths with Sandor Clegane, one way or another. Their relationship was so meticulously built up, it simply has to get some sort of a closure. What that closure is going to be is impossible to predict, because we are talking of one George R. R. Martin, a writer who managed to shock us as he pleased more than a few times.

What is also impossible, is to take anything that did or didn't happen in the show as any indication at what the closer may or may not be. There isn't a storyline in GoT that wasn't drastically changed, and weakened in the process, but Sansa's arc, along with her relationship with Sandor, is among the biggest victims of D&D's inability to adapt.

Whether you happen to like what Benioff and Weiss put in the show, or don't, you'd be advised not to recognize any significance in their decisions for further developments in ASOIAF. Just like show-lovers tend to remind everyone else, GoT and ASOIAF are two entirely separate beasts. And book Sansa and book Sandor, along with everything Martin has in his store for them, can be really glad about it.

[fear-god-shun-evil]

Does Fairy Tale Love Exist in Real Life?

By Lin Min

Lin Min is a naturally sentimental person. Emotional dramas and romance novels saw her through her youth; the love stories within them deeply drew her in and stirring romantic tales often filled her mind—she couldn’t get them out of her head. From then on, the seeds of love were planted in naive Lin Min, and she hoped that after growing up she would find her own beautiful love story, fairy tale love.

When Lin Min was 17 or 18 years old, one of the topics most discussed by other girls her age was what sort of person they wanted to find to spend their lives with. She was no exception. Her head was always filled with dreams of love and having a family, hoping to find her own knight in shining armor, looking forward to bathing in the sunshine with him, walking through shady groves hand in hand, talking about anything and everything by the side of a river, and building their own happy family. She imagined that they’d always support and be there for each other through thick and thin.

When Lin Min grew up and became old enough to get married, she did meet that knight in shining armor she had been hoping for; they walked into the marriage hall holding hands and made their vows to each other. She wanted to grow old with her husband. However, dreams are nothing but fantasies, not reality. She never imagined that her husband would betray her after just a few years of marriage, that he would forsake their wedding vows. Lin Min, filled with idyllic visions of what love is, just couldn’t accept the reality of his betrayal and left him without any hesitation. She was 30 years old. Looking back on this failure, Lin Min thought that she had been too young and inexperienced at the time, and she hadn’t been a good judge of people. She thought, “When I’m looking for another partner in the future I’ll find someone between the ages of 45 and 50. Someone a bit older will be more stable; they won’t be so capricious. Then the marriage will be a sure thing.” But things never go according to plan, and for various reasons she ended up marrying a man just one year older than her.

“I’m going to make you the happiest bride on earth. I don’t have much money, but I’ll look after you forever and never let you get hurt again….” This simple promise didn’t sound as flowery and compelling as what’s written in the novels, but it was a salve for Lin Min’s wounded soul. With tears in her eyes she thought to herself, “I’ve got to have a good life with him and never let him go. We’ll grow old hand in hand.”

So, Lin Min remarried and from then on, the only thing in her world was her husband and their vows. They lived in a tiny home under 40 square meters and just had a plate of pickled vegetables and two bowls of rice for every meal—their lives were hard. However, Lin Min felt really happy, really joyful. They had heart-to-hearts with each other and understood each other; they didn’t hide anything or lie about anything. They’d go shopping together to find daily necessities that fit their budget, they had lots of fun together in their little home, and deep in the night when all was quiet they’d talk about their shared dream of buying a house. They encouraged each other. One uncomplicated, tender day after another passed, and the year their daughter turned 12 they were finally able to buy a house that was 106 square meters, and their lives became even better. Her husband said to Lin Min, “Once we’ve got a bit more money we should go on a trip.” Lin Min was very pleased to hear this; beaming, her face overflowing with happiness, she nodded her head and said, “Yes! You’re interested in birds and I’m interested in dogs. We should each take our own pets on walks.” She looked forward to spending every day so happily in the future.

Just as Lin Min was lost in her dream of fairy tale love and basking in that happy family, the unimaginable happened again.

In May 2015, Lin Min noticed that her husband started talking less, and that his words didn’t seem as genuine as they had before; he was oddly cold toward her. She felt really uneasy but forced herself not to imagine the worst. But after enduring a time of anxiety, she discovered that the thing she most feared had happened again—her husband was having an affair. She saw them walking out of a supermarket together and getting into a car. Her heart was shattered. In the days that followed Lin Min made all sorts of concessions and put everything into winning back her husband’s heart in order to save their family. When he went back home from time to time, Lin Min greeted him with a smile and reminded him of all the little things in their past, talked about the unforgettable wedding that they had planned, and about their plans to go traveling…. To communicate this better, she drew comics depicting the things they had done together as well as their current life and their future. Her drawings were full of her hope and desire to turn her husband’s heart around. She knew that her husband liked chess, so to appeal to one of his interests she bit the bullet and played chess with him.

In spite of making every effort to win back her husband’s heart, he was completely unmoved and even went further. He started dressing more fashionably, wouldn’t return home for nights on end, and when he did occasionally stop by he was really cold with Lin Min. He even ended up bringing that woman back to their home. Lin Min collapsed psychologically—she completely broke down. She shouted herself hoarse at her husband: “How could you bring that woman into our home? You’re not allowed to bring her here anymore!”

He pointed his finger at Lin Min and shouted at her, enraged, “If you keep acting like this you can’t blame me for what I’ll do!” and then slammed the door and left. He walked off with that woman without a backward glance.

Seeing the two of them walk off side by side into the rainy night, Lin Min frantically ran out to the street, letting the rain fall all over her. In the dim street lighting she didn’t know which way to go and even thought of death. After two failed marriages, she had lost the courage to go on living. But then she thought of her daughter and her elderly parents. If she died, what would happen to them? If her daughter lost her father’s love and then lost her mother, how could she go on living? In her pain, Lin Min thought, “Living is so hard, but why is dying so hard?”

Lin Min wandered through the rain in a trance, letting the rain and the tears wash her face. Her heart was bleeding, and scene after scene from the past kept floating up in her mind: the wedding, their vows, their laughter, their hopes and dreams, plus the cartoons she had drawn that were full of her dreams. She thought of all of these sweet, warm memories. She had never imagined that what she would get would be her husband’s deceit and heartless injury. From the time she was small, Lin Min had harbored dreams of growing old with someone, and as she grew up and went through all sorts of vicissitudes, as her youth went by, she had never given up that pursuit, but why hadn’t that “beautiful” dream been realized? She stopped walking, not knowing where to go. She was exhausted.

She kept dragging her tired body along feeling like she was on her last legs, just barely getting through the days….

Just as Lin Min was mired in suffering and falling into despair, God’s warm and powerful words comforted her. This is what she read: “The Almighty has mercy on these people who have suffered deeply; at the same time, He is fed up with these people who lack consciousness, as He has had to wait too long for an answer from humanity. He wishes to seek, to seek your heart and your spirit, to bring you water and food and to awaken you, that you may no longer be thirsty and hungry. When you are weary and when you begin to feel something of the bleak desolation of this world, do not be lost, do not cry. Almighty God, the Watcher, will embrace your arrival at any time” (“The Sighing of the Almighty”). God’s words shone on Lin Min’s heart like a ray of sunshine, bringing warmth to her chilled heart. She thought of how she had been taking on all that suffering and stress alone since her husband’s infidelity; she’d been walking around like a zombie at her very last gasp, just wanting her life to be over with as soon as possible. Only then did she understand that God had always been by her side waiting for her to come into God’s house. She wasn’t remotely alone and with nothing to lean on—God is her eternal support. She read God’s words with tears in her eyes, feeling like an orphan returning to her mother’s embrace. She couldn’t help but become speechless and start crying, expressing her gratitude to God without words.

Lin Min started frequently attending gatherings after that, reading God’s words and singing hymns of praise to God with brothers and sisters. Her face was once again filled with smiles and her state of mind improved significantly.

One day, Lin Min saw the words of God that said, “So what knowledge does corrupt people? It’s knowledge that has Satan’s viewpoints and thoughts mixed in with it, Satan seeks to imbue these viewpoints and thoughts into humanity through knowledge. For example, in an essay, there is nothing wrong with the written words, but the problem would be the viewpoints and intent of the author when he wrote the essay as well as the content of his thoughts. These are spiritual things and they are able to corrupt people. For example, if you were watching a television show, what sort of things in it could change your view? Would what the performers said, the words themselves, be able to corrupt people? (No.) What sort of things would corrupt people? It would be the core thoughts and content of the show, which would represent the director’s views, and the information carried in these views could sway people’s hearts and minds. Is that right?” (“God Himself, the Unique V”). Lin Min understood through what was revealed in God’s words that Satan uses novels and dramas to craft stories of love that don’t exist in real life in order to mislead people, and it inculcates people with ideas of love like “fairy tale love,” “Love is supreme,” and “The lovers finally get married.” People lack the truth as well as the ability to discern between positive and negative things. After reading novels and watching romantic dramas and accepting those ideas, people start to venerate romantic love and become steeped in an illusion of perfect love. They aspire to having intense love affairs, even feeling that experiencing love that never fades even until death, that two people staying together until the very end is the best possible thing. A lot of people fall into the trap that Satan has set up for them this way, and they’re duped and controlled by the illusion of perfect love. But when people give it their all and still can’t get that love that’s spoken of, they live in more and more pain and helplessness, and lose all sense of meaning in their lives. Lin Min thought of how she had been drawn in by all the romantic love stories from the dramas and novels she had read growing up, how she had wholeheartedly hoped to experience true love and grow old with her partner. She was even willing to devote her entire life to pursuing that. The failure of her first marriage didn’t wake her up, so she continued to seek a love that wouldn’t fade for a lifetime. She put everything into it, but never imagined that ultimately all she’d get in return would be the same heartless betray and heart-wrenching pain as before. She still wouldn’t give up, though; she tried to win her husband’s heart back by making every concession as well as becoming more thoughtful and considerate of him, but he wasn’t remotely appreciative of that. When their marriage fell apart, Lin Min felt like she had lost everything and she had nothing to live for, so she wanted to put an end to her suffering through death. And now if it hadn’t been for what was revealed through God’s words, Lin Min absolutely wouldn’t have been able to see how her pain was caused by being controlled and harmed by mistaken satanic thinking. In the past, Lin Min thought of reading those novels and watching those romantic dramas as a hobby and a way to spice up a boring life; she never imagined that they were hiding Satan’s tricks to corrupt, deceive, and harm people. Satan fools and mortally wounds people by feeding them dreams that can never be realized so that they put everything into pursuing them, leaving them in unbearable pain.

After undergoing such ups and downs in life, Lin Min experienced that there is no true love between human beings, but just fleshly relationships and making use of each other. When people are poor there may be some deeper understanding between them, but if they gain both fame and fortune people tend to do away with the old and seek out the new. They betray each other, and things like “vows,” “promises,” “undying love,” “everlasting and unchanging,” and “fairy tale love” become deceitful lies. People do not possess the truth; they cannot see through Satan’s tricks but can only be deceived and corrupted by Satan’s erroneous thinking, and the more they pursue this kind of empty love, the more they live in suffering.

Later, Lin Min read another passage of God’s words, “I am in the heavens, and I am amongst My creation. I am keeping watch; I am waiting; I am at your side…. His hands are warm and strong; His footsteps are light; His voice is soft and graceful; His form passes and turns, embracing all of mankind; His countenance is beautiful and gentle. He has never left, nor has He vanished. Day and night, He is mankind’s constant companion” (“God Himself, the Unique II”). Lin Min was deeply moved as she pondered God’s words. She thought back on her own experiences and felt that God had always been waiting by her side, with her through every stage in her life. When she was hurt and in despair, even wanting to end her very life, God comforted and guided her with His words, assuaging her pain and giving her hope to keep on living. When Lin Min was living in pain and couldn’t escape from the fog of her husband’s betrayal, God used His words to reveal Satan’s tactics and methods for corrupting human beings so that she could recognize the root of her suffering and see through Satan’s tricks. Then she was able to see the fallacy of the concepts of “fairy tale love” and “Love is supreme.” At this point, Lin Min really understood that only God is love, God is most responsible for our lives, and that there is no love between human beings, that there are no true feelings. If we cannot come before God, read His words and understand the truth, we’ll only be deceived and harmed by Satan’s erroneous thinking; we’ll never see through its tricks, but will just flounder in a sea of suffering, always living within pain. Lin Min could feel God’s true love and salvation for her, and she couldn’t stop herself from offering up a prayer of gratitude to Him: “Oh God, I want to part with my past life of depravity and delusions and from now on seek the truth, living out a life of meaning. Thanks be to God! Amen!”

[bighound-littlebird]

The Alarm that Never Sounded: GOT's treatment of the SanSan Romance

Originally posted here: https://asoiaf.westeros.org/index.php?/topic/88073-from-pawn-to-player-rethinking-sansa-xx/&do=findComment&comment=4865409

When adapting female characters from ASOIAF into the TV show "Game of thrones", David Benioff and Dan Weiss aren't unlike Robert Baratheon: if they can't disrobe it, they're bored with it. Their rendition of Melisandre, for example, isn't an intimidating and imposing practitioner of dark and supernatural powers, but rather a seductress who's able to make people obey her only if she rewards them with sex (Stannis, Gendry) or gold (Brotherhood without Banners). One more example would be their rendition of Margaery Tyrell, who was turned from a teenage girl with a perfect facade and somewhat mysterious foundation, into a promiscuous lady willing to do anything – even have sex with both her brother and her husband simultaneously, as she proposes to the latter in Season 2 – in order to achieve her personal political ambitions that are literally limitless.

With that in mind, Sansa Stark never had a chance to be properly adapted in the show created by D&D. Now, the word 'properly' has a rather wide range of possible meanings, and this essay will attempt to examine at least some of them, but, for now, let's say that the most obvious aspect in which TV Sansa was shorthanded is her screen time. In "A Clash of Kings", the book that was the basis for the Season 2 of GoT, Sansa's POV chapters, along with Tyrion's, are the only ones that depict what's happening in King's Landing, the capital of The Seven Kingdoms and the center of political power in the story. This goes for the first two thirds of "A Storm of Swords" as well, e.g. until the moment Sansa escapes from King's Landing. In short, her chapters couldn't help but be of paramount importance in the narrative sense. In the show, however, Sansa's significance is greatly decreased, and not only because the show doesn't follow the "POV structure" of the novels, but because she's reduced to nothing but a prized captive for the Lannisters.

Yes, TV Sansa is a minor, and she's played by a minor, named Sophie Turner. Her age, due to the laws that forbid the usage of underage children in explicit sex scenes, prevented D&D from using Sansa in a way they adore. And her age couldn't be drastically changed without drastic consequences on her overall arc which is, in ACOK at least, built around her first period. That's why, for example, D&D couldn't cast Natalie Dormer – one of their favorite ASOIAF characters, by the way, because they did alter Margaery to suit the actress, instead of the other way around – in the role of Sansa, because Dormer, while certainly looking younger than she is, could never pass as a minor.

And that would probably be the only thing that makes Sansa off-limits for Natalie Dormer, or some other actress D&D adore, to play her in D&D's adaptation. Everything else would've been doable. Had George R. R. Martin not put her first period in the books, Sansa's age, promiscuity, vocabulary, even wardrobe, would've been changed accordingly to suit D&D's vision of a progressive Westerosi woman, which means the first three would've been amplified, while the fourth one – wardrobe – would definitely be reduced and freed from all the unnecessary parts. She'd probably even hook up with some rogue brute at some point; when she'd find the time for him, that is; after she's done with Joff, Tyrion, Lancel, and god knows who else, she'd certainly figure out cynical killers can occupy her bed just as good as other available men can.

Speaking of cynical killers – enter Sandor Clegane. One more character that, alas, couldn't be played by Natalie Dormer, and therefore not of particular interest to D&D. Sandor in the novels is a truly memorable fellow, who slowly but steadily grows in readers' eyes as the story progresses. At the beginning, he's nothing more than a merciless brute used only for killing people Lannisters want dead. Very soon, however, a reader finds out there might be some traces of soul under that rough surface. More and more we find out about Sandor, more and more intriguing and understandable he gets. Even – more likable.

Now, what makes him likable? The stories Littlefinger tells to Sansa?! Of course not. The stories Sandor himself keeps telling to Sansa are what fleshes him to the extent that was probably impossible to predict at the beginning of the series. Through his conversations with Sansa, we find out every important thing there is to know about him. Later on, when he hangs up with Arya, Sandor is already a fully developed character, whom we aren't discovering any more, but rather following. And he became like that precisely through his exchanges with Sansa.

The show went the other way, and a pretty odd way, at that. D&D decided it was better for Littlefinger to deliver the story of how Sandor's face got burned, and that decision carries some very serious consequences in regards to characterization. For example, Littlefinger appears as someone who does know the secrets of King's Landing, but, at the same time, as someone who doesn't hesitate to share those secrets with persons he doesn't have any control over. Yes, he warns Sansa not to tell anyone about the story; but, he warns her because, and here comes the funny part – Sandor is going to kill her.

Now, why isn't Littlefinger afraid Sandor's going to kill him? After all, isn't that the logical question because it's Littlefinger who offers Sandor's secrets to others? It seems there are only two possible answers: 1) Sandor is not that scary and dangerous as Littlefinger claims, or 2) Sandor is a dangerous fellow, but Littlefinger is the bravest individual alive, because he goes around telling the secrets of people that physically can literally eat him for breakfast; and he isn't shy even, because he doesn't fail to warn Sansa how dangerous is the situation he himself dares so boldly.

Whatever conclusion a viewer draws from there, something is going to be radically changed from the source material. Quite possibly, in fact, a lot of things are going to be altered. After the said scene, both Littlefinger and Sandor are drastically different than their book origins. And the characters we ended up with in the show, are not nearly as complex and intriguing as their book counterparts. This is especially true for Sandor, who's nothing if not scary and dangerous. He is supposed to frighten the living hell out of everyone who isn't his older brother. If you take that away from Sandor, you're only left with his tender side.

But, even his tender side was almost entirely removed from the show. This time, not only by Littlefinger, but also by Tyrion: in the throne room, when Joff orders Kingsguards to undress Sansa, Sandor stands there silently. His face expression suggests he isn't pleased with what he sees, but that's it. He doesn't stand up to his king with firm "That's enough" as in the book. It is therefore on Tyrion exclusively to deny Joffrey the pleasure of torturing the girl whose only crime was that she saw him in a moment of unflattering weakness. As in the books, TV Tyrion enters the room with his sellsword and he defends Sansa from Joff, but the important difference is that in the show it looks like Tyrion is the only one both willing to oppose Joffrey and capable of doing it. In the novel, we can sense that Sandor is ready to do the same thing, only, in his case, it comes with a much bigger risk, which is not without importance.

So, in this particular case, Sandor was sacrificed for the sake of TV Tyrion. TV Littlefinger, however, wasn't forgotten in that regard, because, once again, he's fed with lines that originally belong to Sandor. In the finale of the second season, it is Littlefinger who tells Sansa to look around and see how much better than her all those liars are. Just as the last time around, this change serves neither Littlefinger nor Sandor: the former's creepy-mentoring side is exposed much earlier than it would be logical, while the latter is robbed of yet another moment in which he shows how much he cares for Sansa and how protective he is toward her.

Sansa is a case on its own, as far as wrong adaptations are concerned. She's in the league with her mother Catelyn Stark, as two Stark women that were literally butchered in the show. The thing two of them have in common is the nature of their complexity: opposite to other female characters in ASOIAF, like Dany or Arya or Asha or Brienne or Cersei, Cat and Sansa aren't interested in hurting their enemies with their own hands, or, in the case of Dany, with her own dragons (this goes for Cersei, too, even though she's the one ordering the suffering of others, not committing it: her aggression is always personal, as we can sense in the first three novels). And, what's more, Sansa isn't interested in hurting anyone, actually. Cat does have an aggressive side in her; it's female aggression all the way, but aggression it is. Sansa, on the other hand, almost never desires other people to suffer in any way. There's only one noticeable exception: Joffrey. She does think on one or two occasions how nice it would be if Robb put a sword in Joff, and, by extension, she wishes Lannisters are defeated in the war against her family. However, we have to consider the situation she finds herself in at those moments – imprisoned by the Lannisters and at Joff's 'mercy' all the time; small miracle she wishes them ill. I've never been a girl arrested by the grave enemies of my family, but if I was, I'd definitely pray for their most horrible deaths every single night. And, we have to remember that, after Joff's death, she fails to feel happy over it, even though she tries to a little.

Therefore, it maybe isn't a stretch to say Sansa is probably the one character that is most unlike the author himself. Other major characters, especially POV ones, do resemble Martin at least partially. For males, it's obvious: even though GRRM never fought in a war, nor had any military training whatsoever, men are men; even in our day and age, no male is a complete stranger to war; while depicting all those dramatic battles and duels was quite an achievement (which no personal experience would make any easier, truth be told, because in ASOIAF the combat as a phenomenon is illustrated from any number of angles, each among them presented with an abundance of details), ultimately it was in himself where Martin could find a lot of answers about his male characters, whose position in a society is never independent from their combat prowess or lack of it. Female characters, on the other hand, had to be trickier, just like they always are for male authors – let's admit it, they are not that good in creating great females, just like women writers usually don't produce male characters that are a match to their female characters nor to the male heroes created by male authors. In our day and age, these "gender rules" are rarely spoken of, but they continue to exist, due to gender predispositions that are nowhere as strong as in the mind of an individual. There are exceptions, as in good male characters created by women and vice versa, but they are in a clear minority compared to underdeveloped or unrealistic characters whose only "fault" was that they didn't share the sex with an author. And in that regard, ASOIAF could very well be unparalleled: it is perhaps impossible to find any other story that features nearly as many memorable male and female characters both, as ASOIAF does (truth be told, that fact alone should be enough to inspire analysts and scholars to look at ASOIAF at a different, more demanding light, and not as a genre piece).

Martin's girls, however, aren't completely unlike the man who came up with them. Most of them are willingly participating in "men games", e.g. power-plays and/or wars, which makes for a precious connection to a male mindset of the author. They are thinking and behaving as women (or, in the case of Arya, and Dany to an extent, as girls), but all of them are interacting with something that, in all its glory and misery, can roughly be called "a man's world". Some of the most beautifully written chapters in the series are delivered from female POVs – The Red Wedding and Cersei's "Walk of Shame" come to mind right away; but, in a thematic sense, those and other female chapters don't differ too much from male POVs.

Except for Sansa's chapters, which unmistakably belong to something we can roughly call "a woman's world". Chapters of both male and female POVs in ASOIAF are often rich with testosterone, but Sansa’s ones are almost entirely driven by estrogen: look no further than her captivity in King's Landing, that actually is, as already said, focused around her first period – that decision solely should bring a lot of respect for Martin, because he had to know going that road is never easy for a male writer.

And the funniest thing is, it all fits. Sansa's storyline is distinctive in tone, but not odd. It is a legitimate part of the general plot of ASOIAF. In fact, as her story progresses, Sansa becomes more and more important for The Game, even though she showed no clear inclination to participate in it so far, but at the same time, Martin keeps Sansa away from all those "male" aspects he decorated other female characters of his saga.

And on top of everything, we're presented with her love story, a romance with no other than the man who, prior to discovering some delicate feelings for Sansa, could pose for an ideal brute of Westeros. At the beginning of the story, Sandor Clegane could be perceived as the exact opposite of Sansa. As someone who has no business whatsoever in her world, just like she has none in his. But, with some craft wording and master subtlety, Martin succeeds in illustrating the flood of emotions that go both ways in their relationship. Those emotions are never easy, nor appropriate, let alone allowed – even by Sansa and Sandor themselves! – but they're hard to be denied.

The complexity of their multilayered characters, of their respective positions in a society and in an ongoing war, and of their relationship that resists all known clichés, represent some of the strongest evidence that ASOIAF is much more than a genre piece. There's a lot in these novels that escapes genre boundaries, but nothing more evidently than SanSan. Stuff like that is not your usual fantasy element, no matter how flattering fantasy can be as a label (Homer, Shakespeare, Tolkien – to name just a few all-time greats that created unforgettable stories with supernatural aspects in them). Any author who comes up with that kind of love story involving those kind of characters – and with a legion of other characters, and with no less than four different religions, and with themes of honor, redemption, identity, bravery, equality, ancestry, legacy, freedom, revolution... – deserves to be analyzed not as a genre writer.

Now, one can only imagine what kind of enigma Sansa and Sandor were for Benioff and Weiss. And it pretty much remained unsolved, because, when faced with all the complexity of these two characters, Benioff and Weiss decided to remove it almost entirely, along with their relationship that is reduced to occasional and odd mentioning of 'little bird'. TV Sandor was simplified to a one-note brute that goes around TV Westeros and lectures people about the pleasures of killing, a one-note brute he never was in the novels, not even in the beginning of the saga. TV Sansa, on the other hand, was denied her book complexity by shutting down all her layers, one by one. For example, Benioff and Weiss completely removed her decision to go behind her father's back and inform Cersei of his plan. They simply refused to go down that road. They did something similar to Catelyn, whose infamous line to Jon they didn't remove entirely, but did replace it with a much softer one. It is pretty safe to assume that Cat's and Sansa's complexity did bother Benioff and Weiss from the get-go.

What's also removed from the show is Sansa's agency, primarily represented in the novels by her secret meetings with Dontos, a disgraced knight she herself saved from Joffrey. In the show, we got only the saving scene; it was filmed and executed clumsily, but it was there at least. However, until recently, nobody could be sure Sansa did save Dontos, because the man disappeared afterwards (he was briefly seen as joggling balls in "Blackwater" episode, in the scene in Cersei's chambers, but he was unrecognizable for the vast majority of audience). It is reported, though, that Dontos will be returning in Season 4, so yes, Sansa did save his life after all. But, even when he returns, Sansa's attempts at escaping will be two seasons younger than they should've been at that point, and it's hard to see a way D&D can remedy that neglect.

Show-lovers often defend D&D in regards to Sansa, by saying her personality is a difficult and tricky one for portraying on screen, because even in the books she's introverted. Now, maybe she isn't the most extroverted character ever, but she's pretty far from reclusive, as she does communicate with the outside world a lot at the beginning of the series, before she's imprisoned. And even while in captivity, she can't help but communicate with Sandor and Dontos. What's more, around two of them she is her true self, which provides a wide array of possibilities for a good and informative dialogue that, in an adaptation, could compensate for the lack of inner thoughts. With Dontos, she's open not only because she saved him, but also because he explicitly offers his help (and, truth be told, it is he who enabled her to leave King's Landing eventually, so, even though he wasn't exactly honest with her concerning his motivations, her trust wasn't as misplaced as it may seem at first). And with Sandor, she's open for no particular reason – other than those subtle, emotional forces, that both of them can't help but follow and eventually become the closest and most intimate beings to each other.

The way Martin incepted and developed the barely visible, but undeniable romance, between Sansa and Sandor, is nothing short of literary brilliance. With so few words and interactions, he managed so much. The vast majority of readers are aware of restrained attraction they mutually feel, even though they didn't share a single physical aspect of the romantic relationship.

Martin is indeed a master of subtlety, as evidenced by what looks like the endless amount of carefully hidden clues that point to any number of narrative puzzles, realization of which do make an entire story much richer than if taken at face value. And he's never more subtle than with two romances: Rhaegar/Lyanna and Sandor/Sansa. Now, the respective nature of subtlety of those two romances is rather different. With Rhaegar and Lyanna, a reader is – through Robert's retelling – offered a version that is actually the very opposite of what probably happened, and only later a reader can pick up clues here and there, and finally figure out the story of a fatal attraction between the two. But, the clues are presented throughout the text, so much that, even if you don't decipher everything after the first read, at the end of "A Game of Thrones" – the first book of the series – you'll probably sense that Robert's view on events wasn't exactly accurate.

The story of Sansa and Sandor is a very different one. Their relationship is never as much as addressed, even by themselves. Sandor isn't a POV character, and he's not exactly open to people, so his silence on the matter isn't unexpected. But, Martin didn't address their romance even in Sansa's chapters, which are typically packed with inner thoughts of the POV character. It looks like Martin decided to do it the harder way and make their romance somewhat a mystery even for Sansa, which, in hindsight, does seem to be the most logical way: what teenage girl would be fully aware of a romance that "inappropriate", and experienced in those dire circumstances?! As a result of that decision, the readers got a completely fascinating depiction of a romance, that can be described as a train you hear from miles away: at first, you can't even tell is it a train or some similar sound, but slowly, with every second, you're more and more certain that your ears didn't trick you, and very soon the train is so loud that it is the only thing you can hear at all. In the novels, a reader may find something strange at first, when Sandor shares the secret of his burned face with Sansa. Some alarm may be turned on deep inside. And it becomes more apparent each time two of them share a page, with a culmination during the Battle of the Blackwater Bay, when Sandor, after he decides to desert the Lannisters, visits Sansa in her room and offers to take her home to Winterfell.

It might be the only instance in the entire series where Sandor did ask anyone's approval, which does speak volumes about his feelings for Sansa. Considering the manner in which Martin described this romance, Sandor's actions on that day was as good as a confession of his deep attraction to her. Sansa, on the other hand, doesn't have a single moment which could be pointed at as a prime evidence of her undeniable love for The Hound, but this doesn't mean her feelings toward Sandor aren't palpable. It's one more mastery of the writer: through her frequent (and skewed, but in a telling way) memories on the last time she saw Sandor, he was able to show her feelings resonating more and more inside her.

In the show, Martin was denied a chance to do the same thing, even though he wrote the "Blackwater" episode in Season 2. Thanks to the already destroyed storyline, and to god knows how many changes, and to D&D's decision to remove from the final cut some scenes Martin referred to with his scenes, the one between Sansa and Sandor near the end of that episode, served more as a greeting to book-fans who like SanSan in the source material, than as a goodbye between two not unlike souls who shared much, and could have shared a lot more, and maybe are going to if they meet again. In that scene, Rory McCann was visibly better than usual as Sandor, and Sophie Turner was as good as usual, but, just like with anything ASOIAF, the scene doesn't have nearly the same impact and importance if taken out of context.

The exact context of their SanSan is yet to be fully revealed in the books, too. Because of the already mentioned subtlety – a quality that seems to intimidate showrunners Benioff and Weiss, who, in their turn, do retaliate with their on-screen war on subtlety (just recall what they turned other romances into; for example, the romance between TV Jon "Not The Brightest Kid In The Block" Snow and TV "I Know Everything And Therefore I Can't Stop Talking" Ygritte) – Sansa's and Sandor's love story is by no means an open book. Their romance has its own share of mystery, one of which may be: what inspired those two persons to feel so strongly for each other? Personally, I always thought their mutual attraction isn't only based on a "beauty and the beast" model. There is that, but in their case it goes deeper. If that was the engine behind his emotions, Sandor had more than enough opportunities to find a beauty for his beast long before Sansa entered his life. With Sansa, I'd say their mutual attraction is rooted in their personalities. For example, if you take away Sandor's aggression, he also isn't interested in hurting others. He's naturally talented for violence, and he lives in a society that respects that kind of talent, and that is why he's violent for a living, but at the end of the day, the suffering of others isn't any kind of reward for him. Possibly, because he isn't interested in other people that much. Though, when he is interested in someone, the interest is as strong as they come.

(We don't know at this point, but it's not a stretch to imagine that his reaction to the news that his hated brother was killed wasn't unlike Sansa's reaction to Joff's death. "Am I glad he's dead? Well, not exactly, even though I wanted him killed.")

Sansa may very well be like that, too. That would be one of the possible explanations of her AGOT actions. Like the rest of the Starks, Sansa is a complex character that has some issues of her own, without which neither she nor the other Starks would be such memorable characters as they obviously are; it is the fact that they are both willing and strong enough to fight those issues, that Starks stand out for. Without going into details (as if I could!), I expect that in the remaining novels Sansa is going to face the reasons that made her go to Cersei that damned night and with the consequences of that action. And whatever comes out of that soul-searching will be inevitably combined with her claim to Winterfell that Littlefinger brought up in AFFC. And that combination is going to elevate Sansa's arc to even bigger and more important levels than so far, even though so far she was the one Stark that was most engaged – unwittingly, but still – in the bloody dynastic war for the Iron Throne.

And she'll have to cross paths with Sandor Clegane, one way or another. Their relationship was so meticulously built up, it simply has to get some sort of a closure. What that closure is going to be is impossible to predict, because we are talking of one George R. R. Martin, a writer who managed to shock us as he pleased more than a few times.

What is also impossible, is to take anything that did or didn't happen in the show as any indication at what the closer may or may not be. There isn't a storyline in GoT that wasn't drastically changed, and weakened in the process, but Sansa's arc, along with her relationship with Sandor, is among the biggest victims of D&D's inability to adapt.

Whether you happen to like what Benioff and Weiss put in the show, or don't, you'd be advised not to recognize any significance in their decisions for further developments in ASOIAF. Just like show-lovers tend to remind everyone else, GoT and ASOIAF are two entirely separate beasts. And book Sansa and book Sandor, along with everything Martin has in his store for them, can be really glad about it.