#just some asoiaf thoughts

[thaliajoy-blog]

Very random but I saw some stuff and like it made me think of Davos & Brienne's ending, I really imagine the both of them going back home to deal with what they left behind, Davos in an Odysseus kind of way (him having adventures all over Westeros, very perillous & taxing adventures were he loses almost everything - Odysseus losing his sailor friends / Davos losing most of his sons in battle), where he finally goes home to his Marya ; as much as Davos super hand of the king ruling the realm wisely & shaping it for the best - Septon Barth parallel - is nice I feel like that's where he's headed with all that chaos in his life & his current hand of the king tenure will be the first & last. For Brienne I also imagine some kind of homegoing cause the haunting stuff we get about her relationship with her dad & how difficult, tainted by grief & inadequacy & unfinished business/unspoken conversations it feels make it seems like they need to go back to each other & rekindle or rebuild what they have.

[amaltheas-garden]

when u point out Dany having the power of god x3 to destroy any city she doesn't like might be a bad thing and probably won't be rewarded by the narrative

targies: noooo it will be fine because Dany would NEVER do that she's just too fundamentally GOOD to ever be corrupted by unlimited power 🙃 source: trust me bro

apparently the theme of asoiaf is absolute power is good, actually, we just need to make sure the *right* people have it 😇

[fromtheseventhhell]

Arya learned the Braavosi language and culture well enough to pass as someone "born and bred" there while interacting with actual native Braavosi, but I'm supposed to think she's going to have difficulty navigating Westerosi noble life...as someone who was actually raised as a Westerosi noble? The way you can tell that people don't think before they "theorize" about Arya will always crack me up

[jonsnowunemploymentera]

I feel so dumb for never having realized this before but I was thinking about the bookend in AGoT between the Others, the dragons, and two heroes: Waymar Royce and Daenerys Targaryen.

While squaring off against the Others, Waymar Royce asks for a dance.

Ser Waymar met him bravely. “Dance with me then.” He lifted his sword high over his head, defiant. His hands trembled from the weight of it, or perhaps from the cold. Yet in that moment, Will thought, he was a boy no longer, but a man of the Night’s Watch.

It’s notable that this scene is eerily silent save for the bits of dialogue. And when Waymar’s dance finally begins, there’s a notable lack of music.

The pale sword came shivering through the air. Ser Waymar met it with steel. When the blades met, there was no ring of metal on metal; only a high, thin sound at the edge of hearing, like an animal screaming in pain. Royce checked a second blow, and a third, then fell back a step. Another flurry of blows, and he fell back again.

I’ve always asserted that Ser Waymar is a failed last hero if we judge his success based off Old Nan’s blueprint.

So as cold and death filled the earth, the last hero determined to seek out the children, in the hopes that their ancient magics could win back what the armies of men had lost. He set out into the dead lands with a sword, a horse, a dog, and a dozen companions. For years he searched, until he despaired of ever finding the children of the forest in their secret cities. One by one his friends died, and his horse, and finally even his dog, and his sword froze so hard the blade snapped when he tried to use it. And the Others smelled the hot blood in him, and came silent on his trail, stalking him with packs of pale white spiders big as hounds—”

Both Ser Waymar and the last hero lost their companions and both had their swords shatter to the cold. Yet Waymar failed to complete one important step: find the children of the forest. The children are also known as “the singers”. So it’s notable that Ser Waymar attempts to dance without any music(ians) to accompany him. And because he does so, his dance ends in failure.

But then we have Daenerys Targaryen in the Dothraki Sea.

As Daenerys Targaryen rose to her feet, her black hissed, pale smoke venting from its mouth and nostrils. The other two pulled away from her breasts and added their voices to the call, translucent wings unfolding and stirring the air, and for the first time in hundreds of years, the night came alive with the music of dragons.

Dany performs a miracle in bringing dragons to life, the first person to do so in centuries. And these dragons sing a song that proclaims her, an exiled young princess and a widow, Azor Ahai reborn - the champion of fire, and warrior of light.

This bookend between the first and last chapters is so poignant. It’s not just that fire has returned to combat Ice. It’s that Dany brought back the music necessary to complete this dance. We start the book with a failed hero and end it with the rise of a true one; also interesting that Waymar’s end comes while he’s down on his knees whereas Dany rises to her feet reborn.

This makes Dany’s identity as the promised prince(ss) all the more impressive.

“He has a song,” the man replied. “He is the prince that was promised, and his is the song of ice and fire.” He looked up when he said it and his eyes met Dany’s, and it seemed as if he saw her standing there beyond the door.

Waymar failed because he didn’t have a song to accompany him. Yet Dany has a song to dance to. A song of fire.

I think this raises some interesting questions regarding the nature of this great conflict. There not only has to be a song to dance to, but it seems that there is a key distinction between the singer and the dancer. Rhaegar Targaryen failed to fulfill the prophecy because he was the singer and not the dancer. His role was to provide the hero’s musical accompaniment. In a way, it’s almost like he as the bard is the herald. And the herald is rarely, if ever, the main character. So notice how Rhaegar heralds the hero, the king, while looking at Dany.

But! - there’s different kinds of songs. Dany has one, made by her dragons. But it’s not be the only one. The children of the forest are heavily associated with the last hero and while Waymar Royce is dead, there lives another: Bran Stark.

Bran found the children, the singers, and is a step closer to completing the last hero’s journey.

Now Bran is an interesting case.

“Go,” Bran whispered to his own horse. He touched her neck lightly, and the small chestnut filly started forward. Bran had named her Dancer. She was two years old, and Joseth said she was smarter than any horse had a right to be.

He has a dancing horse but at some point has to leave her behind. So does that mean that he has to learn to do the dancing in his own way?

And I find it interesting that Bran has a female dancer horse because this creates a neat parallel with Dany, a dancer who may also be the stallion that mounts the world; if it’s not her, then it has to be her mount, Drogon. This is important if we consider that the last hero, Azor Ahai/the promised prince, the Stallion That Mounts the World, etc. are all different yet complimentary manifestations of one heroic legend.

But the issue of songs doesn’t end there because there still exists one Jon Snow, another version of the last hero and promised prince. Jon isn’t a bard but he has been positioned as being adjacent to dancers. I won’t harp on about Jon’s parallels with Waymar Royce because they’ve been done to death. But it seems that Jon, like Bran and Dany, will succeed where Ser Waymar failed.

Because not only does Jon have music to herald him:

That night he dreamt of wildlings howling from the woods, advancing to the moan of warhorns and the roll of drums. Boom DOOM boom DOOM boom DOOM came the sound, a thousand hearts with a single beat.

But he is also positioned as a last man standing among many dead heroes:

“Stand fast,” Jon Snow called. “Throw them back.” He stood atop the Wall, alone. “Flame,” he cried, “feed them flame,” but there was no one to pay heed. They are all gone. They have abandoned me.

And he has a sword that will not shatter against the cold:

“Snow,” an eagle cried, as foemen scuttled up the ice like spiders. Jon was armored in black ice, but his blade burned red in his fist.

It’s noteworthy that Jon is the son of a singer, Rhaegar Targaryen. The very singer who sang the song of ice and fire; and notice how Jon is clad in both. Plus he has been mentored by another, Mance Rayder, whom he eventually succeeds.

At a quick glance, it’s very interesting to me that Jon is constantly listening to songs beyond the Wall. There’s the song of the blue winter rose (which in a way heralds his own birth), the song of Joramun and the Horn of Winter, and many others.

It’s also noteworthy just how often giants are mentioned as the subject of songs in Jon’s POV chapters. I bring this up because of the Last of the Giants:

Ooooooh, I am the last of the giants, my people are gone from the earth. The last of the great mountain giants, who ruled all the world at my birth.

I think there is a parallel here between the dragons, the giants, and the children of the forest. These are all dying species, yet they linger on for the song of ice and fire still needs to be brought to completion.

And let’s consider where our heroes fit in all this. Dany commands the dragons, Bran learns from the children, while Jon begins to befriend the giants. All these creatures make musical accompaniments for our heroes to dance to.

Lastly, I’m inclined to think of the Stark girls though I’m not entirely sure where they would fit in all of this. Arya, at some point, trains to be a dancer:

On the way back to his chambers, he came upon his daughter Arya on the winding steps of the Tower of the Hand, windmilling her arms as she struggled to balance on one leg. The rough stone had scuffed her bare feet. Ned stopped and looked at her. “Arya, what are you doing?” “Syrio says a water dancer can stand on one toe for hours.” Her hands flailed at the air to steady herself. Ned had to smile. “Which toe?” he teased. “Any toe,” Arya said, exasperated with the question. She hopped from her right leg to her left, swaying dangerously before she regained her balance. “Must you do your standing here?” he asked. “It’s a long hard fall down these steps.” “Syrio says a water dancer never falls.” She lowered her leg to stand on two feet. “Father, will Bran come and live with us now?”

Now Arya is no singer, but her wolf is.

In another place, his little sister lifted her head to sing to the moon, and a hundred small grey cousins broke off their hunt to sing with her.

On the other hand, Sansa is no dancer but she is known for her ability to sing. And boy does she sing beautifully.

Her throat was dry and tight with fear, and every song she had ever known had fled from her mind. Please don't kill me, she wanted to scream, please don't. She could feel him twisting the point, pushing it into her throat, and she almost closed her eyes again, but then she remembered. It was not the song of Florian and Jonquil, but it was a song. Her voice sounded small and thin and tremulous in her ears. Gentle Mother, font of mercy, Save our sons from war, we pray,

In fact, a lot of Sansa’s songs are prayers for those who dance to the music of swords. Her songs are soothing, calming. And see this during Stannis’ assault on Kings Landing when she is able to calm Sandor and the noble women through the power of song. Hers is not a song to dance to, it’s a different kind though I’m not entirely sure what it entails. I do want to say, though, that Sansa is often paralleled with creates that take flight; various birds and bats. So she is a singer, much like the dragons.

I may have neglected other characters here, but I just thought it was intriguing that our main heroes (Jon, Bran, Dany, maybe Arya) are all positioned as dancers for the song of ice and fire.

[ladysansalannister]

While I do find Rhaenyra/Mysaria in itself compelling, especially in regards to Rhaenyra’s feelings about gender and Mysaria as a character, I think it’s more likely that the kiss was more about Daemon’s absence from Rhaenyra’s life and how Rhaenyra is reacting to that rather than any real romantic sentiment. It happening directly after Rhaenyra describes herself and Daemon as “two halves of a whole” and grappling with the idea that she may have lost him for good speaks volumes. Rhaenyra will do anything in this moment to get close to Daemon again, and Mysaria as his ex lover is the closest she can get, for now.

[safifonhasstrel]

The Eras - Dany's Version

[dreaminghelaena]

no thoughts just how the starklings wolf nicknames are not subject to change. the red wolf, the winged wolf, the white wolf… but robb’s is the ‘young wolf’ because he’d never grow out of his youth. he was destined to be a boy forever, in life and in death

[tidetower]

Something so tragic about Daeron hating Addam, even if the love still remained.

[visenyaism]

i think butterfly has a post on here somewhere explaining why little miss daenaera velaryon is 6 years old and it's bc viserys ii was originally aegon iii's son not his brother so somehow for the timelines to work, little miss had to be 6 years old at her marriage instead of like a normal age (also why viserys has kids at 13). still do not understand the allure of child bride pageant tho george...

ok so i went over to the wiki and did some math and that just does not make sense to me because given the current age she is when she gets married (SIX!!!) she had her LAST child Elaena at 23? she could literally have been 10 to 20 years older and had that timeline still make complete and total sense. GRRM seems to just not at all understand that having children at age 16 is literally actively way more medically dangerous to you in a way than having children at 26 or 36 or even 46 all of which are things people are biologically capable of doing

[readorsigh]

I am against the idea that ASOIAF is about moving past the horrors caused by the villains because doing unto them what they did to others would make the heroes just as bad.

We've seen the worst villains in this story die pissing, shitting, crying & screaming because that's what they get for all the suffering they have caused.

Tywin Lannister, Gregor Clegane, Amory Lorch, Vargo Hoat, literally every single one of the Bloody Mummers all got what was coming to them. An incredibly painful, violent, climactic oftentimes anticlimactic death. They died horribly and deserved it.

This same principle holds true for the villains that are left in the story.

Petyr Baelish, Ramsay Bolton, Roose Bolton, even the likes of the Masters of Yunkai and Meereen are all going to die in painful ways. They will not escape this fate. Nor should they.

Especially not Littlefinger.

[starkwoes]

I am of the (unpopular? Maybe?) opinion that if Catelyn and Jon reunite it will be more complicated than people think. Both Jon (more than likely) and Cat have been risen from the dead, and their missions are the same: avenging and protecting the stark children. Now that we know Sansa is resolving to save F!Arya/Jeyne and take back the North all three are going to reunite and converge. Even if Catelyn hates Jon still, he will have the wildings and some allies at the wall. Plus, he’s told Stannis winterfell belongs to Sansa, not him. All of Jon’s actions will at the very least, place Jon in a more favourable position in Cat’s eyes.

[fromtheseventhhell]

I want to make a longer post about this someday but: I think Arya's TWOW arc is going to include her coming to terms with her identity as a Lady. This has been an ongoing conflict with her since her first chapter and I think her flowering in winds is going to mark a turning point. The theory of her having an apprenticeship with the courtesans holds a lot of weight and the idea of Arya going through puberty among a group of unconventional women she's fostered a positive relationship with is just too perfect. It would really have an impact on Arya reconciling her personal idea of what a Lady should be. There's also a lot that she could learn from them in terms of courtesies, communication, appearances, body-language, etc. that would elevate her current skill-set and ways her relationship with them could push the plot.

Not to mention she will undoubtedly reclaim her identity as Arya Stark, and her being a Lady is inseparable from that. Arya Stark is a Lady Stark and being a Lady is a social position, not a measure of how well someone preforms feminine tasks. She shouldn't have to relinquish her position because she doesn't fit patriarchal standards. That's not to say that she's ever going to be the perfect example of a traditional Lady but what I think will happen is that she becomes capable of playing the part. She plays several identities throughout the series but she's always been Arya underneath, so I think it's appropriate that she learns to adopt a "persona" that's part of her. Her remembering Ned putting on his "Lord's face" (+ the various examples of other characters being separate from their ruling persona) makes me think that Arya will be donning her "Lady's face" when she makes a return to Westeros.

[jonsnowunemploymentera]

Something rubbed against his leg beneath the table. Jon saw red eyes staring up at him. “Hungry again?” he asked. There was still half a honeyed chicken in the center of the table. Jon reached out to tear off a leg, then had a better idea. He knifed the bird whole and let the carcass slide to the floor between his legs. Ghost ripped into it in savage silence. His brothers and sisters had not been permitted to bring their wolves to the banquet, but there were more curs than Jon could count at this end of the hall, and no one had said a word about his pup. He told himself he was fortunate in that too. His eyes stung. Jon rubbed at them savagely, cursing the smoke. He swallowed another gulp of wine and watched his direwolf devour the chicken. Dogs moved between the tables, trailing after the serving girls. One of them, a black mongrel bitch with long yellow eyes, caught a scent of the chicken. She stopped and edged under the bench to get a share. Jon watched the confrontation. The bitch growled low in her throat and moved closer. Ghost looked up, silent, and fixed the dog with those hot red eyes. The bitch snapped an angry challenge. She was three times the size of the direwolf pup. Ghost did not move. He stood over his prize and opened his mouth, baring his fangs. The bitch tensed, barked again, then thought better of this fight. She turned and slunk away, with one last defiant snap to save her pride. Ghost went back to his meal. Jon grinned and reached under the table to ruffle the shaggy white fur. The direwolf looked up at him, nipped gently at his hand, then went back to eating.

Jon I, AGOT

It's interesting that GRRM would dedicate several paragraphs to a seemingly unimportant exchange between a boy, his wolf, and an unfriendly third party. But there's just something about this passage that has continued to nag at me for years since I first read it because, considering how heavy handed GRRM was with the foreshadowing in AGOT, this feels important.

Jon is sitting at table full of squires - aka would be knights. We don't really know who they are or what families they belong to, but it's safe to assume that they come from a certain level of privilege; this is considering the fact that it cannot be financially easy to be a squire. And these boys already have a slew of tales detailing all their previous knightly exploits regarding "battle and bedding and the hunt" which suggests that they have some capital. So you have boys who will soon be men. And they will, presumably, become men of some power.

These lads eat their fill of the chicken until only half remains, which Jon then gives to Ghost. The direwolf's name is not so important here but what he represents is. Throughout the series, we're told that Ghost is reminiscent of the weirwood trees (because of his red eyes and white fur). He's stated to be of and from the Old Gods and since he's a personification of the weirwoods, he might as well be one of them. It's almost as if Jon is presenting whatever is left on the table to the Old Gods (Ghost). He lets them devour his offerings while he silently watches. And the motif of watching is so interesting here because it's kind of like Jon takes on a stewardship role - to watch over land/people/etc. He oversees Ghost eating the chicken, so he's overseeing whatever has been given to the Old Gods. This is not new imagery to his arc. As a brother of the Night's Watch and eventually its leader, we have several instances where he leads people to adopting the Old Gods in some fashion. In ADWD, several recruits swear their vows to the Old Gods while he watches on as their Lord Commander. The Old Gods are also primarily of the North and we're told that Jon has more of the north in him than his brothers; interesting that this also includes Bran. So perhaps whatever is being offered to the Old Gods relates to the North.

We must also note that Jon initially thinks to give only a small portion, a leg, before pivoting and providing the entire thing. It feels to me a bit like the process of carving up a kingdom or something similar. The lords (represented by the squires) take what they want and leave aside what they don't; or perhaps they have eaten to their fill and can take no more. Then when his time comes, Jon first considers a small piece of land/group of people before eventually absorbing all of whatever is left behind. The concept of carving up a kingdom rings harder considering that we have several callbacks to the ideals of kingship in this chapter. Robert, Jaime, Tyrion, and even Mance though we don't know it yet, all play into this. And then there's the aspect of Jon letting the chicken slip between his legs which evokes birth/fatherhood, a very curious choice when GRRM could've just had Jon place the chicken on the floor. So land/people are carved up and Jon then uses whatever is left to birth his own type of kingdom. And this kingdom is one for the Old Gods.

This also touches on something that has been quite prevalent throughout Jon's arc. It's the concept of accepting the "others" or "those left over" who live apart from the accepted social norms. Arya (a tomboy), Sam (a gender non-confirming boy), the Night's Watch (criminals, extra sons, and men who have no future left or place to go), and even the wildlings are all examples of this. And Jon takes on a leadership/paternal role to every single one of them. He looks after them as a leader would/should. Sometimes, in the case of Arya and the wildlings, he's equated to a king. He's a steward/shepherd/king. There's messianic undertones to this:

Come unto me, all you who are heavy laden, and I will give you rest. Take my yoke upon you and learn from me, for I am gentle and humble in heart, and you will find rest for your souls. For my yoke is easy and my burden is light." (Matthew 11:28-30).

If you're familiar with Judeo-Christian tradition, you'll know that Jesus is often personified as one who spent the majority his time among the outcasts. The idea is that he came to save them too and that anew kingdom (or new earth depending on your translation) would spring up after the end of the world where he would forever rule as king; which presents the idea of a final king after the earthly ones are done away with. Now GRRM isn't so heavy handed with Christian allusions as other authors out there, but he does have a Catholic background and Jon is so overtly a Jesus figure. And in Revelation, Jesus is king and god at the very end....

One last thing: the mention of the mongrel who challenges Jon has always been rather interesting but confusing to me. A mongrel doesn't really relate to one specific type of dog. But it's interesting that Jon notes several roaming about where he is. They follow the serving girls who carry the food to be offered. Mongrels are used to describe antagonist/villainous groups in ASOIAF. Sometimes, they're used to describe slavers in Essos. But what's interesting is that most of the time, they're used to describe Euron's Ironborn especially in Victorian's POV. So I don't think the mongrel who challenges Ghost is a supernatural threat of death (i.e., the Others) but rather a human one. They represent those who are called to the scene once the lords have finished playing their games. It almost feels like a feast for (carrion) crows....

But it doesn't really matter because this mongrel isn't much of a challenge for Ghost. Though the mongrel is much larger, the direwolf is able to fend her off very effortlessly. Given that "mongrel" is used to describe Ironborn raiders, could this exchange between Ghost and the mongrel point to reavers or sea raiders who rise and fail challenge Jon kingdom? There is a historical King Jon Stark who did this....

When sea raiders landed in the east, Jon drove them out and built a castle, the Wolf's Den, at the mouth of the White Knife, so as to be able to defend the mouth of the river.[1][2] His son, Rickard, followed him on the throne and annexed the Neck to the north.

ref.

So this might shed some light not only on Jon's already published arc, but also on what we can expect in the future. We have some foreshadowing through Jon's ADWD dream that he will not only rise with the dawn (thereby live through the Long Night), but will be in a position to lead people (wildings in that chapter) to a new peace after a hard fought war. Also remember that the wildlings, rather enthusiastically, swear oaths to him as if swearing oaths to their king. In this instance, the supernatural (a dream of the war for the dawn) is followed by the natural/human. So perhaps this particular passage (and Jon's dream) can be used to predict that Jon comes out on top, and quite effortlessly too, as a leader. And he becomes a leader who rules by association with the Old Gods; or rules a kingdom for them.

To end, I think it's of note that this passage immediately precedes Jon's conversation with Benjen where he voices his desire to go out on his own - the hero's call to action. This is the adventure that's going to kickstart his growth as a man, warrior and most importantly, a leader. So it looks like before we even began, GRRM telegraphed how it would all end in just three short paragraphs.

[dragondream-ing]

I think the people that screech “ASOIAF isn’t Disney/a fairytale” are up there with Dany antis. First of all, they say it to insult other fans, to signal that those fans are unrealistic. It’s reductive, it’s disingenuous, and it’s not even true—I haven’t seen a single take seriously claiming GRRM is writing a pure sugar-sweet story. I don’t know anyone who even WANTS that.

It’s worse because most of these “critics” think ASOIAF is grimdark or a tragedy or something along those lines. They think bittersweet means bitter. And they don’t seem to realize the original versions of the fairytales they hate so much are far closer to grimdark than ASOIAF will ever be lmao

GRRM isn’t some nihilist, and he’s not into tragedy porn. He never has been. He’s actually quite a romantic, even if his romances don’t end with “and they lived happily ever after without ever experiencing a single problem again.” He loves aspirational characters, and not because he wants them to fail. Actions having consequences in his stories isn’t the same as “it’s not worth trying, everything is terrible and nothing will ever be better.”

Here’s an actual example of bittersweet for the hidden prince trope, and it’s •definitely• not loosely based on a very obvious character in ASOIAF:

The enemy is defeated, but the prince loses his sword arm during the battle. Known for his prowess with a blade, he will have to endure living without such a defining aspect of himself for the rest of his life. He may be relieved he has an excuse not to take up arms again, or perhaps he’ll dedicate himself to learning to fight with his non-dominant arm, but he’ll never be the same as he once was.

The prince is devastated by a greater loss; when he lost his arm during the battle, his closest companion sacrificed themself to protect him. He will have to live without their steadying presence and spend many days finding himself unworthy of such a sacrifice. His loved ones will remind him his closest companion would want him to accept the gift and live happily. He’ll know this is true and will try, but he’ll only succeed on some days and fail on the rest.

The prince goes on to rule the kingdom with his queen, but they’re going to have to rebuild a world shattered by war and deal with the trauma of their experiences for the rest of their lives. Not all is lost, however: they have each other to lean on, being two people that understand each others’ suffering and struggles and love each other more deeply because of it. They also have the hope that their children and the generations to follow will live in a better world thanks to their sacrifices.

The end 🥲

When I think of bittersweet, I think of my grandpa. In his mother country, he grew up too poor to own shoes, then went on to be a shoemaker. He joined the military and was kind of a big deal in his impoverished village, but he left because the government was corrupt and he feared for his family’s safety in the long term. He lived his life in America being derided and underestimated, working menial jobs doing the dirty work many people never think about or value, saving every cent he could, and fighting tooth and nail to ensure his kids and grandkids lived in more security than he ever did. He lived across the world from his beloved siblings, never saw them again, and outlived them all. He retired as a janitor and died in the home he loved with his grandkids and wife beside him.

I’m proud to be his granddaughter. He lived an extremely hard life and struggled more than I can comprehend. And I can’t comprehend it because he made sure I wouldn’t have to. He’s the definition of planting trees under whose shade you’ll never sit. THAT is bittersweet. Bittersweet is poignant and painful and beautiful, joyful and tragic and compelling. It is not on the same thematic plane as House of 1000 Corpses.

I’ll say this in conclusion. If you’re running around insulting people with “ASOIAF isn’t Disney,” let me tell you, even Disney is closer to bittersweet than your nihilistic depressing takes will ever be. If you think Snow White can’t be a bittersweet tale, you’re disingenuous. She suffered tremendously (bitter) but never lost hope and was able to find love (sweet). Extend the ending and make it a bit more “realistic” by including some of Snow White’s and the Prince’s struggles and losses, and it would be a perfect example of a bittersweet tale.

[throwawayasoiafaccount]

I love that one of the roles fire plays in this series is to represent how all consuming desire can be, and how it’s framed as something that can be world ending when uncontrolled.

So naming unnatural, untamable green fire ‘wildfire’ is therefore a stroke of genius. It’s the representation of how we humans manufacture our own doom in the pursuit power, of how uncontrolled desire will eventually blow up in our faces.

And the fact that barrels and barrels of it sit fermenting under Kings Landing, Westeros’s breeding ground of maniac desire, and the capital the ambitious and corrupt flock to for what it promises? It’s perfection!

[ponypickle]

do you guys think the targaryen dragon-babe situation is something that happens to every targaryen in the womb but they shed it, like we do with lanugo, before the birth happens? like we normally shed our baby hair around 7-8 months of gestation.

we also know that not all still-births are dragon-babes, so what differentiates certain newborns of targaryens that gives them this mutation? perhaps it's something to do with the instance of 'dragon-blood' that targaryens are said to have and some end up having more, or maybe when there is to be a particularly strong dragon rider they are given more characteristics.

do you think we've see instances of former dragon-babes in any of the books/shows?