#sansa crack ships

[crimsoncold]

[nobodysuspectsthebutterfly]

how do you feel about j*nsas stealing and appropriating your theory Frankenstein style? I know I’d be pissed but on the other hand it’s funny because it’s still their strongest “argument” haha

It makes me laugh, honestly. Especially the way many shippers -- who have evidently never read The Hedge Knight -- place so much importance on the Ashford Tourney, the Ashford fair maid, and the Targaryen champion! Like, Lord's Ashford's daughter is so significant, she doesn't even have a name. And the whole thing with Valarr Targaryen was that he was a pretty awful jouster, and only held onto the position as the fair maid's champion out of nepotism, because nobody good actually challenged him. (Though his cousin Aerion threatened to, before deciding to bully someone else.)

And the most significant point, that Valarr didn't come out of nowhere, defeat all the other champions, and crown the girl queen of love and beauty -- lol, not in the slightest, he was a champion from the start, and the way the tourney was set up was that at the end of the third day, whoever were the final five champions would either choose to keep Ashford's daughter as the QOLAB or select somebody else to be. And either way, that never happened, since during the first night Dunk and Aerion had their altercation, Dunk never saw who any of the champions were on the second day because he was in prison, and the third day the fair maid/champion tourney was canceled and they held his Trial of Seven instead. There was no queen of love and beauty at the end of the story!

Like, this tourney does not compare in significance to, say, the Tourney of Harrenhal. Historically, the fair maid means nothing, the Ashford Tourney is only remembered for the Trial of Seven that ended with Baelor's death. And I only happened to think it was a bit of a funny coincidence that four of the first day's champions matched Sansa's suitors (that's how you know it was taken from me despite claims of independent creation, it was known as "the Fifth Suitor theory") and thought it might be an even more funny coincidence if Aegon ended up pursuing Sansa as a bride after (or in the process of) claiming the throne, which was a common bit of speculation in 2012 after Aegon was revealed to be alive (presumably) in 2011's ADWD. And the whole point I had was how futile said champions were in the face of Dunk's actions, and well, *cough*.

But it was always just a crack theory, a silly coincidence. That they've imbued it with such significance, well, um. Good for them I guess. It's certainly less worse than pointing to Sansa Stark daughter of Rickon and her half-uncle Jonnel -- when most likely that was a forced marriage to steal an inheritance like the uncles of Alys Karstark attempted with her, and Jonnel had no children with either Sansa or his second wife, died, and two successive brothers became Lord of Winterfell before the youngest had any children to succeed him. That is not a historical model you want to follow, I'm sorry.

BTW, this post of mine also getting appropriated by jonsas also makes me laugh (2 for 2 lol my god), because the point of that parallel was that Jon is indeed a hero from the songs -- since again, in 2011 immediately post-ADWD there was a fandom reaction pushing Aegon up as the actual PTWP and such. (Well. The ones who didn't decide Victarion was Azor Ahai lol sigh.) And that Sansa's words were the foreshadowing ones, I thought was significant, again in response to fandom decreeing her unimportant. It was not to make Jon specifically Sansa's hero or lover or anything where is that implied I have no idea oh shippers oh fandom sigh sigh sigh 😂😅

[g0lightly]

tinfoil-encrusted brienne/sansa "foreshadowing" that makes me feral

so i love the blog @jonsaforeshadowing bc i think it's such a fun look at shipper goggles in this fandom regardless of your thoughts on that particular ship. while i do not ship j*nsa i think it's healthy to remember how absurd shipping in asoiaf is even if (especially if?) you are a shipper! largely bc like... what do we even think of as endgame in this series? being married? we know not everyone who marries in a feudal system even likes the person they're married to. also... pretty much anyone could die! and so many characters are thematically linked in significant ways that aren't necessarily romantic! so i think there's a ceiling on how sure anyone can be of any ship being endgame. especially since we may never get another main series book lmfao! so just want to be clear that i'm not coming at this from an angle of knowing better than people who prefer other ships, we are all equally right and wrong unless/until the series is completed IMO.

in that spirit i wanted to post my own niche shipper theories in wildly varying degrees of seriousness about brienne/sansa because i believe in gay ships' right to be as delusional as straight ships. mostly for fun but i'd being lying if i said i don't hope you read this and think "oh i never thought of them together but this eats! i should start shipping the one true pairing briensa and also read tumblr user g0lightly's post-canon fanfic mostly about them on AO3 🤔" while they’re my otp, I want to be clear that I only ship them as adults.

starting strong with the dumbest one: brienne's ancestor dunk has a romance with rohanne webber, a redheaded woman who has had several husbands/betrotheds die on her and eventually marries a lannister like sansa. i know ppl say this is about jaime bc rohanne is his great-grandmother but in the spirit of getting silly with "foreshadowing" jaime is now a sansa stand-in for the purposes of this post 🙂‍↕️

in AGOT sansa i, sansa says that joffrey is "so gallant, she thought. The way he had rescued her from Ser Ilyn and the Hound, why, it was almost like the songs, like the time Serwyn of the Mirror Shield saved the Princess Daeryssa from the giants..." as ned later points out, joffrey is nothing like the knights of the songs sansa dreams of. littlefinger's sigil is a giant. serwyn is one letter off from selwyn, brienne's father's name. perhaps brienne will help sansa get away from littlefinger.

mirroring (ha) the above point, in AFFC brienne vii, randyll tarly gives a whole speech to brienne about how he thinks her father would rather have a living daughter than a "shattered shield." while i think the shattered shield imagery in this text (also in F&B when jaehaerys has saera's lover executed and in ACOK sansa vi when cersei talks about highborn ladies' "golden shield" against SA) represents a "ruined" woman, i think the imagery is also evocative of a mirror shield.

in AGOT sansa vi, sansa reads about aemon the dragonknight, florian and jonquil, lady shella and her rainbow knight. sansa is related to lady shella whent and in ACOK brienne becomes a rainbow knight for renly's kingsguard. i can see brienne mirroring aemon the dragonknight in the sense that she and sansa would have a forbidden love like aemon and naerys but for different reasons.

in ACOK sansa ii, sansa prays for a true knight and a friend to champion her. of course, she gets dontos as her "florian" instead and learns that life is not a song. later in catelyn ii, catelyn meets brienne who later swears herself to bringing sansa to safety. catelyn notes her similarities to sansa. brienne is also connected to jonquil through her maidenpool chapters; does this mean sansa will end up with a jonquil rather than a florian? perhaps a jonquil darke type? idk but i want to believe!

also in ACOK, both brienne and sansa hang onto bloody kingsguard cloaks that were technicaly supposed to belong to barristan selmy. i have written about this in far greater detail here and here.

jaime is a sansa stand-in because they are both maiden-coded and called kingslayers (this is a deeply unserious point btw)

speaking of jaime, his attraction to brienne mirrors sansa's possible attraction to mya. both sansa and jaime are conventionally attractive characters used to being praised for conforming to their gender roles reckoning with the beauty of a gender-nonconforming woman when they have come to understand their own beauty through a conventional framework. i have also written about this in greater detail.

both sansa and brienne are paired up with a lannister twin who holds the gendered societal role they aspire to (queen and knight of the kingsguard, respectively). their respective lannister twins show them the dark reality of those roles while brienne and sansa fight to remain hopeful.

famous lesbian rhaena targaryen was too gay with larissa velaryon so larissa got shipped off to marry the second son of tarth. she also had a favorite from the vale named alayne royce. she also had a red-haired, mail-wearing favorite named melony piper - kind of like an inverse of brienne and sansa visually. her true love, elissa farman, was from fair isle which is kind of like the west coast version of tarth; they also had the same age difference as brienne and sansa. rhaena was the eldest sister, like sansa, and dealt with a lot of loss in her life due in no small part to the strength of her claim making her a sought-after bride. i am aware this proves nothing but i do seriously think rhaena is the in-universe historic figure sansa is most like. gay sansa confirmed!!!!!!!! (jk... unless...)

and finally, i present what is either my most tinfoil hat theory or my oh-shit-i-cracked-the-code theory: brienne is foreshadowed to be the next bearer of the hound's helm so when GRRM said there's "something there" with sansa and the hound, he was actually talking about brienne and sansa :) if you enjoy the idea of sansa finding love and beauty in a brave, gentle, strong protector figure with low self-esteem whose face is covered in scars but you also (very reasonably!) hate the idea of her ending up with a man who held her at knifepoint and tried to SA her when she was a child, may i suggest hound!brienne x sansa? again, on an age appropriate timeline!

and if you're curious what i mean by hound!brienne foreshadowing and shattered shield references, i've included my running list of quotes, an analysis of those quotes, and a conclusion below the cut bc this post is long! TW for canon-typical references to sexual violence.

i think the references to brienne being "the hound with teats" and later references to the hound cutting off women's teats may connect to pretty meris, a sellsword with the windblown who is theorized to represent what GRRM had planned for brienne after the five year skip. quentyn notes that it's said that men cut meris' breasts off. if this hardened sellsword is some version of GRRM's original five year gap plan for brienne, who's to say that she won't be the hound instead of a sellsword in the forthcoming books? but that's assuming we'll get more books lmao.

the threat of SA is uncomfortably present in brienne's AFFC chapters. whether or not brienne experiences the types of gendered violence mentioned above, i think that the hound's helm would provide brienne with safety from that threat of SA on the road. for male characters, on the other hand, it may just draw more attention from people who wish to kill the hound for (mostly) rorge's crimes. there is a lot of talk across the books and across POVs about the hound being dead. you get tyrion describing him as dead after the blackwater when we know that's not true, septon meribald (which kinda sounds like meris now that i think of it 🤔) tells brienne that he is dead, jaime talks a lot with the freys and lannisters about killing the hound. there's also a lot of talk about the hound killing other people, namely brienne and sansa.

since it's all but confirmed that sandor clegane is now the gravedigger on the quiet isle rather than the hound, i think that "death" in the context of the hound is about letting your old self die so that the new you may be born. brienne needs to let her rigid ideals about what it means to be a knight die and sansa needs to let her rigid ideals about what it means to be a lady die. i think that lady's death at least partly symbolizes the fact that sansa can be a perfect lady and still face dire consequences through no fault of her own. and for brienne, she will most likely learn through lady stoneheart that not all oaths can be kept.

some people take the below quote as romantic foreshadowing for sansa and sandor. i take it to mean that to sansa, sandor and his cloak represent the opportunity she had to escape the life of a dutiful lady in a castle. perhaps brienne will wear the hound's helm when she rescues sansa, and sansa will give her the hound's cloak -- brienne's very own kingsguard cloak -- to complete the "uniform" of the hound.

i also want to offer my debunk to the idea that sansa keeping sandor's cloak is marriage imagery. sandor does not give his cloak to sansa, he does not put it over her shoulders as is done in a wedding ceremony. he leaves it on the ground because he does not want to be a member of the kingsguard anymore. sansa chooses to wrap herself in the kingsguard cloak. to me, this signifies her growing disillusionment in the systems set up to keep her safe and the autonomy she has to leave that system. perhaps she will be brave enough to ask brienne to take her away from the eyrie (or wherever she ends up) when they meet (again, assuming we get more books lmao).

i think it's relevant that sandor's place in the kingsguard - and by extension, the cloak as a symbol - had originally belonged to barristan selmy. i did a thread on this in relation to true knighthood and brienne if you're interested in reading more. sansa has a heroic deed in common with barristan selmy that also involves the hound in ACOK: like barristan, she saved dontos hollard from execution by a cruel king that she was sworn to. sansa was sworn to joffrey as his betrothed and barristan was sworn to aerys as a member of his kingsguard. i'm not even anti-sandor, i just don't think that his redemption arc needs to or should include the girl he held at knifepoint falling in romantic love with him.

to conclude with my point about characters having deep ties within the text not necessarily equaling romantic foreshadowing, i want to acknowledge that i don't think brienne and sansa need to have a romantic relationship for these textual connections to be meaningful. one way another i think these two are meant to be important to one another's stories. however i think that putting these two together romantically would be a beautiful way to tie together some key themes (gender, true knighthood, romanticism, idealism) and set up some really interesting character development.

however the romantic in me loves the idea of the aemon the dragonknight figure in sansa's life being a woman, specifically brienne who has sworn to defend her without even knowing her. they're both women, so there's nothing for brienne to gain from sansa's claim and nothing for sansa to gain from brienne's claim. brienne is the gentle, brave, and strong person ned wanted for sansa and catelyn sent her in sansa's direction and i think that's beautiful okay :')

[vii-is-free]

Imagine an AU

Post season 8, when the newly governed Westeros and the free North are still recovering from the Long Night/the destruction of Kings Landing.

Dorne, angered at Cersei’s actions and murder of their royalty, take this chance to storm the Marches.

Queen Sansa sends reinforcements, knowing the importance of a free world.

A young man from a small house, named after his most famous ancestor, works his way up the ranks from a lowly soldier to commander, newly knighted after an impossible victory.

Imagine Criston Cole meeting Sansa Stark

THIS IS @rambrant’s FAULT

[damn-daemon]

Arya having a love interest and sansa not having a love interest is perhaps one of the most genius parallels you could have come up with!!!

- chloe

Always been Team Gendrya. Honestly, when I think of Sansa with anyone, nothing works. Not that she needs to be with anyone in the story. My girl has work to do.

[babybells123]

Regarding the original outline + some thoughts on Jon & Sansa… 

This is a long one. Buckle up.

If there is one thing I have picked up on in the ASOIAF fandom, it’s the knee-jerk negative reaction towards any theory/parallel/connection between Jon and Sansa. This was exacerbated by the show, of course but even now - five years later, there is an insane amount of vitriol that my brain is unable to comprehend. And here’s the rub; the infamous 1993 outline is the irony of it all. 

In a fandom that is a-okay with *certain* incest ships (r.e D@enerys x Jon, D@emon x Rh@enyra, Jon x Aria), as well as blatantly pedophilic ships (Sansa x S@ndor, Sansa x Littlefinger, Sansa x Tyrio*), how is Jon x Sansa the worst of them all? I’m going to pin it down to audience engagement with the show, particularly around the later seasons when Jon + Sansa reunite and people began to ‘ship’ them. So many believe that is how the ship took off, and thus it is mere crack - but there are posts tracking back to 2012/2013 theorising the possibility of Jon x Sansa. Was it spurred by the show? Certainly! But it does not take away from the fact that people were making valid arguments and essays before the general fandom was even comprehending a Jon and Sansa reunion on screen. And people were open to discussing/debating it with general civility (a far cry from today). 

I’m 90% certain people weren’t criticising those who began to believe in Jon x Aria when the outline was leaked…(though there were most definitely shippers before). But we never see the same level of vitriol towards Jon x Aria shippers, which is strange. 

In any case, let’s talk about said outline, some of the key points - and how I believe GRRM made the switch from Jon x Aria to Jon x Sansa. I’ll be drawing from GRRM’s past works, interviews, art, and his personal life - as well as other potential literary influences. I'll be linking metas along the way, but without further ado - let's go.

In October 1993, GRRM wrote a pitch outline for a publishing company. It was three pages long and conveyed alongside the first thirteen chapters of AGOT (170 pages). The three paged letter was leaked on twitter in February 2014, though there were multiple aspects parts blacked out. Keep in mind though, this may not be the *only* outline that exists. There are multiple outlines that have never been publicly released (and will likely remain that way). 

But let’s just focus on the 1993 outline, since we’re privy to the details. The thirteen chapters attached to the outline did *not* yet have a Sansa POV, and that’s because in this outline, she wasn’t listed as a key character.

The key characters were; Bran, Jon, Tyrion, D@enerys, and Aria.  

The first thirteen chapters were; Prologue; Bran I, Catelyn I, D@enerys I, Eddard I, Jon I, Catelyn II, Aria I, Bran II, Tyrion I, Jon II, D@enerys II, Eddard II, Tyrion II. 

I’ve seen people claim that Sansa isn’t an important character since she wasn’t listed as a key character, but they conveniently leave out the fact that a) her chapters were not yet written, b)she was given an entirely different more passive storyline in this outline, c) she dies, d) this was far far before GRRM fleshed out his characters entirely - Sansa took on a life of her own and she became her own solid complex character with an arc in 4 out of 5 of the books; 25 chapters. 

In fact, since the books have been published GRRM has regarded Sansa and the Starks as a main character as well;

Collider: In creating this world, did you start out with one family and then branch off into the rest of the world?

GRRM: Well, the Starks are certainly the centre of the story, when it begins. It all begins at Winterfell, with occasional cuts to Daenerys across the ocean, because there was no way I could get her into Winterfell. But, we bring all the characters together at Winterfell, and they’re all there for a while before they start to go their separate ways ... .But, the Starks are the centre of the book and, to a lesser extent, the Lannisters. They are still the major players. 

Collider: When you went into this, did you intentionally take the children, put them in an adult setting and force them to be in very adult and complex situations?

GRRM: Yeah, the children were always at the heart of this. The Stark children, in particular, were always very central. Bran is the first viewpoint character that we meet, and then we meet Jon and Sansa and Arya and the rest of them. It was always my intention to do that.” 

Collider report.

May 2016 - Balticon. 

(…) George said he was “pissed” that the outline was posted in the office building and that someone took photos and shared them. He said it was a letter for him and the publisher only. He was very firm when telling this and it showed on his face.

He then said that he is not good with writing outlines, making book deadlines, and that often in outlines he was “making shit up”, and “characters changed along the way”.

He went straight from talking about the references in the actual books, to the “differences” in the outline from then to now. He did say that he still knows who sits the iron throne and the end game of the main 5, but also included Sansa, but did not give any details (for obvious reasons).

[question if he is still going with the 1991 ending]

“Yes, I mean, I did partly joke when I said I don’t know where I was going. I know the broad strokes, and I’ve known the broad strokes since 1991. I know who’s going to be on the Iron Throne. I know who’s gonna win some of the battles, I know the major characters, who’s gonna die and how they’re gonna die, and who’s gonna get married and all that. The major characters. 

….

“So a lot of the minor characters I’m still discovering along the way. But the mains-”

[question if he knows Arya’s and Jon’s fates]

“Tyrion, Arya, Jon, Sansa, you know, all of the Stark kids, and the major Lannisters, yeah.”

Balticon report:

“Ah, how innocent I was… little did that guy in the picture imagine that he would be spending most of the next two decades in the Seven Kingdoms of Westeros with Tyrion, Daenerys, Arya, Sansa, Jon Snow, Bran, and all the rest.”

GRRM's live journal:

So Sansa has clearly developed into an important character from GRRM’s words, and the key-characters argument can cease, because It’s very tiring to dispel that when the characters and story took on a life of its own. (I mean, Jaime was meant to remain a villain, but he was clearly given somewhat of a redemption arc in the main series).

I paraphrased what was written here for this whole section, so go check out the longer post!

The Aria in the original outline: 

*NOTE: I am blacking out her actual names in case the wrong people find this post. None of this anti her, please keep that in mind.*

Five central characters will make it through all three volumes, [...] The five key players are Tyrion Lannister, D@enerys Targaryen, and three of the children of Winterfell, Aria, Bran, and the bastard Jon Snow. 

Joffrey will not be sympathetic and Ned [what appears to say] will be accused of treason, but before he is taken he will help his wife and his daughter Aria escape back to Winterfell.

Tyrion Lannister, meanwhile, will befriend both Sansa and her sister Aria, while growing more and more disenchanted with his own family.

When Winterfell burns, Catelyn Stark will be forced to flee north with her son Bran and her daughter Aria. Wounded by Lannister riders, they will seek refuge at the Wall, but the men of the Night's Watch give up their families when they take the black, and Jon and Benjen will not be able to help, to Jon's anguish. It will lead to a bitter estrangement between Jon and Bran. 

Aria will be more forgiving ... until she realises, with terror, that she has fallen in love with Jon, who is not only her half-brother but a man of the Night's Watch, sworn to celibacy. Their passion will continue to torment Jon and Aria throughout the trilogy, until the secret of Jon's true parentage is finally revealed in the last book.

Abandoned by the Night's Watch, Catelyn and her children will find their only hope of safety lies even further north, beyond the Wall, where they fall into the hands of Mance Rayder, the King-beyond-the-Wall, and get a dreadful glimpse of the inhuman others as they attack the wilding encampment. Bran's magic, Aria's sword Needle, and the savagery of their direwolves will help them survive, but their mother Catelyn will die at the hands of the others.

Exiled, Tyrion will change sides, making common cause with the surviving Starks to bring his brother down, and falling helplessly in love with Aria Stark while he's at it. His passion is, alas, unreciprocated, but no less intense for that, and it will lead to a deadly rivalry between Tyrion and Jon Snow

Observations:

Exactly how old is Aria? Is she a warrior princess who cries at songs like her aunt? Does she enjoy/yearn for romance? Is she a stunningly beautiful maiden rivalling that of Cersei? How close were she and Jon? Did they have a good sibling relationship? Or were they distant? Does she look physically different to Jon? Does she have red hair? 

The Sansa of the Original Outline:

‘Each of the contending families will learn it has a member of dubious loyalty in its midst. Sansa Stark, wed to Joffrey Baratheon, will bear him a son, the heir to the throne, and when the crunch comes she will choose her husband and child over her parents and siblings, a choice she will later bitterly rue.’ 

Tyrion Lannister, meanwhile, will befriend both Sansa and her sister Aria, while growing more and more disenchanted with his own family.

Jaime Lannister will follow Joffrey on the throne of the Seven Kingdoms, by the simple expedient of killing everyone ahead of him in the line of succession and blaming his brother Tyrion for the murders. 

More observations:

How old is Sansa? Is she 16? 17? She’s conveyed as a less important character in this outline - why? Queen of the Seven Kingdoms? She dies? Jaime kills her? What is her relationship with Aria like? Are/were they close? Or was Sansa initially meant to be a two-tone villain who betrayed her family? Is she overwhelmingly beautiful? Or is she the plainer sister? 

It’s quite clear that both ASOIAF Aria and ASOIAF Sansa are entirely different characters to their outlined counterparts. 

In the outline, Tyrion sacks and burns Winterfell. In ASOIAF, It’s Theon and later Ramsay who does this. In the outline, it’s Bran, Aria, and Catelyn who go beyond the Wall. In ASOIAF, it’s Bran, Meera, and Jojen (and Hodor). There are a couple of other changes made here, but there seems a pattern where certain acts *still* occur in the main series, they’re just given to different characters (which makes sense, as GRRM grows organically with his characters.)

So, when we take into account the fact of ASOIAF Sansa being considered a main/key character, her marriage to Tyrion, and the possibility of her being the first to reunite with Jon - perhaps GRRM did keep a Stark x Snow romance - but gave it to a different sister. 

In the 2016 Balticon report, GRRM stated he wished that ‘some past things didn’t have such strong foreshadowing and that newer things had stronger foreshadowing.’ You can make a case for J0nrya foreshadowing in the first book, but I’d argue that ACOK/ASOS is where the Jon/Sansa clues and foreshadowing is rife. (and there are certainly Jon/Sansa clues in the first book as well.) 

Now to circle back. The Aria of this outline doesn’t have a personality - none of the characters do, really. We don’t know how old she is. Is she a teenager? Is she close in age to Jon? We know she has her needle, so can infer she is a fighter and spirited, but is there a soft romantic side to her? Does she cry at songs like her aunt Lyanna? Does she yearn for love? Is she immensely beautiful? For a narrative like this? It'd be likely if Jon and Tyrion are fighting to the death over her, sort of like gallant knights fighting each other to win the heart of a fair maiden (very romantic and idealistic, mirroring the songs and the stories).

(This is how I am certainly inferring such a scene would have gone).

The ASOIAF Aria we know and love took on a life of her own. She’s described as plain looking (some envision her to be more beautiful than characters like D@ny, Cersei, and Sansa though). - But just quickly on that matter, Aria is indeed compared to Lyanna in looks and spirit, though Lyanna’s beauty was described as wild and implied as non-conventional; different perspectives have different opinions on her. For example, Cersei, Jaime, Devan, the Maester who wrote the WOIAF don’t consider her anything special. Whereas Ned, Robert, and Rhaegar do. So it’s one of those instances where you aren’t exactly sure. In any case, Aria's looks aren't a driving factor in her arc, and I don’t see ASOIAF Tyrion (as creepy as he is) suddenly falling in love with her due to mere attraction because presently, Aria is all knobbly knees and elbows, stick thin, a child, not a maiden, who will still be a pre-teen at the end of the series, if there is no massive time jump.

SHE'S JUST A BABY.

But then, Tyrion did lust after Sansa, so there’s that… however ….

Sansa’s beauty is a driving force in her narrative arc. She is objectified for her beauty. Preyed upon because of her beauty; in many ways it causes her to suffer. It’s largely why LF is grossly infatuated with her - she’s beautiful like Catelyn. Tyrion is attracted to Sansa and wishes to bed her, the H0und intends to rape her during the Blackwater battle, he also comments on her breasts growing, Joffrey sexually humiliates her in court, Ser Dontos has a pervy infatuation with her, Cersei despises Sansa because she is younger, more beautiful etc which she views as a threat.

So, beauty is pertinent to Sansa’s narrative, and it isn’t vain or shallow to say so because it’s a large part as to why she suffers. And her physical beauty is meant to compliment her indulgence in romantic idealism; knights, chivalry, courtly love, beautiful appearances thus equating to good people. It also contributes to perceptions of Sansa; nothing more than a pretty, stupid girl with naive dreams. 

So back to ASOIAF Aria: Her arc largely surrounds nature & nature, mercy, war trauma and survival, friendship, belonging, and family. For the majority of the story, she is a traumatised 10 year old travelling through a war torn country, witness to awful horrors, forced to assume multiple identities, until she goes to Braavos and begins her faceless man arc. But this is obviously not her endgame - she is going to go home eventually, that is quite clear.

You can argue she had a little crush on Gendry (as a 10 year old would) (and perhaps something may happen with him when she is older, I think GRRM has played with it.) But other than that, romance is not a central part of Aria's arc insofar. For outline Aria it was, but current ASOIAF Aria is on a completely different tangent all together.

(and that poor poor child is suffering immensely while this is all occurring).  Currently, she has no time for/interest in it. She hasn’t been involved in betrothals/marriages, or had men lusting after her (save ‘Mercy’ and people men making brutalising sexual comments towards her). She disguises herself as a boy for a good chunk of the story as it is safer to travel.

No, I’m not trying to reduce any sexual trauma/objectification she suffers, she’s a little girl for heaven’s sake - I’m merely stating that what she is going through is in some ways similar and different to what Sansa is going through. (Who currently is in a in a very Lolita type situation with LF and men sexually intimidating/abusing her has been a key part of her arc - as I said, she suffers significantly due to her beauty. She is something to possess, she isn't real or tangible, she is a beautiful maid with a vast claim to the North.)

Anyway, ASOIAF Aria finds songs and romance ‘stupid.’ 

“Sansa would have shed a tear for true love, but Arya just thought it was stupid.” (Arya VIII ASOS) 

 (but that doesn’t mean she won’t encounter it later in life, it just means that at this point of the story, she isn’t interested/likely won't encounter some epic grand romance that outline Aria was likely destined for. (And she’s 11 for god’s sake!).

‘But Sansa was dreaming of love at that age!’

Sansa has been a romantic idealistic dreamer since she was a little girl. She adored those stories and is the literal embodiment of the mediaeval pre-raphaelite maiden depicted in art. It’s central to her story arc, to her qualities, and how she functions/copes with things around her. “Life is not a song.” Is so fundamental to that.

So to reiterate ASOIAF Aria is a completely different character to outline Aria- for all we know OG Aria was 15 years old, very beautiful to the point of men duelling over her, (just as depicted in art above) likely a romantic heroine, had consistent memory lapses that would cause her to “realise in terror, she had fallen for Jon,” and based off of GRRM’s past works - was probably a redhead. 

“But OG Aria has a sword named needle!”

Indeed, but as I stated, we don’t know anything else about her beyond that. Many have theorised that D@ny and Jon are the epic romance of the series, but it’s clear from this particular outline that GRRM intended for it to be Aria and Jon as the epic major romance of the series. That would mean Aria would have to be a somewhat romantically-inclined character, for this development to appear natural and not forced. Based on her current ASOIAF arc, it doesn’t track for her character to make a sudden 180. Her softness and vulnerable moments come from thinking of her family and home. Insofar, this isn’t equated to yearning for love, romance, children, as Sansa has done from the beginning of the series.

Now, we know GRRM is a self-proclaimed romantic, and ASOIAF Sansa exists very much as a deconstruction of romanticism. 

“He said he is a romantic, in the classical sense. He said the trouble with being a romantic is that from a very early age you keep having your face smashed into the harshness of reality. That things aren’t always fair, bad things happen to good people, etc. he said it’s a realistic world, so romantics are burned quite often. This theme of romantic idealism conflicting with harsh reality is something he finds very dramatic and compelling, and he weaves it into his work.” (2005 interview).

Sansa is arguably, the embodiment of this dismantling. But that doesn’t necessarily mean that love isn’t real, or that it doesn’t deserve to exist in a gritty world such as Westeros. There were many couples who had good, happy marriages, even after war and loss and trauma. For example, apart from the Jon Snow situation, Ned and Catelyn had a remarkably healthy relationship. So it is possible - the takeaway from the series is not that hoping is meaningless, dreams are meaningless, love is meaningless. More so that it is complicated, and it must coexist alongside all the chaos in order to achieve a sort of

equilibrium. A literal ‘Dream of Spring’ a hope for happiness, rather than happiness itself. It tracks with the bittersweet conclusion to the series ; it is a grimdark story, but that doesn’t necessarily mean it’ll be a grimdark ending where everyone good and noble dies and wishes/dreams/innate desires remain unfulfilled. 

In fact, I argue that a lot of them will come true - but at what cost? It’ll be at the cost of loss and grief, of suffering upon suffering, but what’s inherently more powerful, what’s more subversive is having those characters persist and rebuild, regenerate, create a new world where love and chaos undoubtedly exist alongside each other, but just because there is chaos, that does not mean the love is miniscule or cancels out entirely. 

Because if all these characters have the most unsatisfying, awful conclusions known to man, well - what was the point of everything? What was the point of their journeys? This isn’t a nihilistic story, and it won’t have a nihilistic ending like everyone assumes. It’s far more difficult for an author to craft such an ending, balancing things out whilst acknowledging all the loss and still holding out hope for a better future to come. That brighter days will arrive. That winter will end, and spring will be on the horizon.

“We may lose our heads, it’s true. But what if we prevail?” (Davos I ADWD). 

And that right there, sums it up perfectly. 

So you need characters like Sansa, characters like Brienne, D@ny, (you know what let’s just add all the Stark children of the series to the list, because every single character arc is about remaining resilient and prevailing in some way or another). 

But it’s Sansa who exists as the meta character that embodies/indulges in all those romantic ideals that GRRM is intent on exploring - it thus makes perfect sense for it to be her that experiences the romance arc. Many people think she’ll end up with the H0und, or Harry the douchebag, because it’s a part of her growing up, maturing, learning from her negative biases etc etc but she shouldn’t have to be with abusive or douchy men to learn that. She’s already learned and suffered enough. 

“It is my claim they want. No one will ever marry me for love.”

And how utterly heartbreaking that she has resigned to think this, with her arc only mid-way. But importantly, just a few chapters later she enters the garden of undisputed beauty and equates the snow landing on her face with romantic kisses, she dreams of innocence and winterfell, despite lamenting how she doesn’t belong in such a pure world, she steps out into it all the same. And she builds her home in the snow, content and for once - she’s the child she is, the child she is yearning to be.

So Sansa falling in love with Jon makes sense on a characteristic level. It’s something she never would have considered as a sheltered child, not just because he’s her bastard half brother but because he just didn’t exist in her idea of how the world works. He didn’t fit in with her idea of knights, and courtly love and chivalry. He wasn’t a gallant golden prince, he was dark, sulky and brooding. He existed on the parameters of her life, and she was comfortable with that distant association - but she still loved him, and he her. 

Falling in love with Jon would equate to a dismantling of these previous prejudices  she held; he’s utterly unconventional, the opposite of what she has shown attraction to (despite her first ‘love’ being Waymar Royce, who resembles Jon strikingly). The man she never really considered beyond courtesy and some scarce, fond memories - to be the one who restores her faith in men, in love, in dreams. 

“Realising with terror that she has fallen in love with Jon… their passion will continue to torment them.” 

tracks with Sansa’s characterisation particularly, her memory lapses, her clouded judgement, and inability to interpret things correctly (and something as confusing as this would certainly cause her to have some cognitive dissonance going on).

Not to mention caution around well… men. Because who would ever marry her for love? Who would ever take her for true? Love her without expectations and judgement? It’s Jon. Who has been there since the very beginning, who has been a silent unconscious hero, the answer to her prayers, who embodies all those romantic and knightly ideals she has so desperately wanted - despite her being unaware. Who has advocated for her claim - above everyone else.

“No one will ever marry me for love.” And that infamous Jon chapter follows. Jon who is never quite far from Sansa’s suitors. Jon, who has a similar dream of rebuilding Winterfell, of having children named after lost siblings, who wants to woo a girl by giving her a rose and loving beneath the heart tree - the heart of Winterfell. Who would undeniably want to have that beautiful soul-nourishing love he never received as a child, that he believes is perpetually unavailable to him. 

Above all,  they just fit together. It fits with GRRM’s William Faulkner-esque “the human heart in conflict with itself".” And this is a perfectly subversive way of  encapsulating that Jon confusing brotherly love and affection with romance, struggling with the shame of it all - especially post-resurrection, the religious disillusionment that would occur, the notion of Jon being loved by the kind of girl he believed he never had the right to, who his deeply romantic heart is yearned for. (There is a reason GRRM let us know how badly Jon yearns for domesticity, Winterfell love, children, and a wife. He associates his love for Ygritte with her singing, her hair, her smile. He dreams of her tending to him with gentle hands) The simple yet meaningful things that have been denied to him because of his bastardry. And god, what better way to torment these two than by having them fall for each other - realising they fit each other so perfectly, yet tormented by their familial relation. Until, as the outline puts, the parentage is revealed. 

Do I believe they will act on their feelings pre-parentage reveal? No. It’ll likely exist in the subtext, in private thoughts and actions. Angst, guilt. Again, the stuff that GRRM loves - the human heart is in conflict with itself. 

Much like Lord Byron’s ‘The Bride of Abydos.” Where half-siblings fall in love with each other until they realise they are actually cousins. Lord Byron, who was famously in love with his half sister Augusta, who was a stranger to him for a good portion of his life until they properly got to know each other and fell in love. (Who does that sound like?’)

And if you’re wondering how Jon and Sansa could possibly connect to Lord Byron, well there is a ‘Byron the Beautiful’ in Alayne II AFFC, and Alayne I TWOW. GRRM has further instilled characters by the name of “Manfred” which is in reference to Lord Byron’s infamous work of the same name. (I urge you to check out all of Cappy's Byron metas, they are fantastic.

And, Jon has been called a “Brooding, Byronic, romantic heroine whom all the girls love.” GRRM knows what Byronic is inferring - he isn’t daft, he’s a writer - he reads other works and takes influence and sprinkles in so many things. 

A Byronic character involves:

. . romantic melancholy, guilt for secret sin, pride, defiance, restlessness, alienation, revenge, remorse, moodiness, and such noble virtues as honor, altruism, courage, and pure love for a gentle woman. (Poetry Foundation, Lord Byron)

“GRRM: I was always intensely Romantic, even when I was too young to understand what that meant. But Romanticism has its dark side, as any Romantic soon discovers… which is where the melancholy comes in, I suppose. I don’t know if this is a matter of artistic influences so much as it is of temperament. But there’s always been something in the twilight that moves me, and a sunset speaks to me in a way that no sunrise ever has.”

Infinity plus:

And isn’t that exactly what he would be exploring with Jon and Sansa? It isn’t a conventional romance by any means. It could never exist normally until Jon’s parentage is revealed. And that is the tormented nature of it, that is the “bittersweetness” of it - it is rooted in realism, yes - and that to me, is Sansa receiving her true love, countering that no one would ever marry her for love. The gods will grant it to her, - but it’s wrapped up in this darker, morally ambiguous thing that is confusing for her, even though Jon would be her dream come true - he isn’t this neat little courtly golden package, but he embodies all those ideals more than any man she’s actually met. 

It’s subversive to what both the characters and the readers expect, and it’s just a brilliant plot twist that screams unpredictability whilst fitting together like a perfect puzzle. It creates internal conflict and evokes those themes that GRRM loves to explore. By giving the ‘heroes’ of the series a motif such as incest is extremely bold; because it challenges the reader greatly. Some people don’t want Jon to end up with Sansa because it contradicts the image that they have of him in his head - the heroic male who will save the world with his heroic counterpart and together they shall rule the seven kingdoms. To embrace his father’s family, claim a dragon, fulfil the prophecy, be the third head of the dragon, reject his stark-ness. Very predictable. Done to death a thousand times over, and yet - it is what the general audience wants/expects. It’s what the dudebros who call him the ‘GOAT’ want, it’s what the Targ stans want, it’s what the show watchers wanted - but what does Jon want? 

“Yet he could not let the wildlings breach the Wall, to threaten Winterfell and the north, the barrowlands and the Rills, White Harbor and the Stony Shore, even the Neck. For eight thousand years the men of House Stark had lived and died to protect their people against such ravagers and reavers . . . and bastard-born or no, the same blood ran in his veins. Bran and Rickon are still at Winterfell besides. Maester Luwin, Ser Rodrik, Old Nan, Farlen the kennelmaster, Mikken at his forge and Gage by his ovens . . . everyone I ever knew, everyone I ever loved.” (Jon II ASOS). 

“I would need to steal her if I wanted her love, but she might give me children. I might someday hold a son of my own blood in my arms. A son was something Jon Snow had never dared dream of, since he decided to live his life on the Wall. I could name him Robb. Val would want to keep her sister's son, but we could foster him at Winterfell, and Gilly's boy as well. Sam would never need to tell his lie. We'd find a place for Gilly too, and Sam could come visit her once a year or so. Mance's son and Craster's would grow up brothers, as I once did with Robb.

"He wanted it, Jon knew then. He wanted it as much as he had ever wanted anything. I have always wanted it, he thought, guiltily. May the gods forgive me. It was a hunger inside him, sharp as a dragonglass blade.” (Jon XII ASOS). 

“Red eyes, Jon realised, but not like Melisandre's. He had a weirwood's eyes. Red eyes, red mouth, white fur. Blood and bone, like a heart tree. He belongs to the old gods, this one. And he alone of all the direwolves was white. Six pups they'd found in the late summer snows, him and Robb; five that were grey and black and brown, for the five Starks, and one white, as white as Snow.”

He had his answer then." (Jon XII ASOS)

“He was the blood of Winterfell, a man of the Night's Watch. I will not father a bastard, he told her. I will not. I will not. "You know nothing, Jon Snow," she whispered.” (Jon VI ASOS)

“Ygritte answered for him. "His name is Jon Snow. He is Eddard Stark's blood, of Winterfell." (Jon VIII ACOK)

"Then you must do what needs be done," Qhorin Halfhand said. "You are the blood of Winterfell and a man of the Night's Watch." (Jon VI ASOS). 

“You can't be the Lord of Winterfell, you're bastard-born, he heard Robb say again. And the stone kings were growling at him with granite tongues. You do not belong here. This is not your place. When Jon closed his eyes he saw the heart tree, with its pale limbs, red leaves, and solemn face. The weirwood was the heart of Winterfell, Lord Eddard always said . . . but to save the castle Jon would have to tear that heart up by its ancient roots, and feed it to the red woman's hungry fire god. I have no right, he thought. Winterfell belongs to the old gods.” (Jon XII ASOS) 

“He sat on the bench and buried his head in his hands. Why am I so angry? he asked himself, but it was a stupid question. Lord of Winterfell. I could be the Lord of Winterfell. My father's heir.” (Jon XII ASOS).

“If I could show her Winterfell . . . give her a flower from the glass gardens, feast her in the Great Hall, and show her the stone kings on their thrones. We could bathe in the hot pools, and love beneath the heart tree while the old gods watched over us.” (Jon V ASOS). 

“If he must perish, let it be with a sword in his hand, fighting his father's killers. He was no true Stark, had never been one … but he could die like one. Let them say that Eddard Stark had fathered four sons, not three.” (Jon IX AGOT).

Look, at the end of the day - we don't know how the story will go, but based off of Jon’s character arc? His thoughts? His actions? His relationships with his siblings? The fact that he has warged into a magical beast directly associated with Starks? The North? The Old Gods? The weir wood trees? I think that instead of GRRM having Jon go down the conventional disadvantaged male hero finding out he is a secret prince and thus becoming King and a proper Targ, GRRM will subvert expectations (much to audience displeasure) and do the opposite.

Learning of his true identity will just cause more angst and a major identity crisis. The one thing Jon finds real and solid, that no one can take from him - is that he is Ned Stark’s son. He raised him. Perhaps they don’t share a direct blood link. But that doesn’t matter, what matters is that he was raised by him, loved by him. So instead of choosing his father’s family; embracing the secret prince persona and fighting for the throne - he’ll choose his mother’s family. And I think that is beautifully conclusive.

But back to Jon and Sansa. GRRM is given the opportunity to explore the sort of impact this incest motif has on fundamentally good people. And I think this is what he originally intended to do with Jon and Aria.

Yes, we have Jaime and Cersei, but this is real sibling incest and rife with toxic narcissism, possession etc. We have the T@rgaryens, which are messy beyond belief and practice it due to blood purity. 

But Jon and Sansa clearly differ from the rest, and that is because they exist partly as foils as to what we previously have seen. Similar to Jonnel x Sansa. By intentionally refraining from the development of a properly-close sibling relationship, making Jon and Sansa fundamental opposites visually, and associating them with entirely different cultures (yet writing their core personas as the same, their dreams compatible, their thought process and idealism similar).

GRRM manages to pave the way into such a romance that comes as a shock to the characters, the narrative, and readers themselves. Because no one, absolutely no one would see it coming, and the people who have been privy to the theory - immediately dismiss it - and become quite angry when it is brought up. Like I said earlier, a knee-jerk reaction. 

To quote this brilliant meta right here:

‘Whether Jon and Sansa fall in love is up to the author and his intended exploration of literary/mythic themes that his predecessors have deployed. He is not writing from (or for) the moral values of show watchers and book readers, or their anecdotal hopes for how things “should be.” He’s writing a narrative that breaks away from conventional storytelling and what we expect from such characters.’

…

‘ I don’t believe the author is giving up completely on the romantic dream. He has made Sansa more cautious, converted her dreams into mere prayers, and has forced her to examine her assumptions, but he’s not turning her into the H0und, who is too pessimistic and fatalistic as a suitor. Sandor’s assertion that all knights are killers makes fantasy so small, it’s eliminated. I think he is setting Sansa on a path where her dreams do die, and her life becomes about as romantic as that smokestack in Cleveland - until they start to come alive again when she travels North to the Wall.’

'That cold, hard reality is still present in the fact that they are brother and sister, but once Jon’s parentage is revealed, this will change. Like an inverted Cinderella (clock striking 12), the reality will become fantasy again. But it’s still inladen with this bitter reality of their relations. So taking this into account, I believe Jon and Sansa could happen because there is no other couple in the series with which GRRM can explore his fascination with fantasy becoming “smaller,” but not completely shrinking altogether. There are no two better characters who represent these ideas, who have the same quietly domestic desires - who do not (at the moment) actively lust for power and cause it to blind them.'

So in essence, Jon and Sansa exist as the subversion of romance. In a twisted, loving sort of way that is morally conflicting to the characters and audiences (for a time). That has existed between the lines, subtly and implicitly. That the audience gives absolutely no thought, because why would they? And if they do, they are abhorred by it - but I’d argue this is the entire point. But not for the reasons you think, not because of the incest - or J0nerys would disgust them.

From the moment he started the series, GRRM has employed incest as a major motif that impacts both the narrative and the characters - the causes the war, that contributes to T@rgaryen values, legacy etc, that propels aspects of narcissism and vitriol for characters like Cersei. It’s really really interesting stuff, as uncomfortable as it is - there are no other works that explore it so messily and beautifully with such nuance. 

I believe people seriously underestimate GRRM’s use of omission and subtext. Seriously, just because something is not explicitly stated, doesn’t mean it isn’t there. Unfortunately fans have such a surface level reading of the text, that they are unable to peel back the layers and get to its core. They don’t consider literary influences, or art, or the Romantic movement or anything. They claim they want a complex story that is subversive, yet they cheer for the three-headed dragon theory and all the most predictable plot points that have been absolutely done to death. But then they turn up their noses at anything that goes against the grain, or insinuates otherwise.  

R + L = J is a great example of existence within the subtext, yet nobody denies that it is there. No one is called crazy or delusional for it. Ned never thinks of Jon’s true parentage despite harbouring that secret for years, because it is buried deep in his subconscious.

And much to the audience’s surprise (and dismay I'm sure) that is how Jon and Sansa will manifest. This is the human heart in conflict with Jon and Sansa, but not just them - the readers as well. It’s pointing to us, asking us how we’ll possibly handle it. We’re meant to feel this conflict of emotions - anguish and torment and yet hope for something ineffable - just like the characters.

To be able to evoke that as a writer is one of the most impressive feats I can think of - and for the majority of it to exist at this point, in a subconscious limbo?  How utterly complex and painful and raw and intelligent but oh so very brilliant. Perhaps one of the most compelling things to come out of this entire series, if only the general audience was open to such discussions. But alas, we must contend with the community we have, and hope for a dream of spring to come upon us. 

[theetherealbloom]

AS GOOD A REASON - CH. 4 | OBERYN MARTELL

Chapter Four: I Will Be Your Executioner

Summary: You, who has made it her life's work to get retribution on those who mistreated and harassed you when you were a child. The scars on your body are a physical reminder of the suffering you endured at the hands of abusers, and they also provide the fuel for your years-long quest for retribution.

Paring: Oberyn Martell x Fem!Reader

Warnings: 18+ MDNI DEAD DOVE DO NOT EAT, MINORS GO AWAY, GoT is full of serious and harmful topics, mentions of SA, Rape (not the reader), Murder, Violence, Gore, War, Poison, Scars, Burns, Scratching, Su!c!de, AU, Age–Gap Romance, Angst, FLUFF, Eventual SMUT, Swearing, PTSD, Depression, Anxiety, Crying, Suggestive content, Flirting, Blood, War, Religion References, Nudity, Domestic Abuse, Incest, Prostitution, Weapons, Fire, Horror, Character Deaths, Rewrite Alternate Universe, Sex, Alcohol, Revenge, Panic Attacks, Anxiety Attack,

Word Count: 9k

A/N: OMFGGGGGG I’m actually writing non-stop. Wtf. Guys this part is heavily inspired by many quotes from the Glory. It’s so goooooddd! Go watch it. ALSO LMAO sorry for the chonky chapter. Hope you enjoy!

Side note: I’m dyslexic and English isn’t my first language! So I apologize in advance for the spelling and/or grammatical errors. As always, reblogs, comments, and likes are always appreciated. Thank you and happy reading!

Song: No Choir by Florence + The Machine

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THE WEDDING RECEPTION  

KING'S LANDING GARDEN, RED KEEP — AFTERNOON

The once-vibrant garden has turned into a scene from a nightmare. Joffrey’s lifeless body lies in his mother’s lap, the blood trickling from his nose and mingling with the vomit caking his lips. Cersei’s scream cuts through the chaos like a blade, her finger trembling as it points directly at Tyrion. 

"You did this! You did this!" she shrieks, her voice cracking with grief and rage.

Tyrion barely has time to react before three guards seize him from behind, their grip firm, dragging him back. The entire court is thrown into disarray, nobles scrambling, unsure where to look or what to say. The shock hangs in the air, heavy and suffocating.

Your eyes flick to Sansa as she watches, wide-eyed and frozen in place. Ser Dontos Hollard, the fool, sidles up to her, his face pale with urgency.

“We have to leave,” he whispers frantically, his hand tugging at her sleeve.

Sansa looks to you, her expression a mix of confusion and terror, searching for an answer. You meet her gaze and give the smallest, subtlest nod, speaking in the quietest voice that only she can hear.

"Run."

You keep your posture relaxed, every movement calculated, as though the chaos around you is nothing but a passing storm. Let it swirl, let them scream, none of it touches you.

Cersei’s piercing voice shatters the air again. “Take him! Take him!”

The guards drag Tyrion away through the crowd, his face a mask of resignation. You shift, sliding further to the edge of the gathering, your eyes tracking Sansa as she and Ser Dontos disappear, swallowed by the throng of horrified nobles. As Cersei’s head whips around, searching for a new target for her grief, her shrill voice rises again.

"Where is his wife? Where's Sansa?!"

Tywin's voice booms over the garden, commanding attention with the force of authority, “Find her. Bar the gates of the city. Seize every ship in the harbor.”

The tension mounts as Cersei, distraught and frenzied, clings to Tywin. “Where is she?!”

“No one leaves the capital!" Tywin's voice echoes like a decree from the gods themselves. "No one!”

The wheels are turning, but you remain steady, unmoved, watching everything unfold like a distant observer.

KING'S LANDING, RED KEEP — DUSK

The bells toll ominously across the city, signaling not just the king's death but the beginning of a lockdown. What had begun as a celebration of young love and power had spiraled into a suffocating horror—a wedding turned funeral. The streets were locked down, the gates barred, and whispers spread like wildfire among the servants. Every corner of the Red Keep hummed with dread.

You sat in the dim light of your chambers, fingers tracing over the pages of your journal. On the list of names you had scrawled, Joffrey’s stood out, now crossed out in thick ink. The weight of his demise did not lift your heart, but there was a cold satisfaction in seeing that line through his name. 

A knock on your door broke the silence. You didn’t even look up, your voice calm, measured. “Enter.”

Serena stepped in, her movements quiet and careful as she shut the door behind her, turning the lock with a soft click before coming to sit beside you. Her eyes fell to your journal, to the page you’d been reading, and her gaze lingered on the crossed-out name.

Her voice was soft when she asked, “Did you…”

You didn’t hesitate. “It wasn’t me who slipped the poison.” Your tone was blunt, matter-of-fact. Serena was smart—she could piece together the rest on her own. She nodded slowly, absorbing the truth behind your words.

“It doesn’t matter,” she said softly. “I’d still like to thank you. For doing this.”

Her gratitude was real, but it didn’t touch you. Nothing did anymore. You turned to her, your expression as unreadable as stone.

"I didn’t do it for thanks," you said, your voice as cold as the air before a storm. “I did it because people like him—people like them—will only understand one thing from now on.” You paused, holding Serena’s gaze, unblinking. “They will suffer, just as we have.”

Serena nodded, her lips tightening into a thin line. She knew. She understood.

And so, your revenge continued. Joffrey’s name may have been crossed out, but there were others. And as you sat there, cold and detached, you knew this was only the beginning of a longer reckoning. The suffering had only just begun.

THE NEXT DAY 

STREETS OF SILK, CHATAYA’S BROTHEL — DAY

The city pulsed with a nervous energy, the fallout of Joffrey’s death rippling through every alleyway, every corner of King’s Landing. It was rare for you to have a day free from the palace, but amidst the chaos, no one had cared when a few servants slipped away. The Red Keep had become a den of paranoia, each person trying to avoid the eye of suspicion. A perfect time to disappear—even if just for a while.

As you walked through the streets, your steps silent, deliberate, you overheard a conversation between two guards. Their voices were low, yet their words unmistakable. Tywin plans to confront Oberyn. The Hand of the King knew of Oberyn's frequent visits to Chataya’s brothel—it was no secret that the Dornish prince indulged himself openly. Tywin’s suspicions were spreading like wildfire, and you needed to be there to hear what he might uncover.

Pulling your cloak tight around you, you kept to the shadows, slipping between the narrow alleys that twisted like veins through the streets of silk. The map of the city was etched into your mind as clearly as the secrets you kept—memorized over years of service, of watching and waiting. 

You reached the brothel just as the sun began to dip lower in the sky, casting long shadows across the cobblestones. Slipping through the back door, you moved with the practiced silence of someone who knew how to remain unseen. A shadow among shadows. The moans and laughter of the brothel’s patrons created a cover of noise, perfect for hiding in plain sight.

The scent of incense and sweat filled the air, thick and cloying, but you barely noticed. Your eyes were fixed ahead, scanning for any sign of Tywin or his men. You crept further into the brothel, slipping behind a large stone pillar that stood near one of the darker corners of the room. Hidden in the gloom, you were just another part of the architecture, unseen, unnoticed.

The dagger strapped to your thigh pressed reassuringly against your skin, a small comfort in the uncertainty of the moment. You had long since learned that in King’s Landing, secrets and steel were your best companions. One cut as deep as the other, and both had their uses. If anyone saw you, anyone grew suspicious—you would be ready.

You crouched lower behind the pillar, listening as Oberyn’s voice carried faintly from one of the rooms. His tone was as smooth and dangerous as ever, a man who never feared consequences, not even from Tywin Lannister. You stayed still, your heart steady but your mind sharp, waiting for the moment when Tywin would confront him. 

You could feel it—the unraveling was only just beginning. The tension in the city would soon give way to something far darker, and you were determined to be ahead of it, to see everything before it was hidden away in shadows again.

As footsteps echoed down the hall, heavier, more deliberate, you pressed further into the shadows. Tywin. You could not afford to be seen, but you could not afford to miss this either. Information was your weapon. And today, you would sharpen it.

Just in time, you watched as three naked whores and Ellaria Sand stepped out of one of the rooms. Her dark, wavy hair cascaded down her bare shoulders as she laughed softly, her gaze briefly scanning the room before she and the others disappeared down the hall. The guards trailed after them, though one remained standing by the entrance. Close, but not too close.

The door to Oberyn’s room was slightly ajar.

You slipped inside with practiced precision, the heavy scent of incense clinging to the air. The room was bathed in the warm, golden light of the midday sun, filtering through the heavy curtains. Oberyn Martell was seated on the bed, shirtless and glistening with sweat, his bronzed skin catching the light as he stretched with the grace of a panther. The gods must have shown you some favor—he was still clothed from the waist down. 

His gaze shifted lazily toward you, a faint smirk tugging at his lips as if your presence amused him. He knew you were there long before you entered.

“Would you like to sit?” he asked, his voice low, teasing. He gestured casually toward a chair in the corner, his eyes gleaming with mischief.

Tywin Lannister stood at the other end of the room, his expression as hard as stone, though his eyes betrayed a flicker of irritation. “No, thank you,” Tywin replied curtly, his voice cutting through the silence like a blade.

Oberyn’s movements were slow, deliberate, as he rose from the bed, his lean body practically dripping with confidence. He stepped toward a small cart by the window, where a tray of wine and goblets waited. “Some wine?” he offered again, pouring himself a generous amount, the dark liquid swirling in the cup.

Tywin, still standing near the door, remained unmoved. “No, thank you,” he repeated.

Oberyn, with a patterned towel draped over his shoulder, took a slow sip of the wine, his eyes never leaving Tywin’s. “I'm sorry about your grandson,” he said smoothly, though the sincerity in his tone was questionable.

Tywin’s lips twitched, barely containing his disdain. “Are you?” he asked, the question laced with accusation.

Oberyn shrugged, moving across the room like a predator sizing up his prey. “I don't believe a child is responsible for the sins of his father. Or his grandfather. An awful way to die.” His voice was casual, but his eyes—those dark, piercing eyes—were watching Tywin’s every move.

The tension in the room was recognizable, thick enough to choke on. You remained hidden in the shadows, every word falling like stones in a still pond, sending ripples of suspicion through the air.

“Which way is that?” Tywin asked, his voice sharp.

Oberyn tilted his head, a sly smile tugging at the corner of his lips. “Are you interrogating me, Lord Tywin?” he purred, settling onto a plush bed of pillows, lounging with the practiced grace of a man who feared nothing.

“Some believe the king choked,” Tywin mused, watching Oberyn closely.

“Some believe the sky is blue because we live inside the eye of a blue-eyed giant,” Oberyn replied, his tone mocking. He took another sip of wine before adding, “The king was poisoned.”

Tywin’s eyes narrowed, the faintest hint of suspicion creeping into his expression. “I hear you studied poisons at the Citadel.”

Oberyn’s smile widened, like a cat who had caught the scent of a mouse. “I did. This is why I know.”

Tywin’s voice dropped, edged with danger. “Your hatred for my family is rather well known. You arrive at the capital, an expert in poisoning, and days later my grandson dies of poisoning.”

Oberyn didn’t miss a beat. “Rather suspicious,” he agreed with a chuckle. “Why haven’t you thrown me in a dungeon?”

Tywin's gaze hardened. “You spoke with Tyrion in this very brothel on the day that you arrived. What did you discuss?”

“You think we conspired together?” Oberyn raised an eyebrow, amused.

“What did you discuss?”

Oberyn’s playful demeanor faltered, as he moved to stand, approaching Tywin, his voice dropping into something darker, colder. “The death of my sister.”

Tywin did not flinch, though his eyes gave away nothing. “For which you blame me.”

Oberyn leaned forward slightly, his voice like steel wrapped in silk. “She was raped and murdered by the Mountain. The Mountain follows your orders. Of course I blame you.”

The silence that followed was thick with unspoken threats. You remained perfectly still, your heart a steady drumbeat in your chest as you watched the two men circle each other, both poised for an attack that would never come.

Tywin, calm as ever, gave the faintest shrug. “Here I stand unarmed, unguarded. Should I be concerned?”

Oberyn smiled, a dangerous glint in his eyes. “You are unarmed and unguarded because you know me better than that. I am a man of reason. If I cut your throat today, I will be drawn and quartered tomorrow.”

“Men at war commit all kinds of crimes without their superiors' knowledge,” Tywin said, almost conversationally.

“So you deny involvement in Elia's murder?”

Tywin’s voice remained steady. “Categorically.”

Oberyn’s gaze sharpened, his smile fading into something colder. “I would like to speak with the Mountain.”

“I’m sure he would enjoy speaking with you,” Tywin said evenly.

Oberyn’s lips curled into a grim smile. “He might not enjoy it as much as he thinks he would.”

Tywin’s eyes flickered with a dangerous glint. “I could arrange for this meeting.”

Oberyn’s brow arched, intrigued. “But you want something in return.”

Tywin’s voice was calm, measured. “There will be a trial for my son. As custom dictates, three judges will render a verdict. I will preside. Mace Tyrell will serve as the second judge. I would like you to be the third.”

Oberyn’s amusement returned, but his tone remained cautious. “Why?”

“Not long ago, the Tyrells sided with Renly Baratheon. Declared themselves enemies of the throne. Now they are our strongest allies.”

Oberyn shrugged, taking another sip of his wine. “Well, you made the Tyrell girl a queen. Asking me to judge at your son's trial isn't quite as tempting.”

Tywin stepped forward, his voice dropping low. “I will also invite you to sit on the small council to serve as one of the new king's principal advisors.”

Oberyn studied Tywin, his eyes narrowing slightly. “I never realized you had such respect for Dorne, Lord Tywin.”

“We are not the Seven Kingdoms until Dorne returns to the fold,” Tywin replied, his voice cold, calculated. “The king is dead. The Greyjoys are in open rebellion. A wildling army marches on the Wall. And in the East, a Targaryen girl has three dragons. Before long, she will turn her eyes to Westeros. Only the Dornish managed to resist Aegon Targaryen and his dragons.”

Oberyn’s smile returned, slow and sharp. “You're saying you need us? That must be hard for you to admit.”

Tywin’s expression didn’t change. “We need each other. You help me serve justice to the king's assassins, and I will help you serve justice to Elia's.”

The room seemed to hold its breath as Oberyn fell silent, his gaze turning inward, distant, as if he were calculating a hundred possibilities all at once. The tension lingered, thick and unspoken, between him and the absent Tywin. The delicate balance of power that had just played out was clear—two predators circling one another, masking threats with diplomacy.

You pressed yourself deeper into the shadows, watching Oberyn with a sharp, practiced gaze. His expression remained contemplative, still lost in the aftermath of his exchange with Tywin. Outside the room, the echo of Tywin’s footsteps faded into the distance, and the door clicked shut with finality, leaving behind an uneasy stillness that hung thick in the air.

But you had lingered too long. In a silent breath, you pulled back into the shadows, slipping toward the door like a shadow yourself. You moved swiftly, soundless, as you had been trained—disappearing without a trace. The world outside was teeming with noise and life, but none of it noticed your departure. You melted into the alleyways, your cloak drawn close, your steps swift and measured as you darted through the maze of streets that threaded King’s Landing. 

The market was alive with its usual chaos, the scent of spices mingling with the salt of the sea, merchants shouting over one another, selling everything from silks to stale bread. You wove through the crowds, your face hidden beneath the hood of your cloak, eyes scanning your surroundings. You had always known how to vanish in plain sight.

But then, the sound hit you.

A sharp sizzle, the searing of meat against hot metal. Your steps faltered as the scent of charred pork filled the air, thick and overwhelming, clinging to your skin like smoke. For a moment, the world around you seemed to blur—the market, the people, the shouts—it all dimmed. Your breath caught in your throat, your chest tightening as the memories surged, unbidden, unstoppable.

Flames licking at your skin, the scent of burning flesh, the sound of your own screams echoing in the back of your mind. The fire that had marked you, that had seared itself into your memory, now clawed its way to the surface.

Your hands trembled as you stumbled into a corner of the street, your back pressed hard against the cool stone of a wall. The sounds of the market seemed distant now, drowned out by the roar of the fire in your mind. The panic clawed at your chest, squeezing tighter and tighter until it felt like you couldn’t breathe. 

You gasped, desperate for air, the weight of your cloak suddenly too heavy, the noise of the market too loud. The edges of your vision blurred, and the ground beneath you felt like it was spinning. The world seemed to close in on you, suffocating, the past and present melding into one.

Burning.

You clenched your fists, nails digging into your palms in an attempt to ground yourself, to remind yourself that you were no longer there. But the searing sound, the scent—it was too much. The memories flooded you, pulling you under. You pressed your back harder into the wall, trying to fight your way out of the suffocating panic, trying to escape the fire that only existed in your mind.

But it felt so real.

Your breaths came in short, shallow gasps, and your vision swam. You had to get out. Away from the market, away from the noise, away from the memory that gripped you like a vice. You pushed yourself off the wall, your legs shaky but determined, and forced yourself back into the crowd, pulling your cloak tighter around you.

With every step, you fought to steady your breathing, to clear the haze from your mind. The streets blurred around you as you moved, each footfall feeling heavier than the last, but you pressed on. Away from the market. Away from the sound.

Away from the fire.

KING'S LANDING, RED KEEP — AFTERNOON

By the time you returned to the castle, fatigue weighed heavily on your limbs. The maze of tunnels under the Red Keep stretched out before you like a winding serpent, familiar yet suffocating. Each step felt heavier than the last, your breath shallow, as the cool stone walls seemed to press closer. 

As you rounded a corner, your thoughts interrupted by hurried footsteps, you almost collided with someone—Podrick Payne. His wide-eyed expression immediately softened when he realized it was you.

“Oh, my apologies,” Podrick stammered, stepping back in his usual bashful manner. 

You shook your head, waving off the apology. "No, it was my fault. I wasn’t looking where I was going."

He hesitated, shifting his weight from one foot to the other. "Oh well…"

There was something about his awkwardness, a sincerity in the way he held himself. Podrick was kind, genuine—a rarity in King's Landing. You had a peculiar way of prying information from him without much effort. It wasn’t something you set out to do, but it was almost as though the right questions spilled from your lips, and he couldn’t help but answer.

You tilted your head slightly, eyes narrowing as you noticed the tension in his shoulders. "Are you heading somewhere urgent?"

Podrick blinked in surprise, glancing at the wineskin he carried. “Yes, I’m on my way to see Lord Tyrion in the cells.”

Your gaze dropped to the wineskin, lips curving into a faint smirk. "You’re bringing him wine?"

He nodded, looking somewhat guilty, as though he’d been caught red-handed. 

"The guards will take it from you, you know that, right?"

Podrick’s expression flickered with brief defeat, but he nodded again. The innocence in his eyes spoke volumes, but you weren’t fooled. Deep down, you knew he was smuggling more than just wine. You sighed, rubbing your temples as the exhaustion from the day wore at your patience.

"They've chosen the judges for his trial," you added, your voice soft but deliberate.

Podrick glanced around as if someone might overhear, then leaned in slightly. “I heard. Lord Tywin, Mace Tyrell, and Prince Oberyn of Dorne."

"Word travels fast," you murmured, more to yourself than to him. Your eyes drifted over his face, reading the tension etched into his features. His frown deepened, and you couldn’t help but ask, “What’s wrong? You’re frowning.”

Podrick’s sigh was almost inaudible, but in the quiet of the dimly lit tunnel, it seemed to echo. He lowered his voice as if confessing a secret. "There’s something else. A man—someone I didn’t know—came to me. He asked if I’d testify against Lord Tyrion. Said I’d be named Ser Podrick Payne if I told the judges Tyrion bought a poison called the Strangler.”

Your stomach twisted at the mention of the poison, but your expression remained impassive. You frowned, though, as the weight of his words sank in. Podrick, in his innocence, stood at the crossroads of something much darker than he fully understood.

"You…" You took a slow, deep breath, steadying your tone. "Lord Tyrion has been kind to you."

He met your gaze, his eyes filled with uncertainty. "He has."

There was a heavy silence between you, the kind that lingered just long enough to feel uncomfortable. The weight of your secrets hung in the air, unspoken, but Podrick wasn’t foolish. He knew you were holding back, but he never pressed. 

"Do you know what happened?" he asked softly, as though afraid of the answer. His voice was tentative, laced with the hope that you might offer him clarity. "Who did it?"

You blinked, your gaze distant, the apathy you had so carefully cultivated slipping back into place. His question lingered, but you gave him no answer—just a soft pat on his shoulder, a rare gesture of kindness in a world that had none to spare.

"You better be careful, Podrick," you said, your voice low, carrying a quiet weight. "You’re one of the rare ones out there who are truly good. Take care of yourself."

His lips parted as if to say something more, but you had already turned away, disappearing into the shadows of the castle, leaving him standing there beneath the flickering torchlight.

KING’S LANDING, QUAY OF THE PORT BY THE SEA OF THE RED KEEP — AFTERNOON

The salty breeze whipped across the sea, crashing waves against jagged rocks below as you crouched beneath the cliffsides. Hidden from sight, you watched with keen eyes as Jaime Lannister and Bronn sparred near the water's edge, the sound of clashing steel ringing in the air.

Jaime’s face was flushed, his breath labored, but his movements were sharper than before. He spun his sword with renewed vigor, pressing the attack against Bronn. But the sellsword was as sharp as ever, his parries quick, his footwork steady. They deadlocked, Jaime’s golden hand clashing with Bronn’s grip. With a wicked grin, Bronn swatted Jaime across the face, sending him sprawling onto the ground with an unceremonious thud.

Jaime let out a grunt, pushing himself up from the dirt. “What the hell was that?” he spat, wiping the dust from his tunic.

Bronn tossed Jaime’s golden hand back to him with a smirk. “That was me knocking your ass to the dirt with your own hand."

Jaime caught it, shaking his head. “You’re a rare talent. When you’re fighting cripples, anyway.”

“You learned to fight like a good little boy," Bronn quipped, his grin widening. "I’ll bet that thrust through the Mad King’s back was pretty as a picture. You want to fight pretty, or you want to win?”

Jaime’s jaw clenched. “You talk to my brother this way?”

“All the time. He got used to it.”

They sat together on a low stone wall, the tension easing between them. Jaime took a swig from a wineskin before handing it to Bronn.

“Do you think he did it?” Jaime asked, his voice low, hesitant.

Bronn shook his head. “No. Oh, he hated the little twat, sure. But who didn’t? Poison’s not his style. Or murder, for that matter. You want to know for sure, why don’t you ask him?”

Jaime remained silent, his gaze distant.

“You haven’t been to see him yet, have you?” Bronn probed, his tone carrying an edge of judgment.

Jaime stood abruptly, tossing the wineskin back to Bronn. “We’re done for today.”

As Jaime walked away, Bronn called out, “Your brother ever tell you how I came into his service?”

Jaime paused, his back still turned. “You stood for him in his trial by combat at the Eyrie.”

“Aye,” Bronn replied, his voice steady. “But only when Lady Arryn demanded the trial take place that day. You were his first choice. He named you for his champion because he knew you’d ride day and night to fight for him. You gonna fight for him now?”

Jaime’s silence lingered, the weight of Bronn’s words hanging in the air as he disappeared into the distance. 

Once Jaime was gone, Bronn stood alone, shaking his head. That’s when you emerged from your hiding spot, the faint sound of your boots scraping against the stone catching his attention. He turned, spotting you walking towards him, your loose long-sleeve tunic billowing slightly in the wind, trousers and boots practical for the sparring you had in mind. The sword sheathed at your side glinted in the afternoon light, a far cry from the ladylike appearance most would expect.

You let out a low whistle, drawing a chuckle from Bronn as you approached. “You really handed it to him, huh?” you remarked, eyes twinkling with amusement.

“Who knew today would be the day you make a joke?” Bronn quipped, his smirk never far from his lips.

You huffed, crossing your arms. “Might as well get a laugh in once in a while.”

Bronn gave you a quick once-over, his eyes sharp as always. “You here to practice?”

In response, you tossed a small pouch of gold coins at him, which he caught with a practiced ease. “It’s been a while. Was wondering if you were simply busy or if you’d run off.”

You shrugged, the weight of the past few days pressing on your shoulders. “Well, it hasn’t been quiet at the Red Keep.”

“Aye,” Bronn said with a knowing look, his expression softening for just a moment. Then, with his usual swagger, he added, “Well, let’s see if that sword of yours still works.”

The two of you squared off, the tension of the moment melting into the familiar rhythm of training. Bronn was a formidable opponent—quick, sharp, and never one to play by the rules. He tested you immediately, launching a fast strike aimed at your side. You parried it easily, the weight of your sword light in your hands.

"You've gotten faster," Bronn noted, his tone almost begrudging as he stepped back to assess you, his sharp eyes taking in every movement, every subtle shift of your stance. 

You shrugged, gripping your sword a little tighter, the weight of his words sinking in deeper than he realized. Faster—it wasn’t just speed you needed. Strength. Precision. Ruthlessness. All of it would be necessary if you were going to do what needed to be done. Your thoughts flickered briefly to him, to the Mountain, and the moment you had been turning over in your mind, rehearsing endlessly in the quiet of your own head.

One well-placed strike—that’s all it would take. You’d studied his movements, watched how he fought. Brutal. Unforgiving. He crushed his opponents like insects beneath his feet, but there was always a weakness. There had to be. You just had to find it, and when you did, the Mountain would fall.

But you didn’t say that out loud.

Instead, you offered Bronn a casual shrug, masking the storm of thoughts beneath your calm expression. “Learned a few tricks while I was busy,” you replied with a half-smile, keeping your voice light.

Bronn smirked, though his eyes still lingered on you as if trying to peel back the layers of your thoughts. "Busy, huh? Hope those tricks keep you alive long enough to show me more."

He didn’t press, and you were grateful for it. There was no need to tell him, not yet. The time would come soon enough, and when it did, you'd be ready.

A FEW DAYS LATER

KING'S LANDING, THE THRONE ROOM — DAY

You stand off to the side, shrouded in the shadows of the grand pillars, your eyes flickering over the scene before you like a predator studying its prey. The High Septon stands at the heart of it all, his voice booming as he leads the coronation of Tommen Baratheon. The crowd has gathered, a sea of nobles dressed in their finest silks, feigning respect and devotion. Your gaze drifts, settling momentarily on Ser Jaime Lannister, who patrols near the back, his golden hand gleaming in the soft light.

"May the Warrior grant him courage and protect him in these perilous times," the High Septon intoned, his voice heavy with ceremony. "May the Smith grant him strength that he might bear this heavy burden. And may the Crone, she that knows the fate of all men, show him the path he must walk and guide him through the dark places that lie ahead."

Tommen’s face, still soft with boyish innocence, betrays the weight of the moment. You can see it in his eyes—the bewilderment, the fear hidden behind a facade of calm. He’s a puppet, and the strings are woven through the hands of those more powerful. But he’s not the one you’re watching.

The High Septon finishes, his hands raised toward the heavens. "In the light of the Seven, I now proclaim Tommen of the House Baratheon, First of His Name. King of the Andals and the First Men and Lord of the Seven Kingdoms. Long may he reign!"

"Long may he reign!" the crowd echoes in unison, their voices a rehearsed chorus.

Your eyes narrow as Tommen bows, exchanging a fleeting glance with Margaery Tyrell. The hint of a smile plays on her lips, barely noticeable unless you knew what to look for. It’s the look of a woman who knows exactly what she wants—and how to get it. Cersei sees it too, her expression tightening, though she maintains her grace.

You smirk to yourself. The plot never stops, not for a moment.

The grand hall is quieter now, though the air still buzzes with soft chatter. Tommen sits awkwardly on the Iron Throne, his small frame swallowed by its looming presence. Tywin Lannister stands beside him, commanding the room with nothing but his cold, stern silence. The line of courtiers shuffles forward, each taking their turn to bow and offer hollow pleasantries.

"Your Grace," Grand Maester Pycelle rasps, his aged voice grating against your ears.  

"Your Grace," Varys follows, his tone smooth, unreadable.

Tommen exchanges nods and small smiles, barely keeping up the appearance of a ruler. Margaery lingers nearby, her gaze soft but calculating. It’s Cersei’s eyes that catch yours, though, burning with possessiveness and suspicion as they land on Margaery.

Your fingers twitch at your side, the weight of your dagger pressing against your thigh through the fabric of your cloak. There’s no need for it now, but the comfort of steel is a constant reminder of why you’re here—watching, waiting, collecting secrets like coins.

The crowd parts as Cersei approaches Margaery, offering smiles to the onlookers as she moves through the room with the grace of a lioness on the hunt. You observe it all, taking in the flickers of power, the undercurrents that ripple beneath the surface of every interaction.

You sigh, stepping away from the scene and slipping back into the shadows. There’s nothing more to see here. The coronation is just another piece in the larger puzzle, and the trial—the real battle—is yet to come. Your secrets can wait, for now.

KING'S LANDING, THE GARDEN — DAY

The day was warm, the sun casting a golden glow over the lush greenery of the royal gardens. The scent of blooming flowers mingled with the salty air from the sea, but none of that registered as you went about your tasks. Servant duties, tedious and endless, consumed most of your time. Today, it was carrying supplies from the kitchen to the gardens—bundles of herbs, fresh fruits, a few linens. You balanced them carefully in your arms, eyes scanning for a spot to drop them off before you moved to the next errand.

As you passed through the garden's winding paths, the soft murmur of voices caught your attention. You stilled, instinctively pressing yourself into the shade of a tall shrub, out of sight. The voices were familiar—Cersei Lannister and Oberyn Martell. The temptation to eavesdrop, to gather just a bit more information for yourself, was too great to resist.

You shifted slightly, your heart thudding in your chest, trying not to rustle the bushes as you angled your body closer. From where you stood, you had a clear view of Oberyn sitting on a stone bench, writing on a scroll. He paused as Cersei approached, her guards flanking her.

"Your Grace," Oberyn greeted her, his voice low and polite as he stood.

Cersei’s cold smile barely reached her eyes. "Prince Oberyn. Writing letters?"

"A poem, actually," Oberyn replied, his tone light, yet unreadable.

Cersei’s eyebrow raised slightly, more curious than amused. "May I show you the gardens?"

Oberyn glanced down at the scroll he had been working on before standing fully to his feet. "I couldn’t very well refuse a royal escort."

"No, you couldn’t," Cersei said, a slight edge in her voice. You could almost see the power shift between them as they started walking side by side through the winding paths of the garden, their steps measured, calculated.

You trailed discreetly behind them, clutching your bundle tightly, ears straining to catch every word.

"I didn’t realize you were a poet," Cersei remarked, her voice laced with feigned curiosity.

Oberyn chuckled. "Not a very good one."

"For your paramour?"

"For one of my daughters," Oberyn corrected, his voice softening at the mention of his children.

Cersei’s eyes flicked toward him. "You have several, don’t you?"

"Eight," he said, a touch of pride in his voice.

"Eight? Eight daughters?" Cersei repeated, incredulous.

Oberyn nodded. "The fifth is difficult. I named her after my sister, Elia."

At the mention of Elia’s name, your heart clenched. You had always known the depth of his loss, but hearing it aloud, even in passing, reminded you of the storm that brewed constantly beneath Oberyn’s surface.

"Beautiful name," Cersei mused.

"Yes," Oberyn agreed, though his tone darkened. "But I can’t say it without turning sad. And after I turn sad, I grow angry."

"Perhaps that’s why she’s difficult," Cersei remarked, her tone dripping with cynical wisdom. "The gods love their stupid jokes, don’t they?"

Oberyn's gaze narrowed slightly, intrigued. "Which joke is that?"

Cersei’s smile was sharp, almost mocking. "You’re a prince of Dorne. A legendary fighter. A brilliant man feared throughout Westeros. But you could not save your sister. I’m a Lannister. Queen for nineteen years. Daughter of the most powerful man alive. But I could not save my son. What good is power if you cannot protect the ones you love?"

Her words struck like venom, her bitterness palpable. You watched Oberyn’s face shift, his jaw tightening as the memories of his sister undoubtedly flashed behind his eyes.

"We can avenge them," he said after a pause, his voice resolute, cutting through the air like a blade.

Cersei met his gaze, her lips curling slightly. "Yes, we can avenge them."

Oberyn tilted his head, watching her intently. "You really believe Tyrion murdered your son?"

Without hesitation, Cersei replied, "I know he did."

Oberyn’s expression remained calm, though you could sense his skepticism. "We will have a trial, and we will learn the truth."

"We’ll have a trial, anyway," Cersei muttered, her voice tight with impatience. "I haven’t seen my daughter in over a year."

Oberyn’s face softened slightly. "The last time I saw her, she was swimming with two of my girls in the Water Gardens. Laughing in the sun."

Cersei’s eyes briefly glistened with unshed tears. "I want to believe that. I want to believe she’s happy."

Oberyn’s tone was gentle now, sincere. "You have my word. We don’t hurt little girls in Dorne."

Cersei’s voice was a mere whisper, filled with more sadness than she would ever admit aloud. "Everywhere in the world, they hurt little girls. Would you bring her a gift for me? I wasn’t there for her name day. I don’t know when I’ll see her again."

Oberyn’s gaze softened as he nodded. "Anything at all."

Cersei pointed toward the bay, her eyes lingering on a ship. "The best shipwrights in King’s Landing have been working on it for months. Myrcella loves the open water."

Oberyn’s lips curled into a small, understanding smile. "I will have it sailed down to Sunspear for her."

Cersei turned to face him fully, her expression momentarily vulnerable. "Please tell her... her mother misses her very much."

She left then, her guards following behind as her regal figure disappeared from the garden. Oberyn stood still, watching her go with an unreadable expression.

In the silence that followed, Oberyn’s voice cut through the air, calm and composed. "You can show yourself now."

Your breath hitched, but you stepped out from behind the pillar, clutching the supplies you had been carrying, your heartbeat still racing from all you had overheard.

Oberyn's dark eyes, gleaming with that unspoken intensity, never left yours. The weight of his gaze made the space between you feel smaller, heavier, as though every unspoken word lingered in the air. He took a slow step toward you, his expression caught somewhere between amusement and curiosity.

"I still don’t know your name," he said, the faintest smirk tugging at his lips, though his tone remained casual, as if this was just another conversation, nothing more than passing the time.

Your heart skipped a beat, and you swallowed, straightening slightly. "It’s..." You hesitated for a second, then finally offered, your name.

Oberyn hummed in acknowledgment, his smirk widening just a little, as though your name now held a secret weight between the two of you. He moved closer, studying your face carefully. He repeated your name, tasting the name on his tongue like it was something to be savored.

A silence hung between you for a moment, but Oberyn had a way of piercing through it with his words. His eyes narrowed slightly, his head tilting just enough to catch your gaze again. "Tell me," he began, his voice soft but laced with a quiet danger, "did you poison the king?"

Your chest tightened at the question, though you knew it was coming. You didn't flinch, your heart steady despite the accusation hanging in the air. Meeting his gaze, you shook your head firmly, your voice calm but resolute. "No. I didn’t."

Oberyn’s intense gaze lingered on you, as if he was peeling away the layers of who you were, searching for the truth hidden beneath your calm exterior. His dark eyes burned with quiet judgment, tempered by curiosity. The corner of his mouth tugged upward, barely perceptible, when he let out a soft hum, the tension in his posture easing. "Good," he murmured, the single word carrying weight, as though it was meant to confirm something greater. Yet, behind his eyes, the storm never ceased, always swirling, always waiting.

You inhaled deeply, the air between you thick with unspoken things. For a long moment, you said nothing, your mind racing through the years, the faces, and the memories long buried under the weight of time and pain. The ocean waves crashed in the distance, steady and unyielding, much like the man before you. The ships bobbed on the horizon, their sails catching the wind as if they were fleeing toward freedom, away from all that was this city—this place of blood and betrayal.

You turned your gaze toward the sea, your voice low as you spoke, almost as if the memory itself had pulled the words from your lips. "You were right, your grace. I knew her… your sister, Princess Elia." 

Oberyn’s expression flickered, a subtle shift from curiosity to something more personal, more vulnerable, as he stepped closer to you. His presence was quiet but commanding, the warmth of him beside you drawing your attention. You didn’t look at him; instead, you watched the ships, the waves crashing against the cliffs in the distance. 

"It was a long time ago," you continued, your voice soft, filled with a kind of sorrow that time couldn’t quite erase. "I wasn’t a good person then… I don’t know if I am now." Your words hung in the air, fragile but true.

The wind whipped through your hair as the memory surged forth, pulling you back to that day—the day you first met her. You had been standing on the cliffs near Sunspear, staring down at the waters below. The waves had seemed so inviting, so final. You’d been ready to let go, ready to fall and end the pain that had gripped you for far too long. 

But then, you heard a cry. 

Princess Elia had been in the water, struggling against the currents, her graceful arms failing to keep her afloat. It was instinct, something primal within you that made you dive into the water, though you had been moments away from letting it take you. You swam with a strength you didn’t know you possessed, reaching her, pulling her to the shore. You’d saved her, though you had been prepared to die.

When you reached the sand, both of you gasping for breath, Elia had looked at you, her deep brown eyes searching yours, knowing, seeing far too much. "You were going to jump, weren’t you?" she had asked, her voice soft but piercing. 

You had only nodded, the pressure of your decision still clinging to you like the seaweed wrapped around your legs. 

Elia had smiled then, a gentle, sorrowful thing. "Thank you for saving me… even when you couldn’t save yourself." Her words had haunted you ever since.

The memory faded, and you were back in the present, the ocean still stretching before you, endless and indifferent. Oberyn stood beside you, silent for a long moment, absorbing your words. His expression remained unreadable, but his eyes flickered with understanding, with a shared pain.

"You were the one," he said quietly, almost as if speaking to himself. "The servant girl… the one who survived." His voice was careful, probing, seeking confirmation of a story long buried under the rubble of war and tragedy.

Your face remained void of emotion as you turned to meet his gaze, your eyes hollowed by the weight of the years and the scars you carried. "I haven't forgotten even a day," you replied, your voice eerily calm, devoid of the turmoil you felt. "Some hatred resembles longing. It's impossible to get rid of." 

Oberyn's gaze lingered on you, his expression softening, though the tempest within him still raged. His eyes, dark and intense, mirrored the turmoil that churned beneath your own surface. “I’ve also hit rock bottom before,” he said, his voice carrying a rare gentleness. “So, I understand the weight of your anger.”

His words hung in the salt-tinged air, a bridge between the two of you—both bound by memories of a woman long gone, and a shared desire for something that felt like justice but tasted more like vengeance. The sea continued its relentless assault on the cliffs, indifferent to your pain, your histories, and the scars neither of you could erase. The world moved on, as uncaring as ever, while you stood still in the face of it.

Oberyn turned slightly toward you, his expression more searching now. "Is that why you came to King's Landing?" His question was quiet, but the weight of it settled between you like a stone dropped into a deep well.

Without turning to face him, you let out a bitter laugh, the sound lost in the crash of waves. "Isn’t that why you’re here too?"

The words hit him with a force that made him pause, a flash of something unreadable passing across his face. Oberyn was silent for a moment, studying you as if trying to gauge the depth of your resolve. He shifted, his usual confidence tempered by something more cautious now. "You know what revenge does to people," he said softly, his tone laced with concern. "I’ve seen it. I’ve lived it. It devours you, bit by bit, until there’s nothing left but the anger. It’s… not something someone like you should carry."

You scoffed, the words cutting through you, sharper than any blade. "Someone like me?" you echoed, turning to face him fully for the first time since the conversation began. Your eyes locked onto his, challenging, as if daring him to explain what he meant.

Oberyn’s brow furrowed, a rare crease in the otherwise unshakeable mask he wore. "You carry enough," he said, voice low but firm. "You shouldn’t be the one to deal with this. It will change you."

His worry was unexpected, disarming even, and for a moment, you saw the weight of his own guilt reflected in his gaze—the burdens he carried, the losses he had never fully avenged. But there was also a flicker of something protective, something he wasn’t ready to admit to.

You turned back toward the sea, your heart heavy with a mix of rage and sorrow. The waves below crashed louder now, their rhythm matching the pounding in your chest. "I’ve already been changed," you whispered, your voice barely audible above the roar of the ocean. "There’s nothing left to take." 

Oberyn stepped closer, his presence warm beside you, though the space between you felt vast. “There’s always something left,” he murmured, his voice softer now, the edge of worry still lacing his words. “You just don’t see it yet.”

The silence between you stretched long, as the sea kept its pace, unbothered by the weight of two broken souls standing on the cliffs above it. Neither of you spoke again for some time, each lost in your own thoughts, but bound by an understanding neither of you had expected.

Both here for vengeance. Both already paying its price.

KING'S LANDING, RED KEEP — EVENING

The evening air clung heavily to the Red Keep, filled with the scent of the sea and the distant hum of King’s Landing. After leaving Oberyn by the cliffs, the weight of exhaustion settled into your bones, dragging you through the motions of the day. Each task completed, each conversation had, felt like a necessary distraction—an anchor to keep you from drowning in your thoughts. Yet, none of it could quiet the storm within.

Once your duties were done, you retreated to your small chambers, the flickering light of a lone candle casting shadows against the stone walls. You sat at the edge of your bed, a leather journal resting on your lap. The worn pages were a map of your thoughts, your plans, your vengeance. You traced a finger over the spine, staring down at the leather-bound book that held all the pieces of your story. It was here, in the quiet of the night, that you could feel the weight of everything you’d worked for, everything you had planned.

Your revenge.

You glanced at the drawer where your dagger rested, a constant companion in this journey, but tonight you would leave it behind. Tonight was not for the blade, but for something else entirely. Whispered words from the servants confirmed that Ellaria was out in the brothels, and that knowledge settled something within you. 

You changed swiftly into a nightgown, the soft fabric brushing against your skin, and draped a dark cloak over your shoulders. It shrouded your form as you slipped through the halls of the Red Keep, every step measured, your path taking you toward the guest quarters. Toward Oberyn.

MAIDENVAULT, GUEST CHAMBERS

KING’S LANDING, RED KEEP - EVENING

The corridors were dimly lit, and you moved like a shadow, slipping unnoticed through the Keep. The cold stone beneath your feet did little to deter you as you made your way to the door of Oberyn’s chambers. 

You hesitated for only a moment, then pushed the door open, slipping inside before the guards could take notice. The room was dim, lit only by the pale silver of the moonlight filtering in through the window. Oberyn stood near the bed, surprised by your sudden presence, his dark eyes meeting yours as you stepped into the moonlight, the cloak falling away from your shoulders. 

He closed the door behind him, his gaze flickering over you, curiosity and something else stirring in his eyes. "I didn’t expect company tonight," he said, his voice low, a touch playful as he stepped closer. "Is this what I think it is?"

You didn’t respond immediately. Instead, your fingers moved to the ties of your nightgown, pulling them loose until the fabric slipped down from your shoulders, falling in a whispering heap at your feet. Oberyn’s smirk faltered as the moonlight revealed the truth—scarred, burned, and marred flesh stretching across your body like a grotesque map of past pain.

"It felt like a white night, and sometimes it felt like a polar night, too."

His amusement vanished, replaced by horror, by understanding. "Gods…" he breathed, his voice barely above a whisper as he took in the damage that covered every inch of you.

“Ugly, right?” Your voice was toneless, cold. “My scars.”

Oberyn’s eyes darkened, but not with revulsion—only fury, a quiet, simmering rage that burned behind his otherwise calm exterior. He didn’t need to ask who had done this to you. The answer was written in the jagged lines that crisscrossed your skin. He knew. He had always known the darkness that resided in this city, but seeing it on you, it seemed to strike deeper.

“They’re not ugly,” he said softly, stepping closer, his eyes never leaving yours. “They’re injuries.” His voice was a mixture of defiance and sympathy, the edges rough with something dangerous.

You shook your head, meeting his gaze with a stark intensity. "I’m not looking for a prince," you said, your voice steady and without emotion. “What I need is not a prince, but a headsman who will join me in the sword dance.”

Oberyn’s jaw tightened, the weight of your words sinking into the space between you. For a moment, you could see the conflict in his eyes—the warrior who knew the toll of vengeance, and the lover who wished to shield you from it. But as he looked at the scars on your body, the decision seemed to solidify within him.

"Once your revenge is over, your world will also be in ruins," he said, his voice still holding the trace of concern, but it was quickly fading.

"I’m already in complete ruins with no dignity left," you replied, your voice like iron. "So, go back. I’d like to stay faithful to my rage and vice"

Oberyn exhaled slowly, the storm within him finally breaking. His fingers flexed at his side, as if already reaching for the hilt of his sword. “I’ll do it,” he said, stepping even closer until his presence was all-encompassing. “I’ll be your headsman. I’ll join the sword dance.”

Your heart pounded in your chest as his words sunk in, the finality of them sending a thrill through you. “I’ll do whatever you say,” he continued, his voice like a vow. “As if it’s a royal command. Anything at all.”

He reached out, his fingers brushing lightly against your arm, his touch surprisingly gentle despite the violence in his words. “I’ll show you a wild sword dance,” he promised, his eyes locked on yours, filled with a deadly sort of resolve. 

In that moment, you both knew there was no turning back. The sword dance would begin, and neither of you would emerge the same.

TAGLIST:

@christinamadsen @greenwitchfromthewoods

[thesunwillshineonusagain757]

I know your blog is very focused on Rhaegar x Lyanna but I wanted to ask what are other Game of Thrones universe ships you like. Can you give me a top 10 ?

This is a really cool question my top 10 is very weird. I like very different couples it’s my crack ship obsession. I’m gonna put an honorable mention to Sigorn x Alys Karstark, Arthur Dayne X Jaime Lannister, Sansa Stark x Margaery Tyrell, they are a cute couples but they don’t make my top 10 !

10. Alysanne Targaryen x Alaric Stark: I mean, I do have an obsession with stark/targaryen, fire and ice, ships so this was no surprise. My head canon is that this helped Alysanne with a lot of trauma from her first trip on Westeros where she was attacked. And I love that Alaric is kind of grumpy at the beginning but warms up to her with time.

9. Jacaerys Velaryon X Cregan Stark : Again stark/targaryen ship, but gay ! Two of the things that I love the most in life. I’m very sad that apparently Cregan won’t be making another appearance in this season of House of the Dragon. Because you know, I just wanted to see my ship or a little bit more of it.

8. Oberyn Martell X Willas Tyrell: This one is kind of complicated; For people that don’t know Willas is a book only character, he is the heir of HighGarden, when he was very young, he went into jousting, and he jousted against Oberyn. But sadly because he was so young and unprepared, he ended up having a very serious injury on his leg. And that caused the Martell’s and Tyrell’s to have even more beef than they already have, but the cool thing is Willas did not blame Oberyn. They became friends after this. So yeah I ship them because this one brings a softer side of Oberyn that we rarely see.

7. Jon Snow x Satin : I mean, bisexual Jon Snow, that’s it.

6. Ned Stark x Jaime Lannister : This one is one of the crack ones, and I know a lot of people will think I’m mad. But if you read the books, and you read Jaime’s POV you know for a fact, he had a huge fat crush on Ned Stark. Also bisexual Jaime Lannister !

5. Lucery Velarys x Aemon Targaryen : Oh we’re getting to the toxic one. This is more like a very dependent on the AU vibe. But I like the idea of forgiveness and growth. 

4. Brienne of Tarth x Jaime Lannister: I mean, you don’t really have to explain this one. it’s amazing. It’s probably the best thing that happens to Jamie in the books and in the series, and I will be eternally bitter of how they were treated in the tv show.

3. Arya Stark X Aegon Martell Targaryen : This the one that is the most cracked ship of all of them, but hear me out, yes, I know that the possibility of young Griff, being Aegon, is very slim, but I don’t care. 

2. Lyanna Stark x Jaime Lannister : I’m usually attracted to ships that are opposites attract, but that is not the case of this one. I would like to make the claim that Jamie Lannister and Lyanna Stark, are virtually the same person in different fonts. Middle child, of dysfunctional family, that lost their mom, has a very ambitious dad, and a kid that has to grapple with the weight of societal ecxpectations, but at heart are both rebellious. 

1. Rhaegar Targaryen x Lyanna Stark : I mean, this one is my OTP, of all the ships of all time. It’s my sensitive boy, and my tomboy girl, they’re everything to me and no, I will not be questioned or hear any criticism for it!

[dalekofchaos]

How Robb could've won the North's independence

Realistically, it would be impossible for Robb to win the War of the Five Kings unless he teamed up with Stannis or somehow got married to Margaery Tyrell(Robb goes to treat with Renly instead of Cat, Renly dies and Robb convinces the Tyrells to join forces, only condition:marry Margaery). But it would've been possible to win The North's Independence.

Before we get into the how he could win, let's look into how and why Robb lost.

Sending Theon to Pyke. The beginning of the end. On one level Robb was right to trust Theon, because we see from Theon's POV chapters that he intended to stay true to Robb's cause…. up until his father rejected him and sent him to reave the West coast and Moat Callin with the other Ironborn. It's only after Theon has been rejected by his father and forced to serve on a ship with another captain (putting the heir to the seastone chair lower in rank than a battle commander) that Theon cracks and decides to do something big to prove he is a worthy heir to Balon Greyjoy. But Cat is also right: because she expected that something could go wrong. Now, she expected that Theon would betray Robb from the off, because she has a nasty suspicious streak and really assumes the worst about everybody - think of all the times she bleats that Jon can't stay at Winterfell as he'll usurp Robb's rights, and ask yourself: has there been any indication that Jon would ever do this? No. Jon could have worked his way up to captain of the Winterfell guard as a Stark bastard, and Robb would have been better protected by his much loved brother than anyone else. But because Cat is so deeply entrenched in her belief that bastards are grasping stealers of birthright, she cannot allow that possibility to even be discussed. Same thing happens with Theon. Cat knows more about Ironborn culture than Robb, and she appreciates that Theon has been a Stark prisoner for years whereas Robb unfortunately thinks of Theon as another adopted brother. But she fails to adequately explain to Robb that her concerns about Theon are not about Theon's character per se, but about Ironborn culture. She anticipates that something could go wrong - she doesn't see exactly what happens to turn Theon against the Starks, but she had enough knowledge of the Ironborn to make a case to Theon and Robb that Balon Greyjoy was a cantankerous old prick who would not be willing to provide a naval fleet to a king he has no interest in pledging his loyalty to in any case.

Not Informing His Uncle of His Plans: Edmure threw back the Lannister forces at the Battle of the Fords. Because of this, Robb is unable to encircle Tywin's host, as he had hoped to surround and capture them further within the Riverlands. I'm not so sure that Robb actually had that "plan" in Riverrun. I think he hammered out the details of the trap somewhere in the West, and didn't think Edmure would interpret differently. As to the trap itself: oh no, Tywin's cause would have been lost for sure. If he delayed for even a few hours, he'd be late to the rescue of King's Landing - Lannister Plot ArmorTM struck again. And the thing is, if he crossed the Trident, he'd be caught between Robb, Edmure and Roose - you can forget about the Red Wedding then: Roose and Walder are dipshits for sure, but they're above all opportunistic dipshits. With Tywin caught between 3 different forces, at least one of which - Robb - is way, way better at guerilla hill-war that Tywin (who never seems to win anything unless he outnumbers his enemy at least 2:1), that's it for the Lannister army. Meanwhile, Stannis takes KL, but keeps pissing off everyone with his charming personality, so his reinforcements are dubious. But Stannis is a man of honor and of his word and he would've given the Starks Sansa. Dorne would be pleased that Tywin and the Mountain dies and extends an alliance with The North. The Tyrells just fuck off in Highgarden. The Ironborn are dealt with and would be at death's door until Euron returns. Stannis has Varys and Littlefinger executed and Lysa just sulks with Sweetrobin in The Eyrie. The Starks regain The North and the Starks reunite and most importantly Robb is the one who goes to the Wall and helps prepare the North for The Others.

Beheading Rickard Karstark: Karstark, feeling the need for vengeance due to his son's deaths, slaughters prisoners of war Tion Frey and Willem Lannister. Due to this act, Robb sentences Karstark to death and beheads him personally. This leads to the Karstark' abandoning ship and heading home. Rickard and the Karstarks had been some of, if not, his most loyal vassals. When Ned was imprisoned and Robb called his banners Rickard answered bringing as many men as he could unlike many other Northern Lords who held back men in reserve for their own interests. Or the Umbers who threatened to go home unless he got his way and had to be threatened to stay and help Robb free his father. When Winterfell was captured and Bran and Rickon's lives endangered the Karstarks were one of the few Northern Houses to send men despite the large distance to Winterfell. Despite all this, despite the fact that two of Rickards sons were killed as they were protecting Robb from Jaime Lannister, or his heir was captured being sent into a battle that Robb knew they were going to lose Robb still gave Rickard Karstark the harshest punishment he could instead of being lenient like his own advisers suggested and keeping him prisoner or sending him to the Wall. Now this move was especially stupid as the remnants of the 2,000 Karstark foot was with Roose. Robb was actually worried about them turning on Bolton, which was a real possibility, but instead they worked with Roose to take down Robb at the Red Wedding. Would Roose have had the confidence to act without those Karstark numbers? Being lenient with Rickard might have still lost those Karstark men but they would never have helped in the Red Wedding. Karstark sacrificed a lot and while killing those two Lannisters was bad, no one would have cared if it had been on the battlefield. Their age has little to do with it, both sides would have had casualties of similar ages in the battles.

Marrying Jeyne Westerling: Robb was betrothed to a daughter of Walder Frey; however, this act broke that vow, thus leading to the Frey's feeling betrayed and withdrawing home. This act of defiance towards the Frey's is later paid in kind via the Red Wedding.

With that out of the way, here is how Robb could've won The North's Independence.

If we’re looking at deposing Joffrey and extinguishing the Royal Branch of House Baratheon-Lannister, then no. Too many riches, lords, and men support them for the Stark/Tully coalition to mount an offensive. They’d be enveloped, surrounded and destroyed.

If we’re looking at the independence of the North, then its possible, but Robb is going to have to do some unpleasant/unhonorable things, because here’s the ultimate goal:

Getting behind Moat Calin and fortifying for the Winter.

If Robb can do that, then he’s pretty much untouchable.

So, how do we get there?

First things first, don’t tie the knot with Talisa/Westerling and marry Roslin Frey like he agreed to. That stupid marriage should never have happened in the first place.

Eddard Stark survived the stain of a “bastard.” Robb can too, which may not even be a problem since Westerling never became pregnant (probably due to her mother). Robb marrying for love was so out of character that we’re just setting aside the Talisa incident.

Next, its time to get the Northern Alliance some breathing room for their strategic retreat.

Robb needs to recognize that Edmere is an idiot and needs his uncle Blackfish to watch over his shoulder the whole time. If he does so, then Robb’s cannon plan in season 3 works. The Mountain and his Ravagers are drawn out of Harrenhal, surrounded and annihilated.

That not only deals a blow to Lannister prestige, but also wins them brownie points with the Brotherhood Without Banners. Enough so that maybe they let Robb know that they have his sister.

That with a nice sack of cash will firmly place the BWB on the Stark side, so long as Robb can keep his Northmen in line. They are going to be the Stark’s eyes and ears as well as turn the Riverlands into the Spanish Ulcer for the Lannisters.

Which brings us to Karstark.

At the beginning of season three, the Kingslayer is gone, so Karstark goes berserk as a result. Instead of beheading the man, Robb should parlay with him instead. Use his anger to help with the retreat, while at the same time, put him in overwhelming situations where a stray arrow or well-timed blade may get through his guard.

In other words, suicide by Lannister.

Karstark won’t notice, he’s too bloodmad, his focus will solely be on killing Lannisters. The problem will eventually resolve itself. And if not, mayhaps the BwB can help, for another sack of cash of course.

So now Robb has his space.

The BwB and Karstark are disrupting the Lannister/Tyrell logistics, inflicting lop-siding losses on demoralized and green Lannister/Tyrell levies (most of Lord Tywin’s professional force was either wiped out at the Whispering Woods or at Blackwater and the Tryrell “impressive” force of 80,000 are farmhands who’ve never seen a blade in their life).

Now comes the hard part, withdrawing the Riverlords and what’s left of their men behind the Moat.

After two years of war, the Riverlords have maybe 15–20 thousand men left. Add on to Robb’s own 15,000 Northmen, and Robb can command an impressive 30,000 battle hardened soldiers.

And every one of those men are needed in the North:

To remove the Ironborn.

To fortify the Moat, the White Knife, and the Stoney Shore.

To deal with the Wildlings, Stannis, and ultimately, the White Walkers.

But the Riverlords are stubborn. They don’t want to abandon their homes to the Lannisters. Who would? Moreover, to abandon their homes to fight a supposedly Northern problem? That’s adding insult to injury.

Hence why marrying Roslin is so important. It means that Robb can’t just pack up and go home. He is now permanently tied to the survival of the Riverlands.

The marriage carries a promise: that Robb will return. Just as Doug MacArthur returned to the Philippines.

Combine that with parting with 5000 men to garrison the strategic and symbolic castles throughout the Riverlands (Riverrun, Oldstones, The Crossroads, the Twins, and Seagard), Robb and the Tullys command the displayed area:

With all three forks of the Trident under the Stark Banner, the Starks can send constant supplies, provisions, and ferry BwB raiding parties. The long-ships they need to navigate the forks can easily be supplied by the ironwood of House Forrestor and designed by captured Ironborn in exchange for clemency.

In canon, The Blackfish claimed that Riverrun could hold out for two years, and that was with an unprepared Riverrun. With a proper strategic retreat, a proper supply route along the three forks, that time frame for Riverrun and all other hard nuts in this system could be raised to near indefinite, or at least until Winter hits.

Until Gunpowder came around, it was almost nearly impossible to take castles. The loss of life in an assault was just too much for farmhand levies. The only way to break a castle is through a siege, and well supplied Trident prevents such castles from starving out.

So, by leaving behind say 5000 men, using the Lannister plunder Robb acquired from his expedition west for payment and loyalty, maximizing the continued harassment and disruption by the BwB, and taking advantage of impetuous, but slow thinking lords looking for glory and blood, the Riverlands could hold out until at least Winter, at which points all sides would have to retire.

Its a stalling game, basically.

Now, with that secured, Robb will then take the remaining 10–15 thousand Rivermen with him North to deal with the Ironborn. Which is a piece of cake, since most already left for the Kingsmoot, and while being incredibly skilled sailors and marines, fighting on the Green Land makes them worthless.

Winterfell is secured (unfortunately still razed), the North is liberated, and the Southern choke points are fortified with the Rivermen:

The warmer climate is better suited for them.

It keeps them close to the Riverlands just in case the Lannisters/Tyrells attempt to make an incursion.

That will then allow Robb to use his reinforced 20,000 battle-harden Northern Banner Army to force Mance Rayder into submission.

Unlike Jon Snow, Robb will clearly explain to everyone that a potentially treacherous Wilding is infinitely superior to a definite enemy wight among the White Walker force.

As for the Wildlings, Robb uses Jon Snow and Mance Rayder to keep them in line as they in turn man the Wall and reap up the final harvest before Winter sets in.

As for Stannis, without a proper logistics network (The Nights Watch and the North will not help him), his mercenary army either dies or defects to Robb.

Stannis is imprisoned, Melisandre either stays to help Robb and Jon or runs away.

While the North digs in for the fight at the Wall, the events of the South happen as they do in cannon:

Joffrey is murdered.

Tyrion is blamed and flees.

Sansa disappears to the Vale.

Tywin is killed by his own son.

Cersei single handily destroys the Lannister/Tyrell Alliance.

The Faith Militant rises and imprisons everybody.

Euron wins the Salt Throne and begins ravaging the Reach.

FAegon invades and secures the Stormlands.

With the South in such chaos, the incursions into the Trident diminish, as Lannister, Tryrell, Dorne, Ironborn, and FAegon are too busy fighting each other.

The line of supply along the Trident is strengthened by the spoils of war that came with Stannis, and Stannis’ mercenaries are sent South to warmer climates and better opportunities for plunder.

Sansa, who by now has become a political player in her own right, tricks Sweet Robin into declaring for Robb, and rallies the Knights of the Vale to the Stark Banner.

Who knows, maybe even taking out Littlefinger in the process.

So now Robb’s dominion looks like this:

His army around Moat Calin and South now compose of:The ~5000 Garrison of Rivermen. The 10–15,000 Rivermen ready to march. The ~1000 Partisans of the Brotherhood. The fresh 40,000 Knights of the Vale. The 6000 mercenaries that abandoned Stannis.

Meanwhile up North, Robb with his 20,000, the 50,000 Wildlings, and remnants of the Night’s Watch are ready to fight a grueling war of attrition against the Walkers at the Wall.

And if Tycho Nestoris is aware of the White Walker threat, then Robb’s got Bravoos’ armory and the Iron Bank on his side as well.

Robb doesn’t need to beat the South into submission. Not anymore. Arya is safe in Winterfell. Rickon is safe at Skagos. Bran is missing, but NOT in the South, and Sansa now commands the Vale with Yohn Royce.

All he has to do is hold out, using Darry, Riverrun, and the Oldstones as choke points.

The Royal Navy was destroyed at Blackwater. The Iron Fleet and Redwyne Navy annihilated each other when Euron went South, so the choke points can’t be bypassed.

Robb has won defacto independence.

Assuming they survive the Long Night and the rest of Winter, then Robb can coalesce his forces and reclaim the God’s Eye Basin, thus maintaining his pledge and duty to the Riverlords and increasing his prestige.

And the South will still be too divided to mount a proper counter offensive.

A treaty is eventually signed with whoever is left and Robb wins his independence, and with the wealth of a restored Riverlands, and untouched Vale and revitalized North, becomes the most powerful man in Westeros.

And if Robb listens to Roose Bolton more, explains himself to him, and rewards him for his victories, it may be enough to dissuade him from betraying him. After all, Roose is a pragmatic man, and will always back the winning side.

Robb was no longer on the winning side when he married Jeyne Westerling, executed Karstark, and lost Winterfell, the seat of his authority. If he plays his cards right, and doesn’t restrict himself with his honor, he could avoid the first two and quickly rectify the third, thus snagging victory from defeat.

The South was unified with the marriage of Margarey/Joffrey and the iron hand of Lord Tywin. Kill the union and the Hand, and you kill the alliance. And then, the war looks a whole lot less hopeless for the Starks.

And since Robb is now the most powerful man in Westeros AND has married Roslin Frey, the Late Walder Frey may be hesitant with his blade.

Justice has been restored. The North, the Vale and the Riverlands stand united. The Red Wedding never happens. The Starks are reunited and they fight off the Long Night and bring peace to the realm.

THE KING IN THE NORTH!

[naetaesarya]

I really loved Kit dissing “Sanzuh” in the new got app game promo and jonsas took it as him being obsessed with her, like he didn’t disparage her every moment he got during got promo… cannot they accept failure? another example of them taking something straightforward and flipping it backwards. Crack ship of the century truly!

Go here to see the video interview anon is talking about :)

Flashbacks to when Kit Harington called the concept of Jonsa "weird" and Jonsas did backflips to deny it :) :) :)

They even go so low as to fabricate & spread rumours about the girls who won the Q&A with Kit Harington.

And do not forget, even book!Jon is "lying to himself" when he does not think of Sansa.

You know what else is a treat? They go and say stuff like this:

...all the while shipping Jon with Sansa... And in the next breath, talk about how Kit Harington's "love" for Sansa is expressed through "bullying":

(But remember, Dany is the real bully and tyrant) Hm.

[crimsoncold]

AEMONDSA: A crack ship with unexpected depth and appeal

A treatise (in four parts) on the intriguing parallels and complementary contrasting of Aemond and Sansa and the subsequent allure of them as a romantic pairing in Fanfic

- from the perspective of a sansa-stan, jonsa + sansa-centric multishipper, and someone who is generally Targ critical

Now while my general stance of "ship and let ship/don't worry so much about what other people in fandom focus on or ship/etc" still stands i wanted to do a little write up on what I've found so appealing about this particular crack ship.

Not to justify it (again fandom and shipping in general is just about enjoying/thinking about fictional characters and scenarios... no one needs to justify why their imagination likes to think about two characters interacting romantically) but because there isn't a ton of metas addressing the interesting parallels between these characters and the appeal of them as a ship so I wanted to make one so the handful of people who do ship it get to see some more positive engagement/responses to this pairing.

I just unexpectedly ended up loving this pairing so much and I always have a particularly strong urge to contribute to fandom content on the rare pairs/crack ships that I like....So here have a deep dive into the parallels, and contrasting but complimentary aspects of Aemond and Sansa, and the unexpected appeal of Aemond x Sansa as a pairing in fanfiction...

PART 1: MY EXPERIENCE WITH ASOIAF/GOT & HOTD FANDOM AND WHY AEMONDSA IS A PLEASANT SURPRISE

So I'm going to be drawing from both book and show elements when I consider and compare Sansa and Aemond's characterization and plot arcs (particularly since this tends to be how they are handled in fanfic- which all have differing combinations of book or show canon for both characters)

(this is a HOTD S2-free zone though... HOTD's writing has certainly not improved and it's inconsistencies even compared to their past writing and characterization of many characters including Aemond has made such an absolute mess so for this post I'm ignoring the worst part of HBO's attempt at making hotd fanfiction i.e. S2- and I am basing my understanding of Aemond on a combination of what can be gleaned from book canon and s1 because that was what initially interested me AND because that is what the aemondsa fanfic I've read has also been based on)

Now Just to set the scene for my journey as a stark fan, jonsa shipper, and generally targ critical person to become an appreciator of aemondsa...

GOT had a steep decline in quality in the later seasons and HOTD despite the incredible effort of the actors/sfx people was not particularly good to start with in terms of writing/storytelling...yet disappointing or poorly written shows are not without their appeal for participating in fandom and reading/writing related fanfiction, particularly when there is a handful of interesting characters-looking at you stark kids who suffered through the writing of GOT's later seasons and HOTD's team green-that fans want to rescue from the terrible writing/butchering by the showrunners and to explore alternative stories/endings for them... sometimes it is even one of the most appealing sort of set up for fandom/fanfiction to take over and fix things.

I was already a huge Sansa fan, and she was the original draw for me towards asoiaf/got fandom and fanfiction, and while jonsa has been and remains my favorite pairing for her I've always been open to dabbling in various other sansa pairings/crack ships.

(While the parallels don't take the exact form as the ones between Sansa and Jon- and obviously aemondsa isn't accompanied with the incredible foreshadowing and potential that jonsa is- this pairing still feels similarly compelling due to the sheer amount of parallels between the two characters and for the fact that its a ship that is appealing and seems quite fitting without fanfic writers having to stray too far from canon personalities/back stories to make them work as a romantic pairing- beyond you know the obvious aspect of them being alive at the same time)

When HOTD first came out and before i discovered Ameondsa was a thing I was staying away from HOTD fanfic for the most part despite my interest in a few of the characters

HOTD's most predominant focus in both it's fandom and fanfiction seemed to be Rhaenyra/Team black/ Daemyra centric- all of which I was at just personally not drawn. Aemond (hot dramatic anime antagonist transported into hbo's HOTD and personal favorite of mine) centric fics unfortunately tended towards shipping him with various TB characters or TB OCs but both as a concept and due to the handling/set up these fics were generally not appealing to me (more on this later).

Furthermore hotd fandom itself seemed to be shaping up into a new edition of targ stan centric fandom- specifically a new "team black only" brand of stanning... which is definitely not something I am interested in.

Being someone admittedly anti targ/targ critical in general who just happened to be more intrigued (and sympathetic) to the greens in HOTD it did seem that the bulk of hotd fandom was probably going to a similar if even more extreme form of what I encountered with targ-stan segments of the GOT fandom as a sansa-stan/jonsa shipper (ie. Less posts/fanfic that i would personally agree with or be interested in from these fans and potentially hostile and unpleasant responses or takes from the majority of these fans)

As a result of my general avoidance of hotd (i.e. the very pro targ/pro TB fanfiction that hotd fandom offered) Aemondsa, already an extremely rare pair and crack ship, wasn't even a pairing on my radar until one of the authors i was subscribed to started a hotd time travel fix it aemondsa fic...I have an appreciation for well written crack ships, and I am willing to give most pairings or fandoms a chance when I'm already a fan of either the story's main characters or of the author specifically ...but I was actually incredibly suprised how compeling Aemondsa was as a pairing in this story..as well as how much I enjoyed the other Aemondsa fics that I checked out afterwards..it seemed this was a niche segment of hotd fandom that i was going to absolutely obsessing over.

There was a lot of depth to them for a crack ship, which was achievable without altering their personalities and backstories very much from canon (dont get me wrong I love crack ships even ones where people and the plot are altered significantly to make a ship feel possible but there is something uniquely compelling when characters fit together without having to be too ooc) so I just wanted to write a bit about what is so fascinating about this ship since it's such a new rare pair that hasn't accumulated a massive audience or a ton of discussions or write ups yet.

PART 2/4. THE SURPRISING AMOUNT OF PARALLELS BETWEEN SANSA AND AEMOND (FANDOM, PLOT-WISE, but most of all regarding FAMILY)

(Uh ....Brace yourself? this section ended up way longer than expected)

For me the initial appeal comes down to intriguing Character parallels between Sansa and Aemond which fanfic at least offers the opportunity to explore in a story format ....

On a surface level they are (in the shows particularly) both intelligent and underdog figures with fantastic little sassy moments - true queens of dealing out backhanded and cutting compliments, or being unapolegetic critical towards some of the flawed and extremely privileged individual's they encounter who are used to receiving only coddling and fawning worship.

Both characters seem to get shit treatment, sometimes from the fandom other times due to the terrible choices/handling by the writers/showrunners.

Both were characters I personally found interesting and sympathetic despite how fandom- some of it for aemond and a significant amount of it for sansa- had deemed these essentially young and still innocent characters worthy of being reviled and harmed for the ways the adults in their lives had set them up for failure or abuse. Forever dismayed by the way they (unlike certain fan favorites) were somehow never deemed by fandom as deserving of sympathy for the horrible things that happened to them, and how notably they never recieve the same feverent forgiveness/understanding/support for their more dangerous or dark actions the way other characters did

Looking at the difference in fan responses to show!Arya or Dany compared to Sansa- though when it comes to the sheer amount of violence, destruction, and murder or the act of threatening their kin obviously despite what Sansa-antis say Sansa is the only one who should not even be part of the discussion, and how Dany or Arya always recieves excuses, sympathy, forgiveness, or outright praise from the core audience for their more questionable actions while somehow Sansa is deemed as the unforgivable, dangerous, evil, traitorous, and foolishly reckless character

How Aemond (and all of TG really) are set up and considered by TB stans to be unworthy of their house/rightful inheritance and the ones most at fault for the onset and destruction caused by a civil war... never victims mistreated or endangered by the more privileged and powerful members of their family... just the people who only ever deserved what was inflicted on them by TB for the crime of being forced to wed a disgusting and neglectful King or for being threats to Rhaenyra's family or throne simply by existing? How the morally questionable or violent actions of Rhaenyra, her sons, or more particularly her uncle-husband will always be seen as either justifiable, in the right, excusable, or literally worthy of praise the way Aemond's and his family's actions will never be viewed by this core audience

I think about how much like segments of asoiaf fandom bash Sansa by deeming her too southern/too Tully/Too Catelyn-like to be a real Stark (unlike her "truly northern" siblings) their are also segments of hotd fandom that have chosen to see Aemond and his full siblings as only Hightowers who are wrongfully stealing from TB/the "true Targaryens"

But there were even more striking parallels when it came to their characterization and plot.

Both younger (non heir) children, presented as being intelligent, incredibley dutiful and studious, with a very close relationship to their mother, in a sort of intense people pleaser manner - trying their best to excel at all the skills/duties that their parents/society deems necessary for their position and sex because that is the way they receive acceptance, attention, or praise from their family/the adults in their life

Aemond and his studies, his apparently dedication and success in training with the sword despite his own disability, his determination and recklessness to finally become a dragon rider like the rest of his Targaryen family- as it is what is expected and what he has long been mocked over by some of his targ kin, how despite his own ambitions and the way he thought himself particularly suitable for rulership he remained the dutiful and loyal younger brother who served as regent for his gravely injured older brother but did not attempt to stylize himself as King and steal Aegon's throne.

the way that Alicent seems to be the only family member he allows himself to be vulnerable with, the one with whom he turns to for consolation and comfort, Alicent being absolutely devastated and incensed over the loss of Aemond's eye and the lack of punishment for the assault on his person, the only one to demand recompense, the only one to raise a knife to the blacks when she is denied, how Aemond is the one person who tries to console his mother in the aftermath, how despite having just lost an eye he is the one who actually tries to sooth his mother to bring a stop to the increasing and dangerous level of tension and conflict that had erupted between the blacks and greens at driftmark, Aemond's own longstanding protectiveness of and devotion to his family- most especially his mother- that lasts until his own demise.

Sansa and the way she thrives and enjoys the type of world and training that is more of a noble woman's or specifically her mother Catelyn's domain- unlike her wilder other siblings she is generally a steadfastly proper and gentle girl- no doubt a comfort to her mother not just because she is generally so well behaved but in the fact that unlike her siblings she is not shown to be obviously or very publically close with Ned's illegitimate child- who for Catelyn would be the literal personification of Ned's infidelity, the disrespect and humiliation he puts her through by raising him in their house along side their children, and her deep seated fear that he loved and will prioritize another woman and her child more than his own wife and family.

Sansa is the child who seemed to love all things "southern" the most (though undeniably despite how Sansa is looked down upon for her love of romantic stories and song her other siblings also certainly enjoy legends and tales of Knighthood or Southern Princes and warrior Princesses) and to be fascinated by the environment her mother is from, the one who is drawn to and practice her mother's faith in addition to keeping to the old gods,

How Catelyn though she truly grieves letting her daughter go seems to accept it not just because her belief that Sansa would excel as a princess and future queen but because she thinks Sansa would thrive simply through getting to experience the south...Catelyn seems to grasp the things Sansa dreams about and unlike many other family members she does not view Sansa and her interests with the same condescension, dismissal, or disdain.

Catelyn loves all her children immensely but there is something so tragic and beautiful in her love for her daughters, the desperate lengths she is willing to go to to ensure the saftey of both of them while the lords/males in her family have already given them up as a lost cause and inevitable and necessary casualties in their war for vengeance and northern independence

Despite this affection though there is a lot of pressure on both of them... almost to the point that their treatment by the adults in their lives has a bit of a "parentification" dynamic- a manner that sometimes puts the onus on them to be a support and a comfort to their mother amid any tension in the family/marriage (Aemond) or to be the perfectly behaved role model or minder for their less dutiful siblings (Sansa)

Sansa, in everyone's eyes a lady at three and a queen destined to be, the determined effort she puts into excelling at being studious, accomplished, proper, and ladylike, how much she tries to exemplify the behavior praised and exemplified by her mother and her septa

set up by the adults in her life as a go between for the stark sisters...used as the benchmark for their demands and expectations of Arya, being held up as the bar for perfect, proper, and praise worthy behaviour that Arya is presssured to also attain, the daughter who gets censured on the few occasions she acts out while her younger sister typically gets away with her poor behaviour (at least when it comes to their parents)... Sansa isn't just under the pressure of the exacting expectations for a lord's daughter she also experiences the stress of being put in the position of exemplar for her wild untractable younger sister.

Aemond, apparent dutiful student in many areas expected as a child of nobility, who is expected to support Aegon in his rulership and war and (in the show) even takes responsibility for trying to keep his older brother in line, the one who after losing an eye takes the effort to comfort and console his mother's grief and rage when their father does nothing in response to an attack on Aemond other than threaten and intimate his wife and his children with Alicent in order to support his firstborn daughter, who becomes the human equivalent of not just a wrecking ball but a literal weapon of mass destruction sent out on behalf of the advancement of his family or later to enact terrible bloody vengeance on his family's behalf, his life his purpose and his death is all for his family's sake more than his own.

They put so much effort into being well behaved, to reach the exacting standards for a child in their position, setting an example for the less obedient/well behaved sibling(s) all of which in turn adds to significant strain or conflict between said sibling.

Sansa and Aemond are the sibling expected to and determidly striving to live up to the high expectations that the adults in their life put on them and to survive the extremely dangerous and high stakes scenarios they are put in (as a lord's daughter, prince's betrothed and future queen, a hostage and target for the machinations and ambitions of others, the older sibling, a ruling lady, and elected queen; a prince, dutiful son and brother, ruthless and dutiful defender of his family, and regent)

Meanwhile they have other siblings who struggled to meet said expectations or have given up attempting to all together (Arya, Rhaenyra, or to some degree Aegon)

Siblings who must from the perspective of Sansa and Aemond (who are still young, inexperienced, and have had a great deal of conflict with said siblings) seem to flaunt all expectations free to rebell, flaunt the rules, and generally ignore the high pressure expectations that children from their class face.

Undoubtedly frustrating since, much like their more rebellious siblings have failed to sympathize with the more responsible ones, Ameond and Sansa too have not (yet) been able to recognize the ways their less successful/dutiful siblings also suffer under the highly restrictive expectations of their class and position even if they do not choose or succeed in conforming to them.

They see that despite how they may excel in studying, striving and succeeding in their roles, and ultimatley exemplifying the high standards they were raised to it is these other siblings who seem to get rewarded (experiencing in their eyes at least what appears to be more freedom, less pressure, minimal censure or punishment for their misbehavior... while simultaneously receiving the bulk of the reward in terms of their inheritance, the attention they recieve, or even with regards to the amount of affection given by some of the authority figures in their lives, i.e. their fathers)...

To them it must seem that these siblings get to be not just easily forgiven for their mistakes and misbehaviour, but accepted as or outright adored simply the way they naturally are, whereas dutiful and non problematic children like themselves tend to be overlooked or underappreciated, and quickly criticized on the rare cases they misbehave... the acceptance and affection they recieve appears far more conditional on them behaving well according to the expectations of their family or various instructors/minders... whereas the affection their siblings receive, from say a certain parent, is show to be rather unconditional

Seriously they both give me such severe "easy" (i.e. overlooked) and "gifted" child trauma vibes... how much of their behavior is simply in their nature and how much is what they conform themselves to to make the adults around them proud... because as the quieter child or apparent outsider amindst their family/siblings this is the only action that comes natural to them and gets them some (hard earned) attention/praise in a rather large and loud family they otherwise seem a bit lost in... how much of their striving to succeed is dependent on the sincere belief/understanding that their saftey and potentially the future, saftey, and wellbeing of their family depends on it.

They both have a far more distant relationship with their fathers who favoured another sibling- a sister over them... father's who either didn't seem to know how to connect with them - Ned- or never really bothered to try- Viserys...

while i do believe Ned loves his children and they adored him in return i feel its obvious that he neglected in preparing any of them for the true dangers and realities of the world away from the satey and protection of winterfell and their Stark family, and he absolutely dropped the ball on keeping either of his daughters safe and supervised when he took them along into a very dangerous situation in kingslanding

Furthermore Ned never quite seemed to connected with or pay attention to Sansa they way he did with Arya... just something about the fact that when he follows the orders of his king/supposed best friend to kill Sansa's direwolf (the very symbol of their house) it is in replacement for Arya's Direwolf who was allowed to escape the cruel wrath of the Queen and Prince...and how he continues to fail Sansa in the aftermath

It's something about the gifts he gives his very angry and traumatized daughters to comfort them after- in lieu of truly trying to actually connect with and console both of them or to even properly mediate their increased fighting.

Arya (in the show and book) is given lessons with a "dancing" master who teaches her swordplay/water dancing, she was so excited and she always wanted to be outside learning to fight like her brothers got to, in this moment to her understanding she is not just seen by her father she is accepted and supported (a careful reader may see that Ned's attitude appears to be slightly condescendingly indulgent on the matter of her learning swordplay... but Arya gets the chance to do something she loves all the same)

Meanwhile (in the show) to try to console Sansa Ned gives her... a doll? (Honestly I can't recall any equivalent gift from Ned to Sansa in the books? the mention of her possibly getting harp lessons in Kingslanding was actually a promise Catelyn made to her on Ned's behalf rather than his own effort... and was something that Ned didn't actually ever arrange in the books)

But is this doll meant to be an appropriate gift to make up for the death of her direwolf? Is this gesture enough to comfort her and make amends after Ned killed her direwolf (notice its not exactly as spectacular, meaningful, or comforting a gift as arya's "dancing lessons"... certainly there is no indication that he has any particular understanding of Sansa or has given much thought into her talents, interests, or personality beyond the most shallow perusal)

In the aftermath of Lady's death Ned does nothing to truly protect Sansa or keep her away from the obviously dysfunctional and dangerous family he has promised her away to.

Yet he can take the time to comfort and have a frank conversation with Arya about how important staying together and supporting eachother as family is- especially when they are amongst dangerous people who mean to harm or separate them- and the specific importance her and Sansa will have to one another as sisters who share the same blood... further explaining how just as they will need eachother Ned needs them as well

Ned has no such comforting or distinctly meaningful exchange with Sansa... he doesn't explain the reality of the Lannisters/Joffrey/Robert (i.e. the truth of the people he has agreed to give his young daughter away to despite the fact that he either personally has no respect for most of them or has not been around them long enough to know anything about their true nature)

Yes it is the risk to his daughter that makes him willing to falsely confess to treason, yes eventually he decides its best to send his daughters back to winterfell, yes he finally wants to break the betrothal and he makes a beautiful promises to make her a match with "a high lord who's worthy of [her], someone brave and gentle and strong" ... but he is much too late to get both of his daughters away from the lannisters/kingslanding, way too late in his attempt to keep them safe, and he fails to handle Sansa with age appropriate respect and frankness and to actually tell her how dangerous things are in kingslanding and why joffrey (false prince -bastard born of incest) is such an ill suited match.

Maybe if he had put any effort into explaining things to her...or simply spending time with her, speaking to her, trying to understand her, comforting her amidst the loss of lady and the increased fighting with Arya, or doing literally anything other than just neglecting her and her saftey Sansa would have actually trusted his decision and seen it as him wanting what was best for her.

Maybe if he had been more proactive and focused on his daughters well being he wouldn't have brought both of them south after the altercation over their direwolves... or maybe he could have been successful at getting both his daughters out of kingslanding before everything went to hell.

Its almost like the whole point of the Ned/Arya/Sansa and the Ned/Cersei/Sansa dynamic isn't to show that Sansa is a naive girl who betrays her family for the lannisters but is instead to show that when you neglect your child emotionally they will turn elsewhere for comfort and will be particularly vulnerable to being manipulated or abused by other adults... its almost like this part of A Game of Thrones is more about the way even someone like Ned- a man who does strives to do what he thinks is right and a parent who does loves his children- can still fail.

Ned's treatment of Sansa is specifically intriguing, though i don't know if it will be addressed specifically since her relationship and dynamic with Ned is one that much like Robb ended with his tragic and unjust murder (leaving behind a grief stricken Sansa helplessly longing for the return of her family and home, grieving with a near devotional regard for her lost father and brother)... Sansa will never get to confront or reconcile with them over the many ways she was let down and left unprotected by her male relatives- and who knows if a traumatized and grieving Sansa will ever even recognize and admitt to herself the ways the people who she loved the most failed to live up to her expectations of them... how clearly that despite their love for her she was rarely their first priority ... how they both seemed to fail to follow their family mottos ... the lone wolf dies but the pack survives.... family before duty or honor... she was family yet duty and honor came before her in Robb's eyes... she was part of a pack but through Ned promising her to a marriage in the south, in him taking her and Arya away to kingslanding, in him failing to prioritize her saftey until they all were practically already on the chopping block, and in Robb abandoning any hope or plan of rescuing her she truly was abandoned by them ...to be a lone wolf without a pack to help her survive

Then there is Viserys who at the very least had a much stronger regard for Rhaenyra than all the kids by his second wife ...but can also quiet easily be accused of outright neglecting and mistreating them

The lack of guidance holds true for all his children really but with Rheanyra at least it is accompanied by an (ultimatley harmful) spoiled indulgence that he offers only to his eldest daughter- covering up her obvious blunders and threatening anyone who would speak the truth of her questionable actions and her children's legitimacy including his own wife and sons ... going against traditional succession not because he wants to promote first born succession/succession by "merit"/or treating daughter equal to sons in terms of inheritance or anything like that but because of guilt and unashamed favoritism.

Viserys refuses to give to his son what westeros society at least would deem as Aegon's birthright, while also failing to make arrangements for any his non-Rhaenyra children to have a future and saftey separate from the throne.

He doesn't arrange matches with other kingdoms and give them allies, protection, family, independence, or a power base independent of the crown/hightowers instead leaving them dependent only on the crown, vulnerable targets to be handled (i.e. no doubt killed on the orders of Rhaenyra and/or her uncle husband Daemon) as living they would remain the most significant threat to the legitimacy of their rulership.

Viserys looks the other way when Aemond specifically is permanently maimed by Rhaenyra's son...his only action after his son loses his eye is to threaten his second family, to intimidate them into staying quite on the topic of the legitimacy of Rhaenyra's children before he deems the matter concluded... as if the worst part of that altercation was Aemond calling them bastards rather than say four children ganging up against one and how one of these children attacked using a knife and cost the other their fucking eye?

That for Aemond more than anything must cement his understanding of his father's feelings about Aemond and his full siblings and mother. To Viserys they simply matter less than Rhaenyra and her children.

In fact their well being or saftey matters less than even an offense made to Rhaenyra's reputation... which shows Alicent and her children without question that they are in danger from the blacks and the King will do nothing to prevent the blacks from trying to severely physically harm Aemond or his siblings, and in fact that there will be no punishment for the blacks when they succeed in doing so.

A civil war between the blacks and the greens was inevitable... Viserys actions of protecting and favoring Rhaenyra while also not ensuring she is instructed on and practices/proves her ability to rule, willfully ignoring that she violates her own vows and that she passes off her obviously illegitimate children as trueborn heirs, of permitting her not just to inherit (and position her illegitimate son as the next heir to) what most considered the birthright of her brother but also for her to steal the birthright of her own cousins by supplanting them with her other bastard and demoting them to being simply their brides/consorts, him keeping her as heir not just after he has multiple trueborn sons but also after Rhaenyra gets remarried to the exact violent bloodthirsty man that so many feared and Viserys himself had previously removed as his own heir in favour for Rhaenyra.

Viserys doing all of this while still choosing to remarry and have MULTIPLE children with his new wife... the neglectful and disrespectful way he treats his second family... all of this ensured that the death of some (if not all) of his children, via either assassination or in outright civil war, would always have been inevitable.

There is so much hatred, fear, distrust, and tension between Viserys' family members... and not only did he fail to intervene or improve things he was the one most responsible for it ....so much of the environment Alicent lived in and Aemond and his full siblings were raised was permeated by not just a sense of deep injustice (particularly in Aemond's case with his treatment by not just the blacks but his own father) but also an undercurrent of desperate fear over what will happen to them and their family in the wake of a brewing succession crisis

The mommy, daddy, and sibling issues are so strong with these two and I'm so obsessed with how the complicated family dynamics and tragic family losses that Ameond and Sansa experience echoe one another in so many ways...there is just so much love, grief, rage, unpacked trauma, and hurt in them and I am always obsessed with stories that allow the narrative or characters to address such trauma.

PART 3/4. THE CONTRASTING AND COMPLIMEMTARY ASPECTS OF THEIR STORIES (SUFFERING AND GRIEF)

They were both were so young when they became targets of the wrath and dislike of powerful and corrupt "Queens"

Sansa who loses her direwolf at the demand of Queen Cersei, a queen who after long being abused by her own husband sees a perhaps more extreme form of that sort of violence in her own mad son being directed at Sansa, who rather than expressing or experiencing compassion or sympathy instead takes the chance to revel in the destruction of Sansa's innocence, to mock and emotionally abuse Sansa when she has lost her father and her only protection in Kingslanding, leaving her a hostage of war at the mercy of a violent and corrupt royal family

Aemond who after losing his eye to an attack instigated by Rhaenyra's children receives no apology or recompense...instead his own sister asks for her mutilated little brother to be tortured sharply questioned due to the offense he caused by accusing her sons -accurately mind you- of being bastards... Aemond and his siblings who were never truly ever treated by Rhaenyra as her siblings only ever the offspring of Alicent and thus obstacles and threats for her (and her uncle's) right to the throne.

Both were physically harmed or tormented by (or with the approval of) young members of royalty, with very little being done to intervene, stop, or punish those involved despite their own highborn status- which would generally deem them unacceptable targets for such abuse.

Young Sansa a hostage but still a high born daughter descended from two of the seven ruling houses in westeros, The Warden of the North and the Lord Paramount of the Trident, and niece/cousin to the rulers of a third kingdom, the Lord Paramount of the Vale. Who while under the "care" of the crown is tormented, stripped, and beaten in open court at the behest of a mad boy king... forced to look upon the severed heads of her father and household, forced into being an unwilling child bride to the house of her family's enemies, who is molested and threatened with sexual assault on multiple occasions

Prince Aemond son of the King who is mocked by his brother and nephews (or his king and father in the books) over the fact that he hasnt yet claimed a dragon, and when this makes him reckless enough to approach and claim the largest dragon in existence the torment doesn't stop it gets dangerously worse as the tension between the children of the blacks and greens escalate to the point of a violent confrontation between Aemond and his nephews and cousins... and the resulting loss of of his eye when one of his attackers brings out a knife. None of the children who banded together to attack Aemond would face any consequences, only Aemond himself and his mother and older brother would censure and outright threats from their King Father and Older sister. Whose earliest sexual experience- done at the behest of his older brother- was implied to be at the very least coerced, traumatizing, and humiliating- if not outright non consensual on his part.

Both Sansa and Aemond face a terrible sort of loss when they begin losing their family members to mass civil war ...often in a manner that is distinctly horrific or against all laws of decency in the 7 kingdoms

her father Ned unjustly executed for treason and whose decapitated head is displayed and used to torment her, her younger sister Arya gone missing for years and long thought dead, her home sacked and younger brothers Bran and Rickon supposedly murdered by her family's ward- a boy who grew up alongside the stark children- the burned/mutilated heads and bodies of two young boys being being put on display at winterfell, her older Brother and Mother slaughtered when their traitorous allies and bannermen men break sacred guest rights at a wedding, both their bodies desecrated in a mockery of their houses... Robb decapitated his direwolves own head placed ontop of his body while his enemies parade his remains around, her mother Catelyn's throat slit and her body dumped naked in a river and left to rot.

(In the show) Rickon being cut down before his siblings eyes by a madman who betrayed their house and had tortured Sansa herself, her "half brother" Jon betrayed and murdered by his men and later sent off into a lonley exile away from his family and home for the "crime" of taking out an invader who had just committed mass murder... Sansa being left to rule the north all alone with many of her family members long dead and the surviving ones being set on a path away from the north/winterfell while she is left to handle rulership in isolation

Aemond who after commiting the first Kinslaying of the "war of dragons" by attacking his own assailant and nephew Lucerys proceeds to lose all of the family that he loved.

Starting with the tragic murder of his innocent young nephew at the behest of his elder sister/uncle- who arranged for his mother Alicent to be attacked tied up and forced to bear witness to the gruesome murder of her grandchild,

His sister Helaena -who plead for her life to be taken to spare her son- forced under the threat of the rape of her young daughter to choose which of her young sons will be murdered. Only for all of them to be traumatize further when they kill Jaehaerys and leaving Maelor the son she "chose" to die to survive with the message that his own mother wanted him dead... the emotional torment this caused the whole family but most of all his sister who refused to eat, bathe, or look upon her remaining son due to her immense feelings of guilt

his older brother Aegon who has lost his son and heir, and whose sister/wife is in a grief so deep she cannot care for their remaining children, who is attacked and maimed but survives to live on in total agony,

the murder of Maelor, Aemond's remaining nephew at the hands of a mob

Aemond's last stand, sacrificing his dragon and his own life to take out his Uncle (the biggest threat to his family and the orchestrator of Jaehaerys' brutal murder)

The many tragedies that continued after Aemond's own death- his sister's eventual suicide, the death of his younger brother Daeron, his oldest brother outlasting all of his siblings and his own two sons only to be taken out by poison once the war is over, his mother spending the last of her years in confinement until she passes from sickness,

His niece Jaehaera, after the loss of her entire family, married off as a child in the name of "peace" and dying young and alone- of suicide or murder

There is just such fascinating potential when two characters would have so much mirroring grief and trauma ...there is such an undercurrent of helpess rage, guilt, and grief to them in their youth and a undoubtedly a feverent desire for either vengeance or justice against the many people who harmed them or slaughtered their family...

And here is where things begin to differ between the two in interesting ways

with Sansa who has these violent wishes/impulses but is not in a position to see them fulfilled herself- her desire to push Joffrey to his death even at the cost of her own life, her wish that someone will throw Ser Meryn Trant down and cut off his head, her hope that various people will fall/be unhorsed...

Sansa who recieves a direwolf, Lady, the very symbol of her house and potentially a companion that would have offered a connection that was an extension of her own soul only for Lady to be cut down so quickly and unjustly... Sansa who loses not just the connection/companionship she recieved from Lady but also the protection such a bond would offer her ... she is left vulnerable in so many ways and has no promise of reuniting with her own direwolf later on... that will never be a comfort or form of security offered to her after all the danger and trauma she experiences

While Aemond, who spent much of his young life similarly helpless to act or respond to insults and assaults on his own person or immediate family, (that his father/king either never deemed worthy of interference or punishment... that is when it wasn't the King himself who was the perpetrator of such offenses) unlike Sansa experiences a change of fortune in the form getting to bond with the symbol of his house

He gains (and gets to keep until his own death) a bond with a different sort of mythical beast companion... a dragon and as a result recieves all the potential for power and destruction that comes with being a dragon rider

By claiming Vhagar Ameond is the closest he will ever be to untouchable, not just from the harassment he personally experienced from his family but with regards to how grave and dangerous a threat/target he had now become for the blacks during the dance of dragons

Aemond now a dragonrider of the largest living dragon, a child and later teenager who is in control of the narrative equivalent of a weapon of mass destruction, and he is no longer held back from acting on his anger once the rule and interference of his neglectful father king is over,

he is in control of the most massive beast of pure destruction and unlike Sansa, who for now in the books- or for much of her story in the show- remained an unprotected hostage or pawn in the hands of those who mean to harm or use her... who handles her trauma very internally as she is not in a position to fight back, and must rely on her words, intelligence, and ability to read and strategically interact with people as a way of defending and keeping herself safe, Aemond is now in the position to enact every bloodthirsty impulse of revenge he ever experienced

He was held back from enacting vengeance only through his own will, which ultimately proves not enough- he commits the first kin slaying and soon the actions of each side escalated into a horrific bloodbath where nobility and small folk alike suffered or die en masse

While Aemond's story may be one of family devotion and loyalty, mistreatment, injustice, and suffering that ends by showing the terrible outcomes of revenge and uncontrolled cruel brutality Sansa's story feels like one where grief, rage, and mistreatment exist but where family, love, compassion, kindness, justice, and integrity will win out in the end.

Sansa was certainly developed into a more discerning strategic and ruthless figure in the show but justice, duty, and forgiveness were still very prevalent in her storyline

she does have ramsay killed in a fittingly horrific manner, but she later holds a public trial for littlefinger- who was responsible for much of her familys suffering, the death of her father, and her own torment and rape- before she has him executed,

She feels compassion and forgiveness for theon the man who had betrayed her family and drove her young brothers out of their home, who only after experiencing significant torture himself became devoted to protecting the remaining starks and was able to find the courage to disobey his own torturers in order to help Sansa escape,

She possessed a concern for other people that few ruler do in asoiaf/got... speaking up against Joffrey's cruelty even as a powerless hostage, being the person concerned with the more practical matters of caring for and feeding their people during a harsh winter- a notable development in comparison to say everyone else just focusing on battle tactics and the upcoming battles (as though feeding an army is not an essential part of warfare), and the invader who just burned westeros' food stores en masse and now expects others to feed not just her armies but also demands that her dragons be fed "whatever they want"

I think in the books however that despite Sansa's internal grief and rage and her burgeoning political acuity there will be a gentler end to her arc where her own innate sense of duty and her (now more discerning) sense of compassion will win out in the end when she takes back her name, identity, and birthright ... that she along with her surviving family will have justice administered in the name of their lost family and people... efficiently bringing down righteous and necessary judgement on those that harmed and betrayed them rather than simply dealing out some form of mass, bloody, cruel revenge on her enemies (I'll leave that for lady stoneheart) ... and that a satisfying ending for her and the other starks will balance them realistically addressing the dangers and betrayal they faced with their own personal resolve to hold true to the values imparted to them by their parents.

... yet after all her suffering (and the frustrating lack of trust, consideration, or support she was given by her own family in the later GOT seasons) there is something darkly appealing to the idea of her getting (not a hero precisely) but a ruthless and devoted sort of monster to support her and bring down unholy vengeance on her various tormentors

PART 4/4: THE RESULTING DRAMATIC AND EMOTIONAL APPEAL OF AEMONDSA FICS

This after their many parallels and complementary contrasts is what intrigues me the most...the interplay of a potentially wary, cautious, traumatized but still duty and justice oriented person and a companion or lover who is comparatively more ruthless, unhinged, capable of atrocities, and who is more equipped to dole out violence en masse... (guys the pipeline from dark jon/dark jonsa to aemondsa just makes so much sense)

the question in Aemondsa fics of what will win out in the end- the shared grief and rage or them both controlling/channeling such impulses into strategic righteous fury and justice is always fascinating... and most of all the idea of Sansa (after all the trauma mistreatment and grief she has experienced) attaining the interest and eventual devotion of someone who despite being capable of monstrous actions is also incredibly loyal, devoted, and ruthless in the pursuit of their loved ones interests ("I want you to put out your eye ... plan to make it a gift if it to my mother" indeed) is just as appealing as the idea where an isolated, lonely, traumatized, grieving, and dangerously angry young man like Aemond gets to find acceptance, affection, companionship, and belonging with an intelligent strategic but more importantly an exceptionally compassionate person like Sansa.

Its just a dynamic far too intriguing to ignore especially for someome who already loved Time Travel/Reincarnation Fix IT AUs in fanfiction

While emotional catharsis and Sansa returning home and having the dreams she had wrote off as impossible be fulfilled (i.e. building a loving partnership and marriage, having children with someone who loves and wants her more than her claim itself, reuniting with her family) is something I love- and what I want to happen in canon (hence my otp being Jonsa)- there is always an interesting/guilty pleasure aspect of fanfic where Sansa (or the Starks in general) get to wreck terrible bloody victory and vengeance on those who betrayed and butchered their family and people (not really the ultimate message or point of the book but definitely emotionally satisfying in fanfic)

Just like there is a sort of appeal that exists in hotd fanfic that is sort of the opposite ...ones that alter the violent senseless and tragic trajectory of the dance of dragons... to either change the course of a brutal civil war or prevent it all together

and the Aemondsa pairing's time travel or reincarnation fics provide an opportunity to explore both of these diverse dynamics.

Sansa will always deserve the world... in canon and in fanfic i want to see all her dream and hopes come true whether it is with a truly good and just partner with whom she gets to build the life and home she always dreamed of or through her getting her very own devoted monster who would do anything to keep her safe from the scores of people who wish to misuse or harm her

and I always wish that hotd fanfiction offered more Aemond centric fics with a love interest that you know actually likes, sympathizes with, or understand him? He feels too tragic a character for me to want him to experience the typical hate and love (enemies AND lovers) treatment he tends to get in fanfic... its not really satisfying for me seeing his typical pairing up with whatever team black character (or really TB character rewrite) or some Daemon's or Rhaenyra's daughter OC that is the frequent choice for aemond centric fics...him being portrayed as some impusive awful and villainous love interest who changes sides and abandons his family just to be with his lover/obsession feels so out of character in a way that erases the best, most compelling, and sympathetic parts of his canon personality, motives, and actions.

Luckily Aemondsa fics seems to be a pairing that offers everything I like in Ameond or Sansa centric fics....

In conclusion Aemondsa is surprisingly compelling and versatile dynamic in fanfic and I think that is why I've become such a fan of Firesteel/Aemondsa fanfiction (in a way I'm NOT at all a fan of the actual HOTD show writing lol)

I'm a proud support of crack ships/rarepairs and I'm always willing to add to the fandom appreciation of pairings that gets less attention or fandom related works... so expect to see the occasional Aemondsa fanart/fic recommendation post from me amongst my typical jonsa content (in fact expect one in the next in a day or so)

Otherwise I just hope established Ameondsa fans (or people who haven't ready any aemondsa fics but are fans of either character/curious about this pairing in general) have enjoyed seeing me fangirl about these two characters/this crack ship and feel inspired to check out or even make their own Aemondsa content!

-Crimsom Cold

[kellyvela]

I'm unable to fathom the logic of J0nrya shippers. I recently got into a twitter altercation with a couple of accounts and oh my god, I totally forgot how terrible they are ! I have all of them blocked on here but they must be on twitter as well, I even recognised some of the users. It's just awful energy all around; all of them despise Sansa, no matter what she says and does. And they are SO weirdly possessive of Jon. They claim that WE treat Jon as some trophy husband when it is actually them who are guilty of that! They even hate it when people make simple Sansa/Ned parallels because apparently Ned belongs to A as well? Never mind that Ned is also Sansa's father...smh.

Their copium is very loud and obnoxious. I wonder how they felt when GRRM straight up debunked the ship at Balticon. Calling J/A relationship by all accounts, quite simple - that the fans have given it more thought than he has etc. I would have just packed up and left after that and accepted it wasn't going to become canon. But alas, they get even louder than how they were before. Do they understand how weird they sound. They sexualise A so much and want her to become a courtesan and get her period. It's very obvious A is not going to be the love interest because GRRM has done everything in his willpower to portray A as a prepubescent child. But he has done the opposite with Sansa; He's made her tall, full-breasted, acting as a mother to a child, basically running the household in the Eyrie etc. sometimes I forget she's meant to be 13...

We all know that when someone is on the right track, GRRM will respond cryptically and give a short, sweet answer. He rambled when it came to j0nrya, that's not a good sign for the canon basis of their ship, especially when they have the nerve to call Jonsas delusional.

The truth is, I wouldn't still be here fully believing in the inevitability of Jonsa if GRRM debunked it in the same manner he did w J/A. When that Alexandragenesis person asked him about it back in 2018 and GRRM just responded with "not going to tell anymore than I already have" I knew that we were on the right track. If GRRM flat out ignored the question or responded with a simple "not the direction I'm going in" since he had no issue debunking another theory on that same chat...if I remember correctly, well I'd have left and accepted I just misinterpreted the text and saw romance where it wasn't meant to be. I'd still read fanfic about them and enjoy them in a fanon way, and I still believe all the brilliant metas hold merit, no matter if they're meant to be interpreted as romantic by the author.

But j0nrya's didn't let go of their stance and just cracked down harder on jonsas. I'm embarrassed for them. I don't care if they ship it in fanon, if they just enjoy it as a pairing and have accepted it won't become canon based on the author's blatant dismissal of any romance between them - but the way they have behaved in this fandom is really really childish and frankly, irritating. They actually dominate reddit as well, surprisingly. There's quite a few popular Redditors on there who get lots of upvotes and who are also big A/J0nrya bloggers on here. And sometimes there are posts about Queen A/J0nrya which is met with 0 criticism by the community. There's healthy discussions which receives heaps of upvotes and everything. But it's the opposite situation with queen sansa and Jonsa. Little to no upvotes and harsh criticism.

Are these people selectively blind? Is this fandom completely unable to understand subtext and implicit clues/foreshadowing? Do they get how fiction works? Do they get the different literary influences that inspired GRRM to write ASOIAF? His past works? His favourite authors? The themes of his series? The importance of omission? Unreliable narrators? Dramatic irony? Have these people never studied a text before and been made to pick apart imagery, sentences, parallels etc?

I'm just baffled by this fandom having such a surface level reading of the text. "BUT JONSA COULDN'T HAPPEN BECAUSE THEY RARELY THINK OF EACH OTHER!!" If they took the time to read our metas they'd actually realise... that works in our favour...the distance supports our theories...that's exactly what we are pointing out lmao. I'm utterly convinced that if Jon was mussing Sansa's hair and thinking of her as his little sister constantly that Jonsa would hold a lot more merit.

I mean, even just the implication that GRRM's response to Jonsa was clearly 'fan service catering' is so fucking disingenuous I have to laugh. Why would GRRM feel the need to appeal to such an incredibly niche fanbase and tell them what they want to hear when majority of the fandom wants Jon and D*ny to have sex and save the world together. And when you compare how GRRM responded to Jonsa vs how he has responded to R + L = J, it's so obvious that Jonsas are actually the ones who are making sound predictions. There's a reason a lot of us correctly predicted major beats in the show while the rest of the fandom were foaming at the mouth over Sansa being killed by one of her family members, queen d*ny, and the curtain of light theory ....

My Twitter account is locked for a reason. Somehow they always find you only to attack you.

Anyway, fave sister stans and fave sister/jon shippers are a funny bunch lmao I mean only them can write metas about fave sister being Lady of Winterfell *by proxy*, or that "official" Asoiaf fanart *confirms* that fave sister is the most beautiful human being on earth, or that fave sister and aunty wearing baby pearls means that they are the epitome of fertility and motherhood, despite them both hating those attires and quickly changing on masculine clothes 🤪 And I won't mention the training with a courtesan because that's sick 💀

I won't fight them on fave sister being jon's fave sister, that relationship can stay like that lol

I won't fight them on fave sister being Ned's fave daughter, that we can't change and there's reasons that vastly explain that.

They simply decided to ignore BALTICON, and they also do the same that cujo shippers do, they made up a narrative where GRRM knowing that they "rightly discovered" that their fave romance is *canon*, tried to mislead the readers to keep the susrprise factor when their ships happen . . . . ahxvasdhbshfbdfjsbdmjwd.alsdshadb

Did youk know that the Alexandragenesis was probably a hater from reddit trying to get GRRM debunking Jon/Sansa? Alexandragenesis is some fake disorder that gives you violet eyes born in the internet, so that name was targ coded. Also, after GRRM didn't give them the answer they were seeking they started to attack fave sister in favor of Sansa, so that person was definitely a Sansa hater/targie/fave sister stan failing as always lol

I think they read our metas and feel really dumb after that but they will never admit it, at least not in public, which reminds me of these two anon messages I got from them once:

. . . 🙈

They really said the GRRM answer to the jonsa question was fan service??? 🤡

I'm telling you, they are a funny bunch 😂

Anyway, I can't believe the curtain of light is a thing . . . . 🙃

Thanks for your message anon 💋

[chejuu]

20 questions for writers

thank you @wingdingery for the tag and excuse to self-indulgently talk about myself <3

1. how many works do you have on AO3? 17 on cheju, then 11 more on my various and sundry accounts 🫣

2. what's your total AO3 word count? 73,122 on cheju, a total of 110,145

3. what fandoms do you write for? nightwing + some original work as of late + various fandoms i used to be in that people request in fic exchanges

4. what are your top 5 fics by kudos? like two days ago bad desire just surpassed the kudos of a ten-year-old sansa/margaery fic i published on my old account. wow! please ignore that i was writing smut at 16

setting aside my other accounts, then it’s diesis (smut), listen to teeth (smut), sex, lies, and audiotape (mafia au. also smut), and exactly what it looks like (silly identity porn crack)

5. do you respond to comments? always!

6. what is the fic you wrote with the angstiest ending? down together leaves it open but probably fits the bill, in that the sex makes things significantly worse between slade and dick

7. what's the fic you wrote with the happiest ending? Rescued Slut Thanks His Studly Savior is established relationship sladick fluff (if pure smut can be fluff i guess) which i thought i would never write so maybe that. or better now, but it's about theater camp (2023) which is already a feel-good comedy movie to begin with

8. do you get hate on fics? not yet. i feel like it's a rite of passage, tho. quick someone send me hate

9. do you write smut? If so, what kind? it’s like... all i do

10. do you write crossovers? no, but never saying never!

11. have you ever had a fic stolen? nope

12. Have you ever had a fic translated? nope!

13. Have you ever co-written a fic before? i think i’d be too embarrassed

14. What's your all-time favorite ship? gotta be drarry (sorry sladick)

15. What's a WIP you want to finish but doubt you will? i plan to finish all my wips eventually, even the unpublished ones! at least any that have made it out of the notes app and into a word doc. the only one that maaay not make it is a recursive fic (author permission granted!) based on a popular sladick story—i’m a bit nervous about not living up to the original 🙈

16. What are your writing strengths? character voice, i think, and banter in particular. sexual tension, smut. so i've been told!

17. What are your writing weaknesses? i hardly write anything longer than a single scene, let alone more than one chapter. the one time i've given it an earnest go, i've gotten so caught up in the weeds that i haven't updated in months T_T

i'd also like to get better at atmosphere. not so much descriptions of the setting, more like... creating a distinctive tone through detail, metaphor, word choice. sometimes i feel like unless i'm writing a very particular setting, the tone is just. nonexistent?

18. Thoughts on writing dialogue in another language in fic? i honestly have zero thoughts

19. First fandom you wrote for? harry potter when was 14. wow it even has an A/N and everything

20. Favourite fic you've written? i think it’s bad desire so i’m glad the people agree hahah 

-

tagging @lordwisteria @roipecheur @mattdillon @thesubtextis @ontheropesss !

[atopvisenyashill]

my asoiaf crack ships

Jon/Sam/Gilly i KNOW the forced baby switching makes this uncomfortable i don't care they have my heart!!

Jon/Aegon Vi listen, beyond my jokey "jon finally finds a hot single twink to smush only to find out they're brothers" take, i think given all of jon's bastard baby brother issues re: robb colliding with general targ gender & sexuality fuckery AND aegon's short fuse + raised by a proud gay dad + is dornish and they're less uptight about that shit has the ability to give me a homoerotic toxic spiral to rival visaemon and throbb and i will hold onto this until i'm dead and buried

Jon/Arianne i just want my faves to smush + "we were both in love with the same man" bicon duos are my favorites

Aegon IlI/Gaemon Palehair i know there's a wonky age difference but it's bc george is a coward and he knew if they were the same age they would have kissed on the mouth

Willas/Ellaria they bond over both being lovers of Oberyn and missing him (Willas/Oberyn isn't a crackship they're friends in canon i’m justified in having a crackship offshoot for a non canon ship alright!!!)

Baela/Cregan my opinion on the pact of ice and fire is that instead of being this vague thing where Jace's theoretical first born daughter goes North, Baela has to marry Cregan even tho the regents hate the idea of this and she winds up defying them, which gets her cut out of politics, the succession, and generally pariah-ed in the South. Then she never has a living child with Cregan after all that. It just makes way more sense to me that Cregan would want a Targ now and not in the theoretical future (plus you still have the pact thing re: the main series bc they never have a living child, and Jace doesn't actually get to crown Sara)

Black Aly/Alyn Oakenfist they both love a war crime, they're opposites aesthetically so it would look hot, plus I think "i left my culture, my religion, and my home to be with you only for you to constantly cheat on me including with your incredibly young Valyrian relative" is less aggravating and more tragic if its Black Aly instead of Baela "is vastly superior to everyone yet is constantly cheated on by her shit ass, mid lovers" Targaryen

Grey Worm/Jeyne Poole i had a dream where Grey Worm and a large band of unsullied decided to stay in the North after the war for the dawn and they fell in love due to shared history of extreme trauma and Sansa gave Jeyne away and helped Grey Worm design a coat of arms for the marriage cloak and now I’m attached to this idea.

[karinonsan]

What if...

Sweet summer child Sansa would love Prince Jace Velaryon.

Btw on the 1st pic Jace wasnt looking down on Sansa. It was supposed to be a scene where many lords are gathered and some were sneering at him so he had to put the houlier-than-thou face (like in ep 8), and Sansa was sneaking glances at him from across the crowds.

Just a fun silly hc for a crack ship xD

[esther-dot]

Oh, I can't help myself, but regarding the Ashford tourney theory again, dismissing it as crack or saying there's no winner is not even how I'd advance a non-Jonsa reading.

The more pertinent question is thematically, in that why do men have to win Sansa's hand? Do we want to break that cycle? Is that where we get a conceivable Sansa/Sandor theory? How do we get positive resolution breaking out of 'the cycle'--- the door is left open narratively because the tourney was left unfinished. It's not about what counts as foreshadowing and what doesn't: the question you have to ask is how does it service the story and its ideas.

Romans and countrymen, come on. I can't be writing the anti-Jonsa analysis; I'm one of them!

(prev)

I’m sure they’ll take you up on your advice! 😂

I didn’t actually read through all their posts about the topic, I just wanted to illustrate a point, but it occurs to me if we’re talking a Stark girl, suitors, and tourneys, excluding Targs from the scenario is a little odd.

ANYWAY, you’re right that we have to think of things in context, and I do think the idea of Sansa being able to choose who she marries would be a great development because of the pre canon events, Sansa’s own experiences, the way many women have suffered because of their fathers’ arranging their marriages etc. But then we have to ask:

is it a believable development in their world for that to happen

is that specific match remotely feasible class-wise

would a marriage to someone who insults, threatens to murder, and sexual assaults her be any kind of answer to those unhappy arranged marriages?

does Sansa even like this person?

If the idea is that Sansa needs to leave her silly notions behind her, maybe she would marry one of the existing options or end up in a practical post canon marriage. However, if we are meant to understand that Sansa isn’t the problem and that thus far she’s simply been dealing with people unworthy of her and that there are heroes and someone does love her, suddenly, her potential romance is not just about shipping, it is about which values Martin wants to celebrate, what he wants us to believe in, and that I think is why it would matter to the story and probably function as a necessary balance to everything else that will be happening in the last two novels.