#thoughts on Parallels between members of House Stark

[crimsoncold]

Polls, Plans for a Future ASOIAF art series, and some Criticism of Antis and thoughts General Fandom etiquette ...

First of all thank you to anyone who participated in my poll on which pair of House Stark characters have the most underrated/underappreciated similarities or paralells (and for so many of you for taking the poll in the spirit it was intended and staying respectful in your tags- I always worry about that as part of the asoiaf/got fandom, particularly being a Sansa-stan and Jonsa shipper in general)

I was using this poll as a bit of research/inspiration for a future art series I wanted to do (there are just so many possible paralells/comparisons that I find intriguing or emotionally compelling, but i can only devote so much time to one specific art piece/series and was really struggling to narrow down the specific character pairs I wanted to focus on- hence the poll I made!)

So after getting an idea about which parallels resonate with people -and feel are underrepresented or unappreciated by fandom- and holding to the idea that if you want to see something specific or rare discussed or done in fandom/fanfiction/or fanart sometimes you just have to do it yourself ... I've checked the results and have decided I'm eventually going to do a cross-generation art series exploring certain characters' narrative parallels/similarities to eachother as well as a tribute to any canon relationship they have to one another...

It will include a Sansa & Ned piece, a Robb & Lyanna one, and lastly an Arya & Catelyn one.

Side note I'm also thinking of doing a separate Jonsa art piece that focuses a bit on the many ways their plotlines/arcs/dreams mirror one another.

(It's all going to take awhile- a few months probably but I'm very excited and I've already started brain storming ideas)

Ok now that I've expressed my appreciation and shared the more positive outcome from this poll now I want to take a moment to vent a bit about some of the negative backlash, address my general stance on antis, and give a little reminder about general fandom etiquette...

(I've tagged this accordingly so I'm unsure that any of the people this is directed at/could benefit from reading this will ever encounter it... but still I think its important to put it out there- even if only because it allows me to process my own thoughts and feelings on the matter)

(This may at times come across slightly bitchy- I'm alright with that but I decided I'd preface this by emphasizing... This is intended as a criticism of toxic stans... it is not the condemning of a specific character/certain character parallels, and it is not criticism of people who are simply fans of said character in general... everyone understand that? Good lets move on)

So I'm sort of feeling darkly amused about how (with I think a single nice exception?) the comments made on this poll (even multiple in a row from one user) were people wanting to complain that I chose to excluded some pair/parallel that they prefer ....

Instead of taking... what 10 seconds?... to read my explanation around why certain pairs were excluded from the poll- which would have apparently saved them a lot of grief...

(I.e. its not that the parallels between these pairs aren't present OR that I don't think they are meaningful... it's simply that I feel those sets of characters are very high profile and are frequently discussed in terms of their parallels by a significant portion of fandom and thus should NOT be included in a poll meant to consider underappreciated Stark character parallels)

...And then say deciding to either take this poll in the spirit it was intended (once again... to consider what is the most underrated/underappreciated stark paralells? NOT to focus on or reiterate some of the most talked about ones in all of asoiaf fandom?) or choosing to simply scroll past if they weren't interested in the options/design of the poll..

They instead chose to have a hissy fit in the comments about how offended they were that Lyanna was listed as having parallels with any Stark kid other than Arya (not just Sansa- which unfortunately is not exactly an unexpected response but apparently the idea of Robb + Lyanna having paralells was also deeply offensive. Who knew? I would have expected all the house stark boys were completely immune to the unecessary hate/criticism/dismissal that so much of fandom and many arya stans gleefully direct towards Sansa)

Or took the time to explicitly complain that I didn't include Arya being compared to.... whoever? Ned and Jon I think, maybe others? I've forgotten their explicit instructions on all their arya stan approved comparisons. Because isn't it sooo biased of me not to include these pairs because clearly Arya is the only character who can rightfully be compared to Lyanna or Ned... even in a post explicitly about parallels underrated by fandom!!! These commonly discussed parallels absolutely NEED to be an option even then... and if it isn't it has to be because the person who made it is prejudiced and biased-not because the pair/character parallels dont actually fit the poll criteria.

Really this just further justifies my disappointment in certain types of stans and makes me feel I wasn't being pessimistic or jumping at shadows when I listed my second reason for avoiding including those as pairs in this poll (i.e. wanting to avoid devoting space to pairs/paralells that bring out the worst in certain toxic stans- i just dont need to deal with that and neither does anyone else)

...when I say that certain character parallels bring up weird defensiveness/unpleasantness/stubborness in fans .. well these people choose to respond to such a statement by just literally proving my point.

If you dont like this poll instead of leaving comments to complain about it and its creator maybe go make your own Arya centric one?... would that not be a better use of your time? Or are you so lacking in creativity/the ability to think critically and express yourself persuasively that you can only ever complain about the content other's make and never actually be a productive or positive member of fandom through creating your own content?

All your actions do is make it less enjoyable to read or discuss said popular character or character parallels... you actively drive people away from the fandom discussion around your favorite characters/character parallels... which is an interesting choice to say the least.

I would love to plan out fanart that explores both the major and subtler ways the stark sisters echo both of their parents and even each other... but I am hesitant... Arya stans like these totally just reinforce both my concern that such content would not generally find acceptance/appreciation and my certainty that I would not even simply be peacefully left alone to explore or share these ideas without toxic stans invading my blog to bitch to me about... i don't know? How I'm awful for choosing to taint asoiaf things that sacredly belong only to Arya by including/linking them to evil incarnate Sansa or fandom nobody Robb? That I'd dare malign someone as precious as Arya by having the audacity to think or say that she has similarities to the useless female characters Sansa or Catelyn?

I'm a fan of all the stark kids (including Arya- i love the Stark sisters and wish more fandom discussion around their relationship was based in empathy and nuanced consideration rather than being mostly vitriolic and obviously biased) but stans like this make me not want to branch out beyond the more Sansa/Jonsa centric circles or content... because at least with this part of fandom I encounter people used to seeing/experiencing rudeness or outright harassment and who are not interested in behaving that way themselves (notice people weren't up in arms and taking to the comments in outrage about me choosing to not include and list Sansa and Catelyn parallels ... almost as if Sansa-stans don't harass or criticize people in their own posts... unlike many others I could list)

(including me!!!! I tag my content/art as in depth as possible not just to make it easy to find but also as a curtesy to be easy to filter or block for those who aren't interested in certain fandoms/ships/or even my art and content in general

I wish these people would remember that fandom is a hobby and we do this because we enjoy it... curate your fandom experience, scroll past things that don't interest you/filter any tags you want/block content or blogs that you don't like or don't care to see.

I am doing my part!

I am not willfully invading/infecting your space in fandom with my terrible interest in the starks/sansa/jonsa... use your damn filters and/or block my blog ... don't leave nasty comments for me or the other people to see)

Seriously!!!! Don't waste your energy on negativity, or your time on being rude or purposefully invading specific fandom spaces just to criticize and argue with people in fandom who you disagree with

... because I'm not going to engage with you or argue with you or in any way validate/reinforce your shitty behaviour, I'm not going to sink to your level by invading your blog or your posts to complain about you or your interests... I'm going to block you wearing a smile (just one less unpleasant person to run into in this fandom)

and lastly I'm just going to continue to post/enjoy all the characters/topics/ships that you hate.

and if I complain about what you've done or use it to emphasize my stance on specific antis or fandom conduct in general it will be only ever be in my own posts on my own blog- without explicitly identifying you/referencing your blog/or directing actual harassment or negativity towards you ... (I'm not going to make you feel justified in your negative opinions about/harassment of sansa-stans, jonsa fans, or just literally anyone in fandom who you disagree with... I'm not going to give you evidence/ammunition to slander or smear segments of fandom you consider undesirable... I'm just not going to lower myself the way you do... i have more respectful for myself and for other people in fandom... I'm content to let you look like the asshole and never have to think about you again)

if you failed to develope the ability to give enough of a shit about other people to be respectful in fandom spaces, filter and block accordingly, or at least be civil in your interactions please have enough respect for your own free time and at least care enough about your own emotional well-being and happiness to start acting this way ... Swear to god this will make things more enjoyable not just for others but for yourself as well

Now I'm going to go back to reblogging/making fan art of things I like... because it makes me happy and I don't wish to invest anymore time on negative things or negative people.

- Crimson Cold

[clytemnaestraes]

Catelyn, Arya, and Alyssa Arryn: unshed tears + weeping statues symbolism

The half-mythic, half-ancestral figure of Alyssa Arryn furthers themes connecting Catelyn and her daughters (Arya in particular) and grief.

Alyssa Arryn had seen her husband, her brothers, and all her children slain, and yet in life she had never shed a tear. So in death, the gods had decreed that she would know no rest until her weeping watered the black earth of the Vale, where the men she had loved were buried. Alyssa had been dead six thousand years now, and still no drop of the torrent had ever reached the valley floor far below. Catelyn wondered how large a waterfall her own tears would make when she died. 

Catelyn VII, AGOT

Alyssa was cursed by the gods because she did not grieve/weep for her family. Catelyn wants the war to be over so that she can weep for her family and grieve her losses.

I want to write an end to this. I want to go home, my lords, and weep for my husband."

Catelyn XI, AGOT

She woke aching and alone and weary; weary of riding, weary of hurting, weary of duty. I want to weep, she thought. I want to be comforted. I'm so tired of being strong. I want to be foolish and frightened for once. Just for a small while, that's all... a day... an hour...

Catelyn II, ACOK

However, she can't, because she's emotionally exhausted and burdened by her duties, and because she thinks she has to be strong for the sake of Robb.

Does he see Bran and Rickon as well? She might have wept, but there were no tears left in her.

Catelyn III, ASOS

Six Brave men had died to bring her this far, and yet she could not even find it in her to weep for them.

Catelyn VI, AGOT

The parallel between Catelyn and Alyssa is furthered when Bronn breaks the statue of Alyssa during the duel and subsequently uses it to pin his opponent to the ground and kill him, thus shattering Catelyn’s hopes of justice.

The Eyrie's plump septon escorted him to the statue in the center of the garden, a weeping woman carved in veined white marble, no doubt meant to be Alyssa.

Catelyn VII, AGOT

Jon Arryn's beautifully engraved silver sword glanced off the marble of the weeping woman and snapped clean a third of the way up the blade. Bronn put his shoulder into the states back. The weathered likeness of Alyssa Arryn tottered and fell with a great crash, and Ser vardis Egen went down beneath her.

Catelyn VII, AGOT

Catelyn dies in ASOS and is resurrected as a vengeful, inhuman fire wight, Lady Stoneheart. Lady Stoneheart demands vengeance, but that's not the true route to rest for Catelyn’s soul. In order for it to rest in peace, Catelyn needs to grieve her dead family members properly. She needs to let her tears fall. Mother Merciless needs Mercy. It has been theorised that her path will intersect with Arya's for this reason.

Art by Nejna on devianart

There are several passages in the books connecting Arya in Braavos to weeping statues of stone, unshed tears, and Catelyn/Lady Stoneheart.

Arya and Cat/Catelyn/Lady Stoneheart:

Cats never weep, she told herself, no more than wolves do.

Cat of the Canals, AFFC

Braavos was a good city for cats, and they roamed everywhere, especially at night. In the fog all cats are grey, Mercy thought.

Mercy, TWOW

Arya thinks cats are grey, and cats do not weep, paralleling the symbolism surrounding Lady Stoneheart.

Grey was the color of the silent sisters, the handmaidens of the Stranger. Brienne felt a shiver climb her spine. Stoneheart.

Brienne VIII, AFFC

Arya and unshed tears:

Some nights she might have cried herself to sleep if she had still been Arry or Weasel or Cat, or even Arya of House Stark… but no one had no tears.

The Blind Girl, ADWD

Arya and Weeping statues:

I am carved of stone, she reminded herself. I am a statue.

The Ugly Little Girl, ADWD

The nearest was a marble woman twelve feet tall. Real tears were trickling from her eyes, to fill the bowl she cradled in her arms. The Weeping Woman was the favorite of old women, Arya saw.

Arya I, AFFC

The statue outside the shrine of the Weeping Lady of Lys was crying silver tears as the ugly girl walked by.  

The Ugly Little Girl, ADWD

It can be fairly reasoned that Arya and Lady Stoneheart's paths will intersect at some point. She is the Mercy to her Mother Merciless.

[fanficapologist]

Of Dragons and Maelstroms

Themes and Warnings: slow burn, enemies to lovers, blood, violence, explicit language, sexual violence, period-typical misogyny, sexual themes, smut, tension, marriage, jealousy, pregnancy, childbirth, miscarriage, attempted sexual assault, breastfeeding, major character death, divergent timelines

Disclaimer: I do not own any of the House of The Dragon/Fire & Blood/Game of Thrones characters nor do I claim to own them. I do not own any of the images used nor do I claim to own them.

Chapter Fifty-Eight

One day before the funeral of Jaehaerys. The little body of the lost babe had also been sent to the Sept to be viewed by mourners before the following day, when both bodies would be cremated by the Kings dragon, Sunfyre, on a cliff at the Kingswood. It was a service Maera could not wait for to be over, in order to seek some closure and attempt to move forward in her life.

All members of the royal family were expected to attend the cremation. Helaena was getting frequent visits from Maester Orwyle and seemed able to attend, given she had adequate pain relief to cope with the after effects of losing her child. She was still refusing visitors and, while her screaming fits had ceased, she returned to spending most of her time staring out of the window, muttering to herself as tears streamed down her face.

Even Daeron, the youngest Targaryen brother, would be returning to Kings Landing on dragon-back for the funeral, yet only for a day as his dragon, Tessarion, was a formidable tool in the war effort. What Maera thought was strange was that the children, two year old Maelor and four year old Jaehaera, despite their recent trauma, would also be expected to attend. Maera was sure this was another political ploy from the Hand, but daren’t say anything to the other members of the family.

Hearing reports from her spies, Maera was relieved to know updates about her niece and nephew. Two-year-old Maelor seemed to be recovering swiftly, perhaps due to his young age which shielded him from comprehending the gravity of the situation. Despite being noted as more restless in the evenings, he returned to his usual playful self during the day, seemingly undeterred by the recent events.

In contrast, four-year-old Jaehaera was navigating her recovery differently. The trauma had left a deeper impact on her, rendering her mute and diminishing her appetite. Even her favorite toys and the attempts of her nursery maids couldn't coax a response from her. The profound effects of the ordeal lingered in the silence that enveloped her, creating a stark contrast to the lively and expressive child she once was.

Maera, deeply concerned for Jaehaera's well-being, observed a worrying parallel between the little girl's withdrawal and her mother, Helaena. Seeing Jaehaera cutting herself off from the world ignited a determination in Maera to prevent the child from succumbing to inner demons that echoed her mother's struggles. With a resolute mindset, Maera chose to spend the morning with Jaehaera, determined to coax her out of her shell and ensure that history didn't repeat itself.

On that cloudy autumn day, the beach took on a muted, tranquil ambiance. The sand stretched along the shoreline, softened by the overcast sky. Low tide revealed intricate patterns in the wet sand, remnants of the sea's gentle retreat. In the distance, beach caves stood, their dark openings hinting at hidden mysteries within. The waves, subdued by the season, whispered as they lapped against the shore, producing a soothing melody that echoed along the coastline. The cloudy sky cast a gentle, diffused light, painting the scene with a subdued palette of grays and blues, creating an atmosphere of calm contemplation on the deserted beach.

Maera walked beside little Jaehaera, with a cluster of guards not far behind them, the two figures moving in tandem along the cloudy autumn beach. Holding the small girl's hand, Maera felt a sense of silent companionship. Even though Jaehaera remained reticent, Maera found solace in the fact that the child had agreed to spend this time together. Both were dressed in black mourning dresses that billowed slightly in the breeze, and light cloaks shielded them from the chill of the windy beachfront. The somber attire mirrored the heavy emotions that lingered, yet the quiet unity between them became a source of mutual support amidst the echoes of grief.

Looking back at their footprints in the sand, Maera found the walk to be a healing balm for herself as well. The recent traumatic events, witnessing Jaehaerys' lifeless body and Helaena's heartbreaking loss of the baby, had left her in a state of disarray. Her appetite waned, and the burden of fatigue settled heavily in her muscles. Mood swings, oscillating between fleeting moments of happiness and deep depression, cast a shadow over her usual resilience.

Being near the sea, with the rhythmic sounds of the waves, brought a sense of comfort to Maera. The familiarity of the beach and the reminder of her home in the Rainwood became a source of solace amidst the storm of emotions. The walk along the shoreline provided a quiet respite, a moment for Maera to breathe and find some grounding in the midst of the turmoil that had disrupted the fabric of her usual self.

“Look at the seashells, Jaehaera,” Maera pointed to a collection of shells scattered along the sand. “Do you think we can find one with a little crab inside?”

Jaehaera stayed silent, her gaze fixed on the sand. Unperturbed, Maera continued, “And what about those seabirds? They are so high up in the sky, they look like they could be dragons, don’t they?”

The child remained silent, her eyes flitting between the sand and the distant waves as Maera tried to reach her once again. “Do you like the ocean, Jaehaera? I always find it soothing. It reminds me of my home in Rainwood, and when I was a little girl.”

Jaehaera kept her silence, but Maera didn’t let it dampen her spirits. Undeterred, Maera decided to share a piece of her own story, hoping it might resonate with the little girl.

"You know, Jaehaera," Maera began softly, "when I was just about your age, I lost my two older twin brothers." She paused, observing the child's reaction. Jaehaera's eyes flickered with curiosity as she looked up at Maera. Sensing a spark of engagement, Maera continued, "Laethan and Vaeron. They were a year older than me. We used to play by the beach near Rain House, just like you and I are doing now.”

Jaehaera looked up at Maera, a spark of curiosity in her eyes. Maera went on, “They got sick, sweet girl. A terrible illness called the pox took them away. It was just after my mother had died as well.” The weight of the memories lingered in Maera’s gaze, but she pressed on, sensing a connection forming between them.

Jaehaera’s attention remained fixed on Maera, the silence now a bridge between them rather than a barrier. “It was a difficult time, but I still remember them. When I walk by the sea, I think of them. The sound of the waves, the salty breeze, it is as if they are with me, watching over."

Jaehaera's gaze remained fixed on Maera, a glimmer of understanding in her eyes. Maera gently touched Jaehaera's shoulder and spoke gently, "I know you miss Jaehaerys, sweet one. And that is okay. You may find something that reminds you of him, something that will make you smile when you think of him."

Their steps continued along the beach, the rhythmic sound of waves providing a backdrop to the shared moment between Maera and the little girl, both carrying the weight of their losses in their own way.

The pair had ended up on the far side of the shore, near a collection of rocks and caves. Yet Maera found herself drawn to the largest one.The sea cave, carved by the relentless tides, possessed a natural grandeur. Its entrance arched like a gaping maw, revealing the hidden depths within. The jagged rocks surrounding the cave bore witness to the ceaseless dance between the sea and the shore. As Maera and Jaehaera neared, Maera noticed a small group of dragon-keepers gathered near the cave. Their attire and equipment hinted at their profession, with a large stick in hand, sturdy leathers and weathered cloaks designed for the challenges of handling dragons.

Among the group, Maera recognized Vovnik, one of the dragon-keepers she had encountered before, when Ēbrion was first discovered to be residing in the network of sea caves. Vovnik, with a seasoned understanding of dragon behavior, had also deduced that Ēbrion must have dwelled within the caves for an extended period. The dragon’s choice to remain hidden was attributed to its size, similar to Vhagar, which would have drawn attention if it ventured beyond the shadows of the caves.

The dragon had departed from its island home for reasons unknown, now choosing to linger on the shoreline of the Capital. The dragon-keepers closely monitored Ēbrion, a wild dragon with little trust for human interaction. His unpredictable nature had led to fatal encounters, as he had killed a few keepers and injured many more.

As the princesses approached the dragon-keeper elder, he executed a deep bow of respect, causing Maera to smile, still unused to such formality.

“Imastan se dyni nykeēdrosa ruartan ao, Vovnik?”Does the beast still evade you, Vovnik? she asked with a playful smile.

Vovnik, with a weathered face marked by the rigors of his trade, rolled his eyes and shook his head. “Nyke emagon dōrī rhēdan nykeā ziksos zaldrīzes. Ziry jāhor kirine gūrogon se havor īlon maghan yn daor he nykeā gūrēntan isse bodmagho rȳ ry,” I have never encountered such a stubborn dragon. It will happily take the food we provide but does not show an interest in training at all, he grumbled, gesturing towards the sea cave where Ēbrion, the wild dragon, resided.

Maera couldn’t help but giggle. In truth, she had become quite taken with the beast. She was fascinated when she first spotted him arriving on the beach many moons ago, but since coming face to face with him, her curiosity had only grown. She felt a deep sense of empathy toward Ēbrion, recognizing the drastic shift from a solitary life to constant exposure to humans. The dragon, seemingly alone in its newfound environment, had forged a unique connection with Vhagar, a companion of similar size. And even then, Maera had observed their relationship blow hot and cold.

Despite the unpredictability and potential danger, Maera found herself charmed by the magnificent beast. Her Targaryen bloodline, coupled with the stories her mother often shared about dragons, had kindled a fascination within her. Maera had noticed Ēbrion's appearances during times of stress, such as her wedding day, and felt a sense of gratitude for the unexpected omen. It was an odd feeling. Although unfamiliar with this peculiar sense of reassurance, Maera found solace in the majestic creature’s presence, a silent companion in moments of upheaval.

“Nyke olvie qūvyr syt zirȳla. Lo nyke ēdan nykeā lyka glaeson gōvilirion se rhaenagon nykēla qrillāettan ondoso ābrar nyke, daor sagon biare iā.” I feel quite sorry for him. If I had a peaceful life underground and suddenly found myself surrounded by people I found irritating, I would not be happy either. Maera proposed, smiling down at Jaehaera, who was still tightly clutched at her hand.

Vovnik sighed, a grizzled expression on his face. “Skoros ziry jorrāelagon iksos nykeā kipagīros, nykeā letagon. Mirtys qilōni kostagon gūrēñis zirȳla. Lo nykeā issaros issarys, pōnta līs sagon nykeā sētan naejot sagon pālegon rūsīr.” What he needs is a rider, a bond. Someone who can tame him. If such a person exists, they must be a force to be reckoned with indeed.

As Maera hummed in response to Vovnik’s words, the ground beneath them began to quake. The tremors intensified, revealing the unmistakable pattern of giant footsteps. A deep, low roar reverberated through the walls of the sea cave’s entrance, echoing ominously. Jaehaera clutched onto Maera’s skirts, seeking refuge from the unexpected tumult. Maera’s heart, however, beat with a mix of anticipation and excitement as the source of the disturbance became apparent.

Out of the darkness within the sea cave, Ēbrion emerged with a breathtaking grandeur. His colossal head, adorned with large horns, rose into view, framed by the ominous darkness behind him. The orange glow of his eyes held a hypnotic intensity, a stark contrast to the deep blue and black scales that adorned his majestic form. His impressive teeth and the sheer enormity of his presence created a surreal tableau against the backdrop of the cave’s shadows.

The dragon-keepers hastened to the Princesses' sides as the colossal figure of Ēbrion loomed overhead. However, to their surprise, Maera calmly gestured for them to remain composed. In that moment, an unspoken assurance seemed to envelop her, dispelling any immediate sense of threat.

The dragon's massive pupils expanded, resembling the vast expanse of the night sky, suggesting a state of relaxation. A plume of smoke billowed from his nostrils as Ēbrion snorted, and then, in a surprisingly gentle gesture, he lowered his head right in front of Maera. Murmurs of uncertainty spread among the dragon-keepers as they observed this unusual interaction.

“Shhh, lykirī Ēbrion,” Maera cooed, her green eyes sparkling with wonder at the beast before here. Remarkably, the dragon began emanating soft bellows from his chest, akin to the purring of a cat.

Undeterred, Maera extended her hand to the dragon's snout, just above his mouth. The dragon's scales, as smooth as ivory and radiating heat, met her touch. Grinning, Maera petted the colossal beast, using the same hand that had once revealed her blood to him. As Maera looked down at Jaehaera, she discovered the little girl’s purple eyes wide with excitement and a small, budding smile gracing her lips. This sight filled Maera’s heart with a hopeful warmth for the child.

She tilted her head in curiosity before asking Jaehaera, “Would you like to touch him?” In response, the four-year-old nodded eagerly. Maera, with a careful yet tender touch, lifted Jaehaera into her arms, cradling her on her hip. Joining their hands together, Maera guided Jaehaera’s small hand to rest on the smooth surface of Ēbrion’s nose.

In response, the mighty dragon blinked slowly, an expression of profound contentment. The tranquility that emanated from him enveloped the Princesses in a serene moment. Maera couldn’t help but smile down at Jaehaera, whose rosy cheeks bore witness to the happiness that had blossomed within her.

As Maera enjoyed the moment of connection with her niece and the dragon, she noticed a hushed conversation in the background. Vovnik and the other dragon-keepers were engaged in a murmured exchange in High Valyrian. Straining to hear, Maera turned to ask Vovnik about it, but before she could, a soft voice reached her ears.

"He’s so warm," Jaehaera spoke, the words carrying a sweet melody that had been absent for a week. The sound of her niece’s voice brought tears to Maera's eyes, and she fought to keep her composure.

"Yes he is, Jaehaera," Maera said, a joyous smile breaking across her face. She refrained from mentioning the significance of Jaehaera's spoken words, not wanting to put too much pressure on the child.

Deciding to redirect their focus, Maera suggested, "Come. Shall we head back to the Keep and tell Maelor about our encounter with the difficult dragon?" The little girl nodded, prompting Maera to set her down and gently take her hand, cherishing the newfound connection between them as they began their journey back.

“It was lovely to hear her voice again, after so long. And that she felt safe enough with me to speak,” Maera expressed to Aemond, who sat opposite her in their chambers as they shared lunch together. The table hosted an array of dishes included savory pies, roasted meats, and various side dishes. However, Maera’s plate held only a simple barley soup, a testament to her persistent lack of appetite.

The time she had spent with their niece was shared with her husband, a bright smile across her face. Maera’s green eyes lit up as she recounted the details of the encounter with Ēbrion, the joyous revelation seeming to temporarily lift the weight that had hung over them since Jaehaerys’ death.

Aemond, finishing chewing his food before he spoke, raised an eyebrow. “I am surprised you took her to the beach, given how things have been of late.”

Maera took in the sight of him as she slowly placed a spoonful of soup into her mouth. His silver hair cascaded over his broad shoulders, framing his strong features with an air of rugged elegance. His remaining violet eye remained intensely focussed on her with a quiet attentiveness, his sharp jawline and chiseled features conveyed a sense of strength and determination.

Maera, her smile turning melancholic, replied with a sad glint in her eyes, “It is where I feel close to my family. I thought Jaehaera might find comfort there too.”

Aemond considered this for a moment before commenting, “Seems like she was quite taken with Ēbrion, from your story.”

Maera nodded, “Yes, I thought it might be a positive experience for her. Jaehaerys always said he would claim Ēbrion when he was alive. I suppose seeing the beast gave her a chance to be close with her twin once more.”

The One-Eyed Prince simply hummed in response, placing a forkful of food gracefully into his mouth. Despite the stoic exterior, there was a subtle warmth in his gaze as he engaged with Maera, creating a comforting atmosphere in the midst of their shared meal.

Swallowing a mouthful of food, Aemond suggested, "Perhaps Jaehaera could one day claim the dragon for herself."

Humming in response, Maera contemplated Aemond's idea while taking a sip of ginger tea. After a moment of reflection, she spoke with determination, "I want to strike while the iron is hot, make sure Jaehaera does not retreat back into her shell." In a sudden burst of inspiration, Maera's eyes lit up. "I could show her my sketchbook of Ēbrion," she said out loud, a plan forming in her mind.

Eager to put it into action, Maera rose from the table with swift determination. However, as she stood, a sudden dizziness overcame her. Desperately grasping at the table edge to steady herself, she accidentally knocked a glass onto the floor, the sound of shattering glass echoing in the chambers. Aemond quickly rose from his seat and rushed to her side, concern etched on his face.

Despite his protective gesture, Maera, in her stubbornness, gently batted him away, insistence in her voice. “I’m fine.”

A frustrated groan escaped Aemond’s lips. “You have been like this since Jaehaerys’ death,” he remarked, his worry evident.

Maera, ever defiant, argued, “It is just shock.”

Aemond countered, “Not like any shock I have seen before.”

With a playful grin, Maera teased, “What do you know about shock, husband?” Her attempt at humor, however, was met with a stern silence from Aemond. Unfazed, Maera reached for the water across the table, sipping it to ease the tension in the air.

As Maera set down the glass, Aemond's concern deepened. "You need to see the Maester," he insisted.

Maera shook her head defiantly, stating, "I will not."

Aemond, standing in front of her, took charge, grasping her chin roughly and tipping her head back to look at him. "This is not a request," he stated sternly, his authority cutting through the air.

Maera couldn't help but feel a flutter of excitement at his commanding presence. Tilted her head, she asked flirtatiously, "Is this my Prince's command?"

Aemond, not wanting to show any vulnerability, but also not immune to her charm, gave her a subtle smile and a nod. Maera, still playful, stated with a smirk, "Fine. But it will be a waste of time."

Maera decided to visit Maester Orwyle in his chambers, considering his hands were likely full with tending to the Queen's needs. She reasoned that summoning him for what she believed were mere symptoms of shock would be an unnecessary diversion of his time.

Entering the Maester's chambers, Maera found herself surrounded by an array of medical bottles and scrolls, neatly organized on shelves. The room was equipped with a sturdy table, presumably for examinations and treatments, while a small bed hinted at the occasional need for medical examinations and rest. The air carried the distinct scent of herbs and potions, creating an ambiance that spoke of the Maester's dedication to his craft.

Maester Orwyle, with his meticulous concern, had Maera seated in his chambers, questioning her about various aspects of her health. The inquiry covered her diet, appetite, and the amount of sleep she managed to get. His probing also extended to matters of intimacy with her husband, which elicited a smile from Maera as she assured him there were no issues on that front.

However, when the Maester broached the topic of Moon's Blood, Maera couldn't help but be momentarily perplexed. With the whirlwind of events since her marriage, she had inadvertently neglected to pay attention to her monthly cycle. Spottings here and there following the wedding were the extent of her awareness on the matter.

“Forgive me, Maester Orwyle. So much has happened… I cannot remember much about dates or how long I bled for,” Maera admitted with a tinge of sadness to her voice.

The Maester gave her a sympathetic smile. “That is understandable, Princess. I would still like to examine you, if I have your permission.”

“Is that necessary?” She asked defensively.

“Illness and symptoms can manifest in any part of the body,” Orwyle replied.

Reluctantly, Maera agreed to lie back on the bed, attempting to divert her thoughts away from the impending invasive examination. The Maester, with a professional demeanor, conducted the necessary examination, and seemed to hum with surprise and confirmation, before withdrawing his hand from her. Once the procedure was concluded, Maera sat up, smoothing down her black skirts with impatience and a hint of apprehension.

“Well? What is it, Maester? Is it serious? I thought it was just shock?” Maera enquired with a mix of eagerness and fear, hoping for some clarity on her current state of health.

The Maester wiped his hand on a nearby cloth before meeting her gaze directly. “It is quite simple, Princess Maera. You are with child.”

Notes: Ahhh I couldn’t keep this to myself any longer. I’ve been dropping subtle hints since they got married but it’s time to make it official! Fun fact; all the symptoms mentioned where all the symptoms I had in my first pregnancy 🖤

Tags: @blue-serendipity @0eessirk8 @shesjustanothergeek @marvelescvpe @manipulatixe @watercolorskyy @abecerra611 (welcome to the club)

Thank you so much for reading! Comments, feedback, likes, and reblogs are greatly appreciated 🖤

[rusted-pipe-of-wisdom]

Need to put my Morgan's Boy (the novelization) thoughts somewhere or I might explode—

I remember when I just started to read and was enraptured by the intricate yet stark contrast between Morgan and Val. Val and Lee are very careful with each other, there's an unspoken etiquette that keeps them both safe, but also puts a distance between them that's hard to breach. Morgan wears his heart on his sleeve; it's disarming and awkward, esp if you're used to deflecting emotions for fear of them affecting you. It's such a cool thing, and it's done without either of them having to be the punchline. They're both so valid.

Generally impressed by the women in a book that's primarily about men. Val's writing is so powerful. Also love how Louise is both a cruel, childish person and a very believable 19yo girl with a heap of issues. There's something subtly dismissive in the way she's treated, which adds depth and reasoning to what she does to Morgan & Lee.

*points at the nuanced discussions of patriarchy, class, and colonial legacy, cries ugly tears* something something men are beautiful and loving and capable of greatness but patriarchy is cruel and unjust and oppressive and. Seriously, it's so intelligent. One of the reasons I have to stop every other page (hence taking 3 months to finish reading). I'm gonna incorporate this book into my personality so hard.

Speaking of patriarchy, Matthew is my precious son and I'm eager to see more of him (half-way through the book rn). Sometimes it's cool that being gay isn't like a Big Deal in a story but sometimes it is a big deal and that's ok. Can he and Lee kiss. I know they won't but it'd be cute.

Gregorys are so fucked up I wanna study them under a microscope. Prolly the least rounded members of the main cast, but so entertaining in just their sheer depravity. Like ma'am why are you being inappropriate around teenagers. Why is your house falling apart. Why are you British.

Picked up a bunch of Welsh words (mostly terms of endearment) for a semi-related fic and just feeling low-key emotional over the parallels I find with the erasure of the Jewish culture. I guess everything ends but nothing does. I guess a nation can never really be erased. I guess we do just go on and persevere no matter what. It's so real man.

It somehow escaped me until chapter 5 that Morgan's last name is Thomas? Idk what the sequence of events was with writing the script, but if it is an addition made for Gareth Thomas' benefit, that's super sweet. I can see why this role became so important to him. Besides all the personal history involved, it also feels very fitting for his acting style, I bet it was a joy to play.

[honeytae]

if you’re open for regular requests i’d love to request lil scenarios of the boys learning english alongside their english-speaking s/o! this is totally self-indulgent i’m doing the TEFL program and i’m going to south korea next year to teach :)

first of all, that’s amazing omg!! congratulations my love, i hope you have the best time over there and please don’t be shy in sharing your stories with us!!! i tried to stick to the boys actually learning english with their s/o but i strayed from that with a few members just bc i ran out of ideas lol but i hope you still enjoy!

fair warning....i’ve never ~seriously~ tried to learn korean, so i’m not entirely certain of the parallels between korean and english. i just hope these are wholesome enough to override that lmao

namjoon:

“You know,” Namjoon looked up from his phone, “I understand expanding your vocabulary, but why are there so many weird slang words?”

“Kids these days?” You shrugged, the man chuckling in response before flipping his phone around to show you what had puzzled him.

“If something slaps, that’s...good?” He wondered, watching as you suppressed a smile at the tweet he was showing you.

You could tell by the profile picture that the user was an ARMY, one of the many fan profiles on the platform, and the tweet was written completely in English.

Although there was a ‘Translate to Korean’ option readily available with just a tap of his thumb, you knew Namjoon never missed an opportunity to challenge himself to be able to fully comprehend what a native English speaker was trying to say.

You nearly snorted at the tweet’s content, smiling as you read it out loud.

“The Dis-ease bridge just saved my life. Seriously, this song slaps.”

Glancing at Namjoon, he raised his eyebrows, eagerly waiting for you to translate and explain what that could equate to in Korean.

“It’s definitely a good thing, Joon. They love it.”

At your interpretation, Namjoon grinned, nodding to himself as he pulled his phone back in front of his face to scroll through more reaction tweets to the new album release.

seokjin:

“What the hell is that?”

You picked your head up from your sketchbook when you heard Seokjin whine from beside you, eyebrows knitting together at his distressed tone. Taking a glance over at his laptop screen, you found his mouse bouncing from letter to letter on one of his weekly english lessons.

“What is that, like 15 letters? How do you even use that in a sentence?” He went on, obviously flustered by the word on the screen.

Pulchritudinous.

You placed your hand over his to stop his panicked counting of the letters, causing him to look over at you with a sigh as he frowned.

You nearly giggled at his reaction, but the genuine fear in his eyes made you stifle it as you soothingly held his hands in yours. 

“It’s just an over complicated way of saying beautiful. I don’t know why they’re teaching you that, nobody ever uses it.” You assured him, his eyes going down in size a bit at your words before he nodded.

Watching as a smirk tilted his lips, you raised your brows at the sudden expression.

“What?”

“Well like, I could say I’m...that?” He said, eyebrows raised cockily as he gestured to the long word stretched across the screen.

“Well it’s actually not used like,” you paused, giving in with a shrug as you grinned back at him.

“Sure, love.”

yoongi:

“Why did I skip English class all the time?” Yoongi sighed, pinching his bottom lip between his fingers as he plucked at the skin in frustration.

“Because you were trying to be a rebel.” You answered without looking up from your phone, the man obviously not liking your answer as he reached over to where you were laying beside him to pinch at your hip.

Yelping, you scooted across the mattress to get away from his hand, whining his name with a scoff before looking over at his notepad.

“What are you doing, anyway?” You asked, leaning on your palm as you scanned the rows of scribbled English letters written on the page.

“I’m trying to get better at writing.” He admitted shyly, a small grin on his face to match the fond one on your own. 

“Aw,” you pouted, Yoongi raising his eyebrows at your tone, “but I like your chicken scratch.”

“You’re such a brat.” He chuckled, adjusting the velcro on his brace with a grunt.

Since Yoongi’s shoulder surgery took away obvious straining activities like dancing and performing, he’d turned to studying English from the comfort of your bed during his recovery as one of the only safe activities he could partake in for a while.

It was now one of his favorite past times, learning new words and phrases he could potentially use in the future. It worked for you both because it took his mind off the pain and kept him motivated, and since you could speak both his and your language, you could help him out whenever he got stuck on something.

Usually he did lessons verbally on his phone, but it seemed today he had taken the old fashioned route.

“Your handwriting really isn’t bad, Yoongs.” You observed, the carefully placed tails at the end of each ‘a’ making you smile out of fondness for the man.

“My man has the prettiest handwriting.” You cooed, pushing a strand of his stark black hair out of his eyes as he blushed down at his notebook.

“Stop that.”

hoseok:

“Hey, babe?” Hoseok called for you, listening to your footsteps growing closer before you popped your head into the kitchen doorway.

“Yeah?”

“I’m having a little trouble.” He gestured to his open laptop on the counter, you recognizing it as an assignment from his English course.

“What happened?”

“Pronouns. Pronouns happened.” He pouted, his disdain for the new chapter quite obvious as he stared down his computer screen.

“What about them?” You asked, stepping closer to the man sitting at the kitchen island and placing a reassuring hand on his shoulder.

“I need to make ten sentences using proper pronouns and I feel like I’m doing it all wrong.” He explained, causing you to hum as you looked over his sentences.

“These look great, Hobi.” You smiled as you glanced over the first three he’d written, flawlessly executed on the document.

“Can you help me with the next one?” He wondered, you nodding your head as you took a seat on the stool next to his.

“What do you want the next one to say?” You asked, watching as he glanced off to the side in thought, slightly squinting his eyes at the tile floor beneath the sink.

“My house is next to,” He spoke in English, pausing as he searched his brain for what pronoun to put next.

“Theys?” He answered as more of a question, then shaking his head as he switched back to Korean, “wait, no.” He sighed, placing his chin in his hand in thought before glancing over to you.

“I know it’s wrong, I just don’t know what the right answer is instead.” He explained, you shooting him a loving smile as you pushed the dark raven hair off his forehead and pressed a kiss to the newly revealed skin.

“I’ll help you, Sunshine. No worries.”

jimin:

Flopping onto the bed, you let your tired body fall on top of Jimin’s hoodie clad chest, his arm encircling your body as he mumbled a soft greeting to you.

“Hm, what are you learning about today?” You nuzzled into his chest, peering at his phone propped up on his thigh.

“Animals. Birds, mostly.” He answered, briefly turning from the screen to press a kiss to your head before focusing back on the row of English words matched with pictures of popular birds glowing from the device.

The first was a robin, the next a blue jay, and then a dove.

You listened as the virtual instructor prompted Jimin to repeat after her, spelling out the letters before stating the whole word. You smiled as your boyfriend followed instruction, pronouncing the words the best he could after the microphone chimed for him to do so.

“D-o-v-e. Dove.”

“Dove.” He repeated, smiling to himself as the app announced he got the point with a little heart.

“That’s cute.” He went back to his native language, you humming in confusion as you lifted your head up off his chest to look at him.

“The heart?” You asked, reaching up to twist a stray strand of hair out of his eye as he shook his head.

“Dove.” He said again, making you tilt your head, not knowing what he meant.

“It sounds like ‘love.’” He connected the two English words, you smiling fondly at him in response before scooting up the bed to kiss the tip of his button nose.

“You’re so cute.”

taehyung:

Three knocks at the door announced someone’s arrival to your bedroom, causing your head to lift from the novel you’d been so immersed in. Taehyung was home, but you’d wanted to give him space because you knew he needed to work on lyrics for his mixtape in order to submit them on time. 

“Hey,” he poked his head in with a small smile, “can you help me with something?” He asked sheepishly, stepping further into the room when you nodded.

“Of course. What is it?” You set your book down, marking your place before closing it to pay full attention to your boyfriend.

“Well, I’m trying to write this verse in English and,” he trailed off with a shrug, “you know.” He finished, you nodding in response with a gesture for him to come sit next to you.

He eagerly walked over to you with his notebook in hand, lowering himself to the mattress before rolling his way over to where you were leaning against the headboard.

Honestly, Taehyung’s English wasn’t bad at all. He was insecure about it, but you’d never really understood what the reason for that feeling was. His vocabulary was more than decent, his comprehension was good, and his pronunciation was great for having such a thick accent.

But there were many times where Taehyung came to you for guidance, as you were a native English speaker yourself.

And so, as he rested his head on your shoulder confiding in you about everything he wanted to say and how he wanted to say it, you patiently took him through what would work and rhyme best, smiling as he hummed the melody to himself to see if the phrases would work in his creation.

jungkook:

“Baby, can you read it to me again before we go on? Just one more time.”

You glanced over at your boyfriend in his makeup chair, several employees bustling around the man as they attempted to get him ready to go on stage while they had him seated.

With his arm extended backward to where you stood behind his leather chair, he offered his phone to you while shooting you a grin through the reflection in the mirror.

Taking the device from his hand, you opened it to the notes app where he’d written what he wanted to say in his statement on stage in just a few minutes.

You were in London tonight, which meant that all of the boys had been rehearsing their English so that they could communicate easier with their audience.

Jungkook, ever the over-achiever, was determined to do the toughest English tongue twister he could possibly find. Not only that, but in a British accent for his British ARMY’s.

“Betty bought a bit of better butter to make her bitter butter better.” You read from the phone, barely able to read the sentence yourself before you glanced up at Jungkook through the mirror again.

You watched your boyfriend nod as his brain took in the words you’d just said, taking a deep inhale before he began speaking the phrase back to you.

You gawked as the man effortlessly repeated after you, a few of the makeup artists stopping as well as Jungkook raised his eyebrows back at you.

“Was that okay?”

[kellyvela]

Can you give some parallels between Cat and Jon? I'd love them.

Some parallels for you Anon and sorry if I don't remember everything now, my brain is really tired after a long day....

CATELYN TULLY & JON SNOW

House Tully motto is: FAMILY - Duty - honor / Jon is the Tully-est of all the Stark kids.

Catelyn resented Jon / Jon resented Catelyn.

Catelyn inherited her Tully Look to Sansa but Sansa is more similar to Ned (personality) / While Jon inherited his look from Ned, but is more similar to Catelyn (personality).

Of all Catelyn's children, Arya is the most similar to her (personality) / Arya is also Jon's most beloved sibling.

Catelyn was betrothed with Brandon Stark (The Stark Look) / While Jon's first lover was Ygritte (The Tully Look).

As member of House Tully, Catelyn is described as half fish / Jon's first lover was Ygritte described herself as half fish.

Catelyn: Sometimes she felt as though her heart had turned to stone. —A Game of Thrones - Catelyn VI; “Stoneheart. Is that who you mean?” Lord Randyll had spoken of her, back at Maidenpool. “Lady Stoneheart.” “Some call her that. Some call her other things. The Silent Sister. Mother Merciless. The Hangwoman.” —A Feast for Crows - Brienne VIII / Jon: You would weep as well if you had a son and lost him, Sam almost said. He could not blame Gilly for her grief. Instead, he blamed Jon Snow and wondered when Jon’s heart had turned to stone. —A Feast for Crows - Samwell III Credits to this clever anon.

Catelyn: Of all the rooms in Winterfell's Great Keep, Catelyn's bedchambers were the hottest. She seldom had to light a fire. The castle had been built over natural hot springs, and the scalding waters rushed through its walls and chambers like blood through a man's body, driving the chill from the stone halls, filling the glass gardens with a moist warmth, keeping the earth from freezing. —A Game of Thrones - Catelyn II / Jon: The weariness came on him suddenly, as he donned the roughspun blacks that were their everyday wear. He sat on a bench, his fingers fumbling with the fastenings on his cloak. So cold, he thought, remembering the warm halls of Winterfell, where the hot waters ran through the walls like blood through a man's body. —A Game of Thrones - Jon III Credits to this clever anon.

Catelyn freed Jaime (an enemy) in hope of an exchange for Sansa and Arya / While Jon freed Mance (an enemy) and sent him to rescue Arya. Credits to this clever anon.

I hope my clever anons send me more soon :)

[jackoshadows]

While developing characters, writers use certain literary tools to add depth to these characters and advance the plot.

Literary Foils and Mirrors

This is arguably the simplest of the devices. Foil characters share few or no values or traits. Maybe one character is lazy and boring, and his best friend is energetic and a go-getter. These are foil characters. Put them together, and they’ll highlight each other’s strengths and weaknesses. The most common foil characters are the heroes and villains, who stand for different values and want to achieve separate goals.

Mirror characters are used for a similar purpose. They tend to share several qualities and are used to complement and highlight each other’s traits. Common mirror characters embark on parallel plots, sometimes to achieve a single goal, which tests them and highlights their traits in different ways.

Arya Stark and Sansa Stark for example are literary foils.

Arya was one of the first characters created. Sansa came about as a total opposite b/c too many of the Stark family members were getting along and familes aren’t like that. Thus, Sansa was created; he ended by saying they have deep issues to work out. - GRRM

GRRM SSM November 11, 2000

You may be as different as the sun and the moon - Ned Stark, AGoT

Foils have contrasting personalities, a different set of values and are often used to highlight a character’s particular qualities. Snobby Sansa is used to highlight Arya’s socializing with the smallfolk and non-conformist Arya is used to highlight that Sansa is a proper lady. Arya rushes to help the butcher’s boy, Sansa is more concerned for the prince.

And then we have the mirror characters who share similar traits and qualities, again used to highlight and complement our characters. They may have parallel plots, give hints and clues as to how one characters journey could end the same or be different to the other.

In ASoIaF, Arya Stark and Lyanna Stark are mirror characters, in that, the author is using a tertiary character like Lyanna to complement and give us more information about our main character Arya.

“Lyanna might have carried a sword, if my lord father had allowed it. You remind me of her sometimes. You even look like her.”

“Lyanna was beautiful,” Arya said, startled. Everybody said so. It was not a thing that was ever said of Arya. - Arya, AGoT

So here the author gives us some information about how Arya might look in the future as well as demonstrates Arya’s low self-esteem with regards to her appearance.

Lyanna is used to highlight Arya’s interest in wielding a sword:

Beyond, in a clearing overlooking the river, they came upon a boy and a girl playing at knights. Their swords were wooden sticks, broom handles from the look of them, and they were rushing across the grass, swinging at each other lustily. "Arya?" she called out incredulously. Joffrey glanced from Arya to Sansa and back again. "Your sister?" She nodded, blushing. - Sansa, AGoT

Now two children danced across the gods wood, hooting at one another as they dueled with broken branches. The girl was the older and taller of the two. Arya! Bran thought eagerly, as he watched her leap up onto a rock and cut at the boy.  But that couldn’t be right. If the girl was Arya, the boy was Bran himself, and he had never worn his hair so long. And Arya never beat me playing swords, the way that girl is beating him. - Bran, ADwD

Bran sees a vision that parallels Arya/Mycah and even Arya/Bran with Lyanna and Benjen. Notice how Sansa is both incredulous and embarrassed at Arya dueling with Mycah -  highlighting the differences between Arya and Sansa and at the same time paralleling Arya and Lyanna.

Horse riding.

You ride like a northman, milady,” Harwin said when he’d drawn them to a halt. “Your aunt was much the same. Lady Lyanna. But my father was master of horse, remember.” - Arya, AGoT

It hurt that the one thing Arya could do better than her sister was ride a horse. Well, that and manage a household. - Arya, AGoT

Notice how Arya and Lyanna are paralleled to highlight that Arya is a good horse rider, like the Northerners. And again, notice the contrast to Sansa. One character is a mirror here and one character a foil.

And again, with the flowers:

Ned remembered the way she had smiled then, how tightly her fingers had clutched his as she gave up her hold on life, the rose petals spilling from her palm, dead and black. […] “I bring her flowers when I can,” he said. “Lyanna was … fond of flowers.” - Ned. AGoT

Then to Sansa she said, “When we were crossing the Neck, I counted thirty-six flowers I never saw before, and Mycah showed me a lizard-lion.” - Sansa, AGoT

One day she came back grinning her horsey grin, her hair all tangled and her clothes covered in mud, clutching a raggedy bunch of purple and green flowers for Father. Sansa kept hoping he would tell Arya to behave herself and act like the highborn lady she was supposed to be, but he never did, he only hugged her and thanked her for the flowers. That just made her worse. - Sansa, AGoT

Text that is used to mirror Arya and Lyanna as liking flowers. We have Ned taking flowers to Lyanna and Arya bringing flowers to Ned. And again we have Sansa disparaging this. Mirrors and foils.

We have Arya and Lyanna stepping in to help people. Mirrors used to highlight Arya’s personality.

“Stop it!” Arya screamed. She grabbed up her fallen stick. Arya swung with both hands. There was a loud crack as the wood split against the back of the prince’s head - Sansa, AGoT

They shoved him down every time he tried to rise, and kicked him when he curled up on the ground. But then they heard a roar. ‘That’s my father’s man you’re kicking,’ howled the she-wolf.” The she-wolf laid into the squires with a tourney sword, scattering them all. - Bran, ASoS

Arya and Lyanna step in to help their father’s men and people like Howland Reed and Mycah. Sansa stepped in to help her Lannister prince.

Lyanna is deemed wilful and wild and comparisons are made to Arya.

“She was,” Eddard Stark agreed, “beautiful, and willful, and dead before her time.” - Arya, AGoT

And Arya … he missed her even more than Robb, skinny little thing that she was, all scraped knees and tangled hair and torn clothes, so fierce and willful.  - Jon, AGoT

“[…] This willfulness of yours, the running off, the angry words, the disobedience … at home, these were only the summer games of a child. Here and now, with winter soon upon us, that is a different matter. It is time to begin growing up.” Arya, AGoT

So we get a warning for Arya that her predecessor with a similar personality had a tragic ending. Will Arya head down the same path or will she make different choices from her mirror character?

And then there is Arya’s relationship with Lyanna’s son Jon Snow. The fact that Arya, Jon and Lyanna all look the same - and have the Stark look.

I think the writing in the books makes it clear that Arya and Lyanna are literary mirrors and Arya/Lyanna are literary foils to Sansa.

In what way is Lyanna a mirror for Sansa? How does Lyanna in any way complement Sansa as a character? What information about Sansa do we get from the Lyanna call backs in the text? What can we glean about Sansa’s personality and how she would react from Lyanna’s traits? There is no information about any of this in the books.

Which is why it’s baffling when some sections of fandom keep talking about the many parallels between Sansa and Lyanna. There are no parallels here, none.

We first hear of Lyanna when Robert mentions that unlike his failed engagement to Ned’s sister, this time around, Ned’s daughter and Robert’s son can marry to unite house Baratheon and Stark. This is GRRM setting up the scenario to subvert tropes.

Readers expect that Lyanna is a Sansa like character but as we keep reading, it’s revealed that the daughter who is similar to Lyanna is Arya and not Sansa. Even Arya is surprised when Ned tells her that it is she who will have Lyanna’s beauty.

Lyanna and Robert do not get married because Lyanna went against the wishes of her family. Meanwhile Sansa wanted to marry Joffrey against the wishes of her father. Character foils. If anything the Robert/Lyanna and Joffrey/Sansa pairing demonstrates how much Sansa and Lyanna are as much foils as Sansa and Arya.

Lyanna could see through Robert, that not even his closest friend Ned could do. She was not taken in by appearances.

“Robert will never keep to one bed,” Lyanna had told him at Winterfell, on the night long ago when their father had promised her hand to the young Lord of Storm’s End. “I hear he has gotten a child on some girl in the Vale.” Ned had held the babe in his arms; he could scarcely deny her, nor would he lie to his sister, but he had assured her that what Robert did before their betrothal was of no matter, that he was a good man and true who would love her with all his heart. Lyanna had only smiled. “Love is sweet, dearest Ned, but it cannot change a man’s nature.” Ned, AGoT

Unlike Sansa, she did not believe that fairy tales were real. She was not idealistic about love. Contrast her with Sansa - who continued to love her sweet, beautiful prince after seeing him sadistically maul another child and try to harm her sister and after her own father warns her that Joffrey was not good

At first she thought she hated him for what they’d done to Lady, but after Sansa had wept her eyes dry, she told herself that it had not been Joffrey’s doing, not truly. The queen had done it; she was the one to hate, her and Arya. Nothing bad would have happened except for Arya.She could not hate Joffrey tonight. He was too beautiful to hate - Sansa, AGoT

“Once she had loved Prince Joffrey with all her heart, and admired and trusted her his mother, the queen. They had repaid that love and trust with her father's head. Sansa would never make that mistake again.”   - Sansa, ACoK

Much is made of Lyanna crying over Rhaegar’s song. As if this is a quality specific only to Sansa in ASoIaF. Cersei talks about how Rhaegar made her weep with his silvery harp. Arya likes songs and Arya cries. Arya and Sansa just like different songs and we have no idea what Rhaegar’s song was even about. Arya named her direwolf pup Nymeria from the songs.

Arya named hers after some old witch queen in the songs - Bran, AGoT

Arya wanted to become an outlaw like Wenda the White Fawn in the songs.

Tom and Hot Pie resumed their song on the other side of the brook, with the duck hanging from Lem’s belt beneath his yellow cloak. Somehow the singing made the miles seem shorter. - Arya, ASoS

Ygritte cries over songs about the last of the giants and Ygritte reminds Jon of Arya. Again, Ygritte and Arya are literary mirrors to remind Jon of his sister and highlight Arya’s personality and other characteristics.

She reminded him a little of his sister Arya, though Arya was younger and probably skinnier. It was hard to tell how plump or thin Ygritte might be, with all the furs and skins she wore. - Jon, ASoS

"If you kill a man, and never meant', he's just as dead," Ygritte said stubbornly. Jon had never met anyone so stubborn, except maybe for his little sister Arya. Is she still my sister? he wondered. Was she ever? - Jon, ASoS

There were tears on Ygritte’s cheeks when the song ended. “Why are you weeping?” Jon asked. “It was only a song. There are hundreds of giants, I’ve just seen them.” “Oh, hundreds,” she said furiously. “You know nothing, Jon Snow.” - Jon, ASoS

Ygritte displays both grief and anger at the fate of the giants in the song -  emotions that Arya often exhibits.

So GRRM compares two women who cry listening to songs with Arya in the text and yet the parallel here is somehow with Sansa?

Besides, let’s not forget Lyanna’s reaction to Benjen laughing at her crying:

The dragon prince sang a song so sad it made the wolf maid sniffle, but when her pup brother teased her for crying she poured wine over his head - Bran, ASoS

Who does this remind us of?

“You be quiet, stupid,” the girl (Lyanna) said, tossing her own branch aside. - Bran, ADwD

Who does this remind us of?

GRRM is deliberately writing in Lyanna Stark as a literary mirror to Arya Stark in the books. There are three possible reasons for this. One, to highlight and complement Arya’s personality and add depth to her character. Two, to highlight her strong connection to the North. And three, for a plot that he’s leading us towards, that will either parallel or connect to Lyanna’s story in some way.

GRRM sees no such need to connect Sansa and Lyanna because that is not Sansa’s story. Her similarities are with her mother Catelyn Stark. Her story has been revolving around Littlefinger for 5 books and Littlefinger is infatuated with her because she looks like Catelyn. The author has even talked about it.

My Littlefinger would have never turned Sansa over to Ramsay. Never. He’s obsessed with her. Half the time he thinks she’s the daughter he never had—that he wishes he had, if he’d married Catelyn. And half the time he thinks she is Catelyn, and he wants her for himself. He’s not going to give her to somebody who would do bad things to her. That’s going to be very different in the books. - GRRM

If there is an aunt that the character parallels, it is Lysa Arryn and not Lyanna Stark. Will Sansa fall to Littlefinger’s machinations and suffer the same fate as her mother and her aunt? Or will she forge a different path when facing same tests?

So why the obsession with Sansa and Lyanna parallels?

Sansa stans have this weird way of reading the text where everything is subconscious and not written on the page. This idea that what’s on page is not important but some sneaky, secretive subtext is what’s actually going foreshadow future events. So GRRM investing in Jon and Arya’s relationship in the text of the books means that Jon and Sansa are going to end up together. Or GRRM is making subconscious parallels between Lyanna and Sansa.

Sorry, but that’s not how GRRM writes. Everything that GRRM wants us to read and connect to is on the page.

“I’ve been planting all these clues that the butler did it, then you’re halfway through a series and suddenly thousands of people have figured out that the butler did it, and then you say the chambermaid did it? No, you can’t do that,” Martin reportedly said while addressing whether fan theories and online speculation influence his writing process for the “Song of Ice and Fire” series of novels on which HBO’s adaptation is based.

It’s easy to do things that are shocking or unexpected, but they have to grow out of characters. They have to grow out of situations. Otherwise, it’s just being shocking for being shocking. But this is something that seems very organic and natural, and I could see how it would happen.

Then there’s the misogyny. Beauty, songs, romance and love should only be associated with Sansa. Arranged marriages are only for Sansa, being used as a pawn for power is only Sansa. Only Sansa suffers the separation from family. Can’t associate any of that with Arya because she is ‘masculine’. Despite Catelyn arranging a marriage for Arya with a Frey and despite Ramsay marrying Arya to hold the North, only Sansa is the key to the North. Arya sees through Elmar Frey as easily as Lyanna sees through Robert Baratheon, but it’s only Sansa who is associated with an unwanted betrothal.

Every female character in this series has a betrothal plot, every female character is used as a pawn at one point - even Daenerys. We know nothing about Lyanna’s story - whether she was in love with Rhaegar, what she was doing in the Tower of Joy, why she eloped. We know nothing, just assumptions and headcanons. This is a character of whom we only get flashes here and there to add to Arya’s character for  plot reasons and the mystery of Jon’s parentage.

In my opinion, this obsession that Sansa stans have with connecting the character to Lyanna arises from a need to prove Sansa’s Northern/Stark credentials. Sansa stans are fanatical about the North. Parallels to Catelyn and Lysa evoke Sansa’s Tully lineage rather than her Stark one and for people that are obsessed with the North, this will not do.

Unless it’s the idiotic Ned/Cat Jonsa parallels where they theorize that Jon is attracted to a girl who looks like the woman who emotionally abused him 😒. Of course, with the new batch of Sansa stans who ship Jonsa there is now an added reason for pushing the Lyanna-Sansa parallels as a connection they want for Jon and Sansa.

So, in the text of the story, the author writes Arya Stark and Lyanna Stark as mirrors and Arya Stark and  Sansa Stark as foils. The author does not intend to have Lyanna and Sansa act as mirrors in my opinion. Rather, an examination of what little we know of Lyanna shows her to be a complete contrast to Sansa in all ways.

[fedonciadale]

How would you sort the main asoiaf characters into Hogwarts houses?

From what I’ve seen, there are many different opinions, and I’d very much like to read yours. You’re one of the smartest members of both fandoms!

Personally, I don’t see Jon as a Gryffindor, he seems more like a Slytherin to me. Sansa is a difficult one! The most popular house for her is Ravenclaw, but I’m not sure I agree. Do you think Tyrion fits more in Ravenclaw or Slytherin? I’m kind of conflicted about it, I think he could represent both. What about Cat? Oh, and Dany! I think she has the personality of a Gryffindor, but Targaryens share some parallels with Salazar Slytherin and his descendants, like their obsession with blood purity, the magic affiliations with big reptiles, and incest. Given how she strongly identifies with her house beliefs, which house would she be in?

Hi there!

Thanks for this nice ask and the compliment. *beams*

I’’ve given this some thought, because I think that the sorting is not only about who the persons are and what defines them but also what they value the most. The hat told Harry that he would fit into Slytherin, but Harry valued courage and was put into Gryffindor. The hat thought about putting Neville into Hufflepuff and Hermione into Ravenclaw but put them both into Gryffindor because they valued courage (and in Neville’s case he had a hard time becoming brave).

So. I see Jon as a Slytherin (at least BookJon!). He values courage that is true but he is very loyal to his friends and the people he loves and he is actually quite cunning if he wants to (like when he ensured that Sam could become a full member of the NW, when he lied to Mance, when he tricked Janos Slynt into defying him - which certainly is also a bit vindictive.

So, I think the hat would sort him into Slytherin, but Jon himself (you know, Jon : let them say, Ned Stark had four sons, not three) might want to be sorted into Gryffindor. I think he is at least 75% Slytherin.

Sansa is difficult. She is smart, but is not very confident about her intelligence. And I think that the characteristic that defines her the most is her kindness. So I think she would be sorted into Hufflepuff because that is probably what she herself would want.

Arya probably would want Gryffindor and get Gryffindor, although she also has traits of a Puff who wants to help people. Her sense of justice would speak for Hufflepuff.

I think Tyrion is mostly defined by being intelligent and also being proud about his own intelligence. I actually think that he would be a ‘bad’ Ravenclaw, someone who is so convinced about his own intelligence that he a) overlooks other people think as well and b) that he thinks that gives him the right to walk over people that are less intelligent. I don’t see him as a Slytherin, because he is only loyal to himself and he is more sneaky than really cunning.

Bran, nice boy that he is, is a Puff I think.

Sam is a nice Ravenclaw, someone who uses his brains to help others, so the hat might be tempted to put him into Hufflepuff with Sansa.

Cersei would be a ‘bad’ Slytherin, cunning, but not too smart, loyal to herself and her own, without consideration for anyone else.

Jaime is a ‘bad’ Gryffindor I think. Reckless, cocky, brave, but all for the wrong reasons.

Doran Martell is a ‘good’ Slytherin, looking out for his own without the tendency to burn everything else.

Arianne Martell is a mixture between Gryffindor and Ravenclaw I think.

Cat: she is difficult as well. I think she is a ‘good’ Slytherin. Cunning, looks out for her family, loyal to a fault.

I think, Ned is a Puff. He wants to improve things, he looks out for other people. He tries to be kind whenever possible. I think it is telling that he has to wear his ‘lord’s face’ when things get tough. Because his natural inclination would not be to be stern.

Now, Dany is extremely difficult. You are quite right, that her blood purity ideas and her dragons would tie her thematically to Slytherin. So she might be sorted into Slytherin for her family. And she would probably want that as well, because she wants power to ensure her own right/privilege. But if you look at her characteristics I think she would also fit into Gryffindor, you know one of the Gryffindors who do no think about consequences, personally brave, but all for the wrong reasons.... (JKR really should have had some Gryffindors as Voldemort supporters, some who bought the propaganda and used their bravery for a bad cause.).

Thanks!

[butterflies-dragons]

Sansa - Alayne - Alysanne - Sara - Sansara

A great deal has already been said about how similar Sansa Stark and Good Queen Alysanne Targaryen are. Here some sources:

Sansa Stark and "Good Queen" Alysanne Targaryen parallels

open thread #1: alysansa

Good Queen Alysanne translates to Good Queen D@ny??

Don't you think that Alysanne has more similarities with Arya than Sansa?

Tidbits from Fire and Blood

More tidbits from Fire and Blood

An Idyll where love conquers all

Jaehaerys and Alysanne was a romance unequaled since the days of Florian the Fool and his Jonquil

Doug Wheatley, we need an explanation!

can I copy your homework?

Lord Commander Burley also renamed Snowgate castle in her honor, as Queensgate

is nourishing

What are you doing George?

Jonquil Darke “the Scarlet Shadow” & Joffrey Dogget “the Red Dog of the Hills”

There is a certain irony in people rejecting any Sansa/Alysanne connection

There’s plenty Sansa and Alysanne parallels and some situations may actually repeat themselves

so sansa and good queen alysanne am i the only that sees it?

What are some parallels/similarities between Sansa and Good Queen Alysanne? Are there any?

More Sansa = Alysanne

Queen Alysanne has a knight named Jonquil and meets Lord Commander Lothor at the wall

Sansa & Alysanne portraits 

Queen Alysanne and her cousin King Jaehaerys

Queen Alysanne/Sansa Stark parallel

Why is it so significant the parallel between Queen Alysanne and Sansa?

Queens

Now I will give you my contribution on the matter, mostly based on what I found in my recent first re-reading of Fire & Blood.  

MERCY

Five of Maegor’s Seven yet survived. Two of those, Ser Olyver Bracken and Ser Raymund Mallery, had played a part in the late king’s fall by turning their cloaks and going over to Jaehaerys, but the boy king observed rightly that in doing so they had broken their vows to defend the king’s life with their own. “I will have no oathbreakers at my court,” he proclaimed. All five Kingsguard were therefore sentenced to death…but at the urging of Princess Alysanne, it was agreed that they might be spared if they would exchange their white cloaks for black by joining the Night’s Watch. Four of the five accepted this clemency and departed for the Wall; along with Ser Olyver and Ser Raymund, the turncloaks, went Ser Jon Tollett and Ser Symond Crayne.

—Fire & Blood

This passage reminds me of Sansa asking mercy for her father Ned and saving Dontos’ life by denying him the mercy of a quick death: 

The king! Sansa blinked back her tears. Joffrey was the king now, she thought. Her gallant prince would never hurt her father, no matter what he might have done. If she went to him and pleaded for mercy, she was certain he'd listen. He had to listen, he loved her, even the queen said so. Joff would need to punish Father, the lords would expect it, but perhaps he could send him back to Winterfell, or exile him to one of the Free Cities across the narrow sea. It would only have to be for a few years. By then she and Joffrey would be married. Once she was queen, she could persuade Joff to bring Father back and grant him a pardon.

—A Game of Thrones - Sansa IV

"Do you deny your father's crime?" Lord Baelish asked.

"No, my lords." Sansa knew better than that. "I know he must be punished. All I ask is mercy. I know my lord father must regret what he did. He was King Robert's friend and he loved him, you all know he loved him. He never wanted to be Hand until the king asked him. They must have lied to him. Lord Renly or Lord Stannis or … or somebody, they must have lied, otherwise …"

—A Game of Thrones - Sansa V

Unhappy, Joffrey shifted in his seat and flicked his fingers at Ser Dontos. "Take him away. I'll have him killed on the morrow, the fool."

"He is," Sansa said. "A fool. You're so clever, to see it. He's better fitted to be a fool than a knight, isn't he? You ought to dress him in motley and make him clown for you. He doesn't deserve the mercy of a quick death."

—A Clash of Kings - Sansa I

JOFFREY & THE HOUND

In Fire & Blood we meet a character named Ser Joffrey Doggett, also known as the Red Dog of the Hills. He was a knight from House Doggett, a noble house from the westerlands, vassals of House Lannister. 

During the reign of Maegor I Targaryen, Ser Joffrey Doggett was a member of the Lannisport chapter of the Warrior's Sons, an order of Westerosi knights sworn to the Faith of the Seven.

Ser Joffrey Doggett’s family was burned by the fires of Balerion: 

Then Maegor himself took wing, flying Balerion to the westerlands, where he burned the castles of the Broomes, the Falwells, the Lorches, and the other “pious lords” who had defied his summons. Lastly he descended upon the seat of House Doggett, reducing it to ash. The fires claimed the lives of Ser Joffrey’s father, mother, and young sister, along with their sworn swords, serving men, and chattel. 

—Fire & Blood

The day of his coronation, Jaehaerys I Targaryen appointed Ser Joffrey Doggett a member of the Kingsguard: 

“I rose against your uncle just as you did,” replied the Red Dog of the Hills, defiant.

“You did,” Jaehaerys allowed, “and you fought bravely, no man can deny. The Warrior’s Sons are no more and your vows to them are at an end, but your service need not be. I have a place for you.” And with these words, the young king shocked the court by offering Ser Joffrey a place by his side as a knight of the Kingsguard. A hush fell then, Grand Maester Benifer tells us, and when the Red Dog drew his longsword there were some who feared he might be about to attack the king with it…but instead the knight went to one knee, bowed his head, and laid his blade at Jaehaerys’s feet. It is said that there were tears upon his cheeks.

—Fire & Blood

Much later, Ser Joffrey Doggett flew with Queen Alysanne on her dragon Silverwing:

Even for a dragon, the flight from King’s Landing to Oldtown is a long one. The king and queen stopped twice along the way, once at Bitterbridge and once at Highgarden, resting overnight and taking counsel with their lords. The lords of the council had insisted that they take some protection at the very least. Ser Joffrey Doggett flew with Alysanne, and the Scarlet Shadow, Jonquil Darke, with Jaehaerys, so as to balance the weight each dragon carried.

—Fire & Blood

So here we have a character from the westernlands, vassal of the Lannisters, named Joffrey but also known as a red dog, whose family was burned by dragonfire and later became a member of the Kingsguard of Jaehaerys and also protected Queen Alysanne.  Ser Joffrey Doggett sounds like a combination of Joffrey Lannister and his sworn sword and later Kingsguard Sandor Clegane, the Hound. Both characters closely connected with Sansa Stark.

This is not the first time that GRRM did something like this. In the tale “The Hedge Knight”, part of his book “A Knight of the Seven Kingdoms”, GRRM has surrounded the fair maid of the Ashford Tourney, a girl of 13 years old, with a lot of characters that remind us of Sansa’s suitors and other men somehow interested in her.  

And this is not the only time that GRRM did it in Fire & Blood either. Queen Alysanne is surrounded by a lot of characters that remind us of ASOIAF characters that surround Sansa Stark. 

APPEARANCE

Before Fire & Blood, GRRM gave us this description of Good Queen Alysanne Targaryen, as an old woman at the end of Jaehaerys I reign:

GOOD QUEEN ALYSANNE

Alysanne was the queen, consort, and sister of King Jaehaerys I, the Old King, and like him she lived a long life. Since you pictured him as an old man at the end of his reign, I figure it would be most appropriate to do her the same way, rather than as the young woman she was when Jaehaerys first ascended the Iron Throne.

You might consider Alysanne as the Eleanor of Aquitaine of Westeros, and model her on Katharine Hepburn's portrayal of Eleanor in the film THE LION IN WINTER. Tall and straight, unbowed by time, she had high cheekbones, clear blue eyes. Age left crow's feet around her eyes and laugh lines about her mouth, but her face never lost its strength. She was a fine archer and hunter in her youth, and loved to fly atop her dragon to all the distant parts of the realm. Alysanne was slim of waist and small of breast, with a long neck, a fair complexion, a high forehead. In old age her hair turned white as snow. She wore it in a bun, pulled back and pinned behind her hear.

Her relationship with King Jaehaerys was always very close. She was his most trusted counselor and his right hand, and often wore a slimmer, more feminine version of his crown at court. Beloved by the common people of Westeros, she loved them in return, and was renowned for her charities.

[Source]

Here is Katharine Hepburn as Eleanor of Aquitaine in the film THE LION IN WINTER:

Katharine Hepburn‘s was 1.72 m.

After Fire & Blood, GRRM gave us this description of Good Queen Alysanne Targaryen, as a girl of 13 years old: 

Though she had only recently turned thirteen, the young princess rose to the challenge brilliantly, all agreed. For seven days and seven nights, she broke her fast with one group of highborn ladies, dined with a second, supped with a third. She showed them the wonders of the Red Keep, sailed with them on Blackwater Bay, and rode with them about the city.

Alysanne Targaryen, the youngest child of King Aenys and Queen Alyssa, had been little known amongst the lords and ladies of the realm before then. Her childhood had been spent in the shadow of her brothers and her elder sister, Rhaena, and when she was spoken of at all it was as “the little maid” and “the other daughter.” She was little, this was true; slim and slight of frame, Alysanne was oft described as pretty but seldom as beautiful, though she was born of a house renowned for beauty. Her eyes were blue rather than purple, her hair a mass of honey-colored curls. No man ever questioned her wits.

Later, it would be said of her that she learned to read before she was weaned, and the court fool would make japes about little Alysanne dribbling mother’s milk on Valyrian scrolls as she tried to read whilst suckling at her wet nurse’s teat. Had she been a boy she would surely have been sent to the Citadel to forge a maester’s chain, Septon Barth would say of her…

(...)

“My little flower,” was how the queen described her. Like Alysanne herself, Daella was small—on her toes, she stood five feet two inches—and there was a childish aspect to her that led everyone who met her to think she was younger than her age. Unlike Alysanne, she was delicate as well, in ways the queen had never been. 

—Fire & Blood

5.2 feet = 1.58 m.

Queen Alysanne’s “semi canon” description matched with Sansa’s a lot. But, from the “semi canon” source to the canon source (Fire & Blood), Queen Alysanne changed from tall (1.72 m) to small (1.58 m).  She kept two features that are very similar to Sansa though:   

Not purple eyes but BLUE EYES

Not silver hair but HONEY-COLORED CURLS 

And these two features are very close to the main features of House Tully: Blue Eyes and Auburn Hair. 

You can google “honey colored hair” and see by yourselves that honey colored is closer to auburn than silver. There are also metas about the matter out there, you can check them out too.   

There is not no mention of high cheekbones in Fire & Blood, but the illustrator of the book, Doug Wheatley, definitely gave Queen Alysanne high cheekbones and a very close resemble to Sophie Turner, the actress that played Sansa Stark in the Series:

This could be a coincidence of course. This is what GRRM has said about book illustrations while promoting Fire & Blood:  

Q: You have a very distinct idea of what the characters look like in your own head, because readers will always take their own?

GRRM: I do have ideas of what the characters look like in my own head but I’m perfectly willing to let the artist do different interpretations… You know, let different artists present their different interpretations of it, I’m fine with that. It’s not photography, so I love the idea of, you know, letting people use their own creativity within limits of course, but I love some of the works, many of the works I’ve bought original is hanging on, you know, on my own walls so…    

In conversation: George R. R. Martin with John Hodgman FULL EVENT 

Drawing Queen Alysanne with a close resemble to Sophie Turner was within the limits, it seems. 

I’m not saying Queen Alysanne and Sansa are identical twins, they don’t have to be, but they share significant physical features. They have differences as well, Alysanne is slim with small breast while Sansa is curvy with a big bosom. 

Queen Alysanne and Sansa also share these traits:

Alysanne was a bright but unremarkable girl; small but never sickly, courteous, biddable, with a sweet smile and a pleasing voice. To the relief of her parents, she displayed none of the timidity that had afflicted her elder sister, Rhaena, as a small child. Neither did she exhibit the willful and stubborn temperament of Rhaena’s daughter Aerea.

—Fire & Blood

This Alysanne’s description matches almost bit by bit these Sansa’s descriptions (including the contrast between Alysanne/Aerea and Sansa/Arya): 

It wasn't fair. Sansa had everything. Sansa was two years older; maybe by the time Arya had been born, there had been nothing left. Often it felt that way. Sansa could sew and dance and sing. She wrote poetry. She knew how to dress. She played the high harp and the bells. Worse, she was beautiful. Sansa had gotten their mother's fine high cheekbones and the thick auburn hair of the Tullys. Arya took after their lord father. Her hair was a lusterless brown, and her face was long and solemn. Jeyne used to call her Arya Horseface, and neigh whenever she came near. It hurt that the one thing Arya could do better than her sister was ride a horse. Well, that and manage a household. Sansa had never had much of a head for figures. If she did marry Prince Joff, Arya hoped for his sake that he had a good steward.

—A Game of Thrones - Arya I

"Sansa was a lady at three, always so courteous and eager to please. She loved nothing so well as tales of knightly valor. Men would say she had my look, but she will grow into a woman far more beautiful than I ever was, you can see that. I often sent away her maid so I could brush her hair myself. She had auburn hair, lighter than mine, and so thick and soft . . . the red in it would catch the light of the torches and shine like copper.

"And Arya, well . . . Ned's visitors would oft mistake her for a stableboy if they rode into the yard unannounced. Arya was a trial, it must be said. Half a boy and half a wolf pup. Forbid her anything and it became her heart's desire. She had Ned's long face, and brown hair that always looked as though a bird had been nesting in it. I despaired of ever making a lady of her. She collected scabs as other girls collect dolls, and would say anything that came into her head. I think she must be dead too." When she said that, it felt as though a giant hand were squeezing her chest. 

—A Clash of Kings - Catelyn VII

Tyrion let them have their byplay; it was all for his benefit, he knew. Sansa Stark, he mused. Soft-spoken sweet-smelling Sansa, who loved silks, songs, chivalry and tall gallant knights with handsome faces. He felt as though he was back on the bridge of boats, the deck shifting beneath his feet.

—A Storm of Swords - Tyrion III

So the singer played for her, so soft and sad that Arya only heard snatches of the words, though the tune was half-familiar. Sansa would know it, I bet. Her sister had known all the songs, and she could even play a little, and sing so sweetly. All I could ever do was shout the words.

—A Storm of Swords - Arya IV

INTELLIGENCE

Fire & Blood remarks Alysanne’s intelligence a lot, she was an avid reader and she could have been a Maester of the Citadel:

No man ever questioned her wits.

Later, it would be said of her that she learned to read before she was weaned, and the court fool would make japes about little Alysanne dribbling mother’s milk on Valyrian scrolls as she tried to read whilst suckling at her wet nurse’s teat. Had she been a boy she would surely have been sent to the Citadel to forge a maester’s chain, Septon Barth would say of her…for that wise man esteemed her even more than her husband, whom he served for so long. That was far in the future, however; in 49 AC, Alysanne was but a girl of thirteen years, yet all the chronicles agree that she made a powerful impression on those who met her.

(...)

It is written that the young king and queen were seldom apart during that time, sharing every meal, talking late into the night of the green days of their childhood and the challenges ahead, fishing and hawking together, mingling with the island’s smallfolk in dockside inns, reading to one another from dusty leatherbound tomes they found in the castle library, taking lessons together from Dragonstone’s maesters (“for we still have much to learn,” Alysanne is said to have reminded her husband).

(...)

“If I had not become queen, I might have liked to be a maester,” she told the Conclave. “I read, I write, I think, I am not afraid of ravens…or a bit of blood. There are other highborn girls who feel the same. Why not admit them to your Citadel? If they cannot keep up, send them home, the way you send home boys who are not clever enough. If you would give the girls a chance, you might be surprised by how many forge a chain.”

(...)

For three days she lost herself in the Citadel’s great library, emerging only to attend lectures on the Valyrian dragon wars, leechcraft, and the gods of the Summer Isles.

(...)

Once the initial frost had thawed, his lordship took the queen hunting after elk and wild boar in the wolfswood, showed her the bones of a giant, and allowed her to rummage as she pleased through his modest castle library.

—Fire & Blood

Sansa shares Alysanne’s love for reading:

The queen took Sansa's hand in both of hers. "Child, do you know your lettersSansa nodded nervously. She could read and write better than any of her brothers, although she was hopeless at sums.

—A Game of Thrones - Sansa IV

Jeyne Poole and all her things were gone when Ser Mandon Moore returned Sansa to the high tower of Maegor's Holdfast. No more weeping, she thought gratefully. Yet somehow it seemed colder with Jeyne gone, even after she'd built a fire. She pulled a chair close to the hearth, took down one of her favorite books, and lost herself in the stories of Florian and Jonquil, of Lady Shella and the Rainbow Knight, of valiant Prince Aemon and his doomed love for his brother's queen.

—A Game of Thrones - Sansa IV

“Do you read well, Alayne?"

"Septa Mordane was good enough to say so."

—A Storm of Swords - Sansa VI

Here is Arya listing all of Sansa’s artistic talents:

It wasn't fair. Sansa had everything. Sansa was two years older; maybe by the time Arya had been born, there had been nothing left. Often it felt that way. Sansa could sew and dance and sing. She wrote poetry. She knew how to dress. She played the high harp and the bells. Worse, she was beautiful. Sansa had gotten their mother's fine high cheekbones and the thick auburn hair of the Tullys. Arya took after their lord father. Her hair was a lusterless brown, and her face was long and solemn. Jeyne used to call her Arya Horseface, and neigh whenever she came near. It hurt that the one thing Arya could do better than her sister was ride a horse. Well, that and manage a household. Sansa had never had much of a head for figures. If she did marry Prince Joff, Arya hoped for his sake that he had a good steward.

—A Game of Thrones - Arya I

Arya is also here to tell us that Sansa is good at Heraldry:

No one ransomed the northmen, though. One fat lordling haunted the kitchens, Hot Pie told her, always looking for a morsel. His mustache was so bushy that it covered his mouth, and the clasp that held his cloak was a silver-and-sapphire trident. He belonged to Lord Tywin, but the fierce, bearded young man who liked to walk the battlements alone in a black cloak patterned with white suns had been taken by some hedge knight who meant to get rich off him. Sansa would have known who he was, and the fat one too, but Arya had never taken much interest in titles and sigils. Whenever Septa Mordane had gone on about the history of this house and that house, she was inclined to drift and dream and wonder when the lesson would be done.

—A Clash of Kings - Arya VII

Sansa understands songs sung in High Valyrian:

"I'm sore all over," Arya reported happily, proudly displaying a huge purple bruise on her leg.

"You must be a terrible dancer," Sansa said doubtfully.

Later, while Sansa was off listening to a troupe of singers perform the complex round of interwoven ballads called the "Dance of the Dragons," Ned inspected the bruise himself. "I hope Forel is not being too hard on you," he said.

—A Game of Thrones - Eddard VII

Then the heralds summoned another singer; Collio Quaynis of Tyrosh, who had a vermilion beard and an accent as ludicrous as Symon had promised. Collio began with his version of "The Dance of the Dragons," which was more properly a song for two singers, male and female. Tyrion suffered through it with a double helping of honey-ginger partridge and several cups of wine. A haunting ballad of two dying lovers amidst the Doom of Valyria might have pleased the hall more if Collio had not sung it in High Valyrian, which most of the guests could not speak.

—A Storm of Swords - Tyrion VIII

If the Eyrie had been made like other castles, only rats and gaolers would have heard the dead man singing. Dungeon walls were thick enough to swallow songs and screams alike. But the sky cells had a wall of empty air, so every chord the dead man played flew free to echo off the stony shoulders of the Giant's Lance. And the songs he chose . . . He sang of the Dance of the Dragons, of fair Jonquil and her fool, of Jenny of Oldstones and the Prince of Dragonflies. He sang of betrayals, and murders most foul, of hanged men and bloody vengeance. He sang of grief and sadness.

—A Feast for Crows - Sansa I

But, apparently, Sansa is bad with numbers...

It hurt that the one thing Arya could do better than her sister was ride a horse. Well, that and manage a household. Sansa had never had much of a head for figures. If she did marry Prince Joff, Arya hoped for his sake that he had a good steward.

—A Game of Thrones - Arya I

She could read and write better than any of her brothers, although she was hopeless at sums.

—A Game of Thrones - Sansa IV

Something changed then, because Alayne Stone is doing pretty well as de facto Lady of the Eyrie...

I can continue but this would be too long, so it’s better if I leave you this great post about Sansa’s intelligence: Sansa Smart

And here is GRRM himself talking about Sansa’s wits:  

Up to now Sansa has been a piece, that other people have moved around the board, to achieve her own goals, using her, discarding her, using her for a different purpose: You know, you’re going to marry Joffrey. No, you’re going to marry Loras. You’re going to marry Tyrion. She is beginning to at least try to understand how she can play the Game of Thrones and be not a piece, but a player. With her own goals, and moving other pieces around. And she’s not a warrior like Robb, Jon Snow. She’s not even a wild child like Arya. She can’t fight with swords, axes. She can’t raise armies. But she has her wits! Same as Littlefinger has.

—Game of Thrones Season 4: Episode #8 - A Different Purpose (HBO)

UNDERDOGS

Queen Alysanne Targaryen and Sansa Stark are two examples of “underdogs”:

No one paid attention to Alysanne until she was a maid of thirteen and was left in charge to entertain and charm lords and ladies at court. She grew up in the shadow of her older siblings, she was never expected to be Queen:

Alysanne Targaryen, the youngest child of King Aenys and Queen Alyssa, had been little known amongst the lords and ladies of the realm before then. Her childhood had been spent in the shadow of her brothers and her elder sister, Rhaena, and when she was spoken of at all it was as “the little maid” and “the other daughter.” 

(...)

We know very little about the childhood of Alysanne Targaryen; as the fifthborn child of King Aenys and Queen Alyssa, and a female, observers at court found her of less interest than her older siblings who stood higher in the line of succession. From what little has come down to us, Alysanne was a bright but unremarkable girl; small but never sickly, courteous, biddable, with a sweet smile and a pleasing voice. To the relief of her parents, she displayed none of the timidity that had afflicted her elder sister, Rhaena, as a small child. Neither did she exhibit the willful and stubborn temperament of Rhaena’s daughter Aerea.

—Fire & Blood

The same way as Alysanne was described as “unremarkable”, Sansa Stark is often described as “stupid”:

That gorget wasn't fastened proper. You think Gregor didn't notice that? You think Ser Gregor's lance rode up by chance, do you? Pretty little talking girl, you believe that, you're empty-headed as a bird for true. 

—A Game of Thrones - Sansa II

"Your Grace," he said sharply. "You truly are a stupid girl, aren't you? My mother says so."

—A Game of Thrones - Sansa VI

. . . ah, you're still a stupid little bird, aren't you? Singing all the songs they taught you . . . 

—A Clash of Kings - Sansa II

"Everyone wants to be loved." "I see flowering hasn't made you any brighter," said Cersei. 

—A Clash of Kings - Sansa IV

"He will," Sansa lied. "He is very . . . very comely."

"You said that. You know, child, some say that you are as big a fool as Butterbumps here, and I am starting to believe them. 

—A Storm of Swords - Sansa I

"Her heart was broken."

Sansa would have sighed and shed a tear for true love, but Arya just thought it was stupid. She couldn't say that to Ned, though, not about his own aunt. "Did someone break it?"

—A Storm of Swords - Arya VIII

"I forgot, you've been hiding under a rock. The northern girl. Winterfell's daughter. We heard she killed the king with a spell, and afterward changed into a wolf with big leather wings like a bat, and flew out a tower window. But she left the dwarf behind and Cersei means to have his head."

That's stupid, Arya thought. Sansa only knows songs, not spells, and she'd never marry the Imp.

—A Storm of Swords - Arya XIII

"NO!" Lysa gave Sansa's head another wrench. Snow eddied around them, making their skirts snap noisily. "You can't want her. You can't. She's a stupid empty-headed little girl.

—A Storm of Swords - Sansa VII

"Some books. I like the fighting stories. My sister Sansa likes the kissing stories, but those are stupid."

—A Dance with Dragons - Bran III

Sansa as Alysanne was not “remarkable” among her siblings, who often called her stupid, specially Bran and Arya, and was never expected to be the Heir of Winterfell or the Stark at Winterfell. She is the underdog...  

... And GRRM just loves underdogs:

Chris Long: Do you watch sports through that lens (characters developed all the time, unsung heroes/archnemesis of everybody/misunderstood as villains/some heroes are villains in disguise), with your writing background, and your penchant for creating characters, do you look at the characters in sports?  

GRRM: I do. You know, I think America loves the underdog, and we don’t like, except if it happens to be your dynasty, we tend not to like dynasties, you know?

—George RR Martin in The Fish Bowl with Chris Long

WEDDED BUT NOT BEDDED

Alysanne and Sansa flowered and wedded at a similar age. But both remained maidens: 

The princess was three-and-ten years of age, and had recently celebrated her first flowering, so it was thought desirable to see her wed as soon as possible. 

(...)

A modest feast followed the ceremony, and many toasts were drunk to the health of the boy king and his new queen. Afterward Jaehaerys and Alysanne retired to the bedchamber where Aegon the Conqueror had once slept beside his sister Rhaenys, but in view of the bride’s youth there was no bedding ceremony, and the marriage was not consummated.

—Fire & Blood

“How old are you, Sansa?” asked Tyrion, after a moment.

“Thirteen,” she said, “when the moon turns.”

—A Storm of Swords - Sansa III

“She is old enough to be Lady of Winterfell once her brother is dead. Claim her maidenhood and you will be one step closer to claiming the north. Get her with child, and the prize is all but won. Do I need to remind you that a marriage that has not been consummated can be set aside?”

—A Storm of Swords - Tyrion IV

Also Alysanne’s determination to marry his King brother Jaehaerys against her own mother's wishes, sounds pretty much like Sansa's stubbornness to marry Joffrey against Ned's orders.

Sansa, in an act of defiance, ran to Cersei and tells her of her father's plans, pleading that she might be allowed to stay and marry Joffrey.

"How well I know that, child," Cersei said, her voice so kind and sweet. "Why else should you have come to me and told me of your father's plan to send you away from us, if not for love?"

"It was for love," Sansa said in a rush. "Father wouldn't even give me leave to say farewell." She was the good girl, the obedient girl, but she had felt as wicked as Arya that morning, sneaking away from Septa Mordane, defying her lord father. She had never done anything so willful before, and she would never have done it then if she hadn't loved Joffrey as much as she did. "He was going to take me back to Winterfell and marry me to some hedge knight, even though it was Joff I wanted. I told him, but he wouldn't listen." The king had been her last hope. The king could command Father to let her stay in King's Landing and marry Prince Joffrey, Sansa knew he could, but the king had always frightened her. He was loud and rough-voiced and drunk as often as not, and he would probably have just sent her back to Lord Eddard, if they even let her see him. So she went to the queen instead, and poured out her heart, and Cersei had listened and thanked her sweetly … only then Ser Arys had escorted her to the high room in Maegor's Holdfast and posted guards, and a few hours later, the fighting had begun outside. "Please," she finished, "you have to let me marry Joffrey, I'll be ever so good a wife to him, you'll see. I'll be a queen just like you, I promise."

—A Game of Thrones - Sansa IV

Alysanne ran to Jaehaerys himself and they both elope to Dragonstone:

No record survives of what Alysanne Targaryen said or thought when first she learned that she was to be wed to a youth ten years her senior, whom she scarcely knew and (if rumor can be believed) did not like. We know only what she did. Another girl might have wept or raged or run pleading to her mother. In many a sad song, maidens forced to wed against their will throw themselves from tall towers to their deaths. Princess Alysanne did none of these things. Instead she went directly to Jaehaerys.

The young king was as displeased as his sister at the news. “They will be making wedding plans for me as well, I do not doubt,” he deduced at once. Like his sister, Jaehaerys did not waste time with reproaches, recriminations, or appeals. Instead he acted. Summoning his Kingsguard, he instructed them to sail at once for Dragonstone, where he would meet them shortly. “You have sworn me your swords and your obedience,” he reminded his Seven. “Remember those vows, and speak no word of my departure.”

That night, under cover of darkness, King Jaehaerys and Princess Alysanne mounted their dragons, Vermithor and Silverwing, and departed the Red Keep for the ancient Targaryen citadel below the Dragonmont. Reportedly the first words the young king spoke upon landing were, “I have need of a septon.”

—Fire & Blood

Curiously enough Alysanne’s first betrothed was Orryn Baratheon, just like Sansa’s first betrothed was Joffrey Baratheon.

LIKE IN THE SONGS

Alysanne and Jaehaerys eloping and first wedding had all the element’s of a fairy tale, like the songs Sansa loves to read: 

The Kingsguards as witnesses 

The Kingsguard arrived from King’s Landing by galley a few days later. The following morning, as the sun rose, Jaehaerys Targaryen, the First of His Name, took to wife his sister Alysanne in the great yard at Dragonstone, before the eyes of gods and men and dragons. Septon Oswyck performed the marriage rites; though the old man’s voice was thin and tremulous, no part of the ceremony was neglected. The seven knights of the Kingsguard stood witness to the union, their white cloaks snapping in the wind. 

—Fire & Blood

The Kingsguards fighting against the men that tried to separate the couple

From that day to this, the tale has been a favorite of lovesick maidens and their squires throughout the Seven Kingdoms, and many a bard has sung of the valor of the Kingsguard, seven men in white cloaks who faced down half a hundred. 

—Fire & Blood

This eloping, secret wedding and the Kingsguars involvement reminds me a lot of Lyanna’s “abduction” by Rhaegar and the Kingsguards “protecting” Lyanna in the Tower of Joy...  

A romance unequaled since the days of Florian and Jonquil

“That is how the singers tell the tale, certainly; the swift and sudden marriage of Jaehaerys and Alysanne was a romance unequaled since the days of Florian the Fool and his Jonquil, to hear them sing of it. And in songs, as ever, love conquers all. ”

—Fire & Blood

Florian and Jonquil love story is Sansa’s favorite. 

We are one now, and neither gods nor men shall part us

“As you command, Mother.” King Jaehaerys pulled his sister closer and put his arm around her. “But do not think that you shall unmake this marriage. We are one now, and neither gods nor men shall part us.” “Never,” his bride affirmed. “Send me to the ends of the earth and wed me to the King of Mossovy or the Lord of the Grey Waste, Silverwing will always bring me back to Jaehaerys.” And with that she raised herself onto her toes and lifted her face to the king, and he kissed her full upon the lips whilst all looked on.”

—Fire & Blood

An endless honeymoon

“It is written that the young king and queen were seldom apart during that time, sharing every meal, talking late into the night of the green days of their childhood and the challenges ahead, fishing and hawking together, mingling with the island’s smallfolk in dockside inns, reading to one another from dusty leatherbound tomes they found in the castle library, taking lessons together from Dragonstone’s maesters (“for we still have much to learn,” Alysanne is said to have reminded her husband), praying beside Septon Oswyck. They flew together as well, all around the Dragonmont and oft as far as Driftmark.”

—Fire & Blood

A maid observing her love while training

Every morning Jaehaerys trained with them in the castle yard, shouting at them to come at him harder, to press him, harry him, and attack him in every way they knew. From sunrise till noon he worked with them, honing his skills with sword and spear and mace and axe whilst his new queen looked on.”

(…)

“Jaehaerys was oft brusied and bloody by evening, to Alysanne’s distress, but his prowess improved so markedly”

—Fire & Blood

Jaehaerys training with more than one man at the same time reminds me of Garlan Tyrell and Jon Snow because they do the same:

On the edge of the yard, a lone knight with a pair of golden roses on his shield was holding off three foes. Even as they watched, he caught one of them alongside the head, knocking him senseless. "Is that your brother?" Sansa asked.

"It is, my lady," said Ser Loras. "Garlan often trains against three men, or even four. In battle it is seldom one against one, he says, so he likes to be prepared."

"He must be very brave."

"He is a great knight," Ser Loras replied. "A better sword than me, in truth, though I'm the better lance."

—A Storm of Swords - Sansa I

Jon swelled with pride. "Robb is a stronger lance than I am, but I'm the better sword, and Hullen says I sit a horse as well as anyone in the castle."

—A Game of Thrones - Jon I

“When Iron Emmett spied him, he raised a hand and combat ceased. “Lord Commander. How may we serve you?”

“With your three best.”

Emmett grinned. “Arron. Emrick. Jace.” . . .

“Which one do you want first?” asked Arron.

“All three of you. At once.”

“Three on one?” Jace was incredulous. “That wouldn’t be fair.” He was one of Conwy’s latest bunch, a cobbler’s son from Fair Isle. Maybe that explained it.

“True. Come here.”

When he did, Jon’s blade slammed him alongside his head, knocking him off his feet. In the blink of an eye the boy had a boot on his chest and a swordpoint at his throat. “War is never fair,” Jon told him. “It’s two on one now, and you’re dead.”

—A Dance with Dragons - Jon VI

An Idyll

“Queen Alysanne, for her part, was in no haste to return to court. “Here I have you to myself, day and night,” she told Jaehaerys. “When we go back, I shall be fortunate to snatch an hour with you, for every man in Westeros will want a piece of you.” For her, these days on Dragonstone were an idyll. “Many years from now when we are old and grey, we shall look back upon these days and smile, remembering how happy we were.”

—Fire & Blood

Sansa Stark is sighing somewhere... 

QUEENS

I found this very interesting detail in Fire & Blood: The Three Queens 

In 50 AC, the realm of Westeros found itself blessed with one king, a Hand, and three queens, as in King Maegor’s day…but whereas Maegor’s queens had been consorts, subservient to his will, living and dying at his whim, each of the queens of the half-century was a power in her own right.

In the Red Keep of King’s Landing sat the Queen Regent Alyssa, widow of the late King Aenys, mother to his son Jaehaerys, and wife to the King’s Hand, Rogar Baratheon. Just across Blackwater Bay on Dragonstone, a younger queen had arisen when Alyssa’s daughter Alysanne, a maid of thirteen years, had pledged her troth to her brother King Jaehaerys, against the wishes of her mother and her mother’s lord husband. And far to the west on Fair Isle, with the whole width of Westeros separating her from both mother and sister, was Alyssa’s eldest daughter, the dragonrider Rhaena Targaryen, widow of Prince Aegon the Uncrowned. In the westerlands, riverlands, and parts of the Reach, men were already calling her the Queen in the West.

—Fire & Blood

This passage obviously makes me think in The Three Queens mentioned by Littlefinger in a conversation with Sansa in A Feast for Crows:  

“You would not believe half of what is happening in King’s Landing, sweetling. Cersei stumbles from one idiocy to the next, helped along by her council of the deaf, the dim, and the blind. I always anticipated that she would beggar the realm and destroy herself, but I never expected she would do it quite so fast. It is quite vexing. I had hoped to have four or five quiet years to plant some seeds and allow some fruits to ripen, but now … it is a good thing that I thrive on chaos. What little peace and order the five kings left us will not long survive the three queens, I fear.”

“Three queens?” She did not understand.

Nor did Petyr choose to explain. Instead, he smiled and said, “I have brought my sweet girl back a gift.”

—A Feast for Crows - Alayne II

Thanks to this passage of Fire & Blood about The Three Queens: 

Queen Alyssa, Queen Regent, widow of Aenys

Queen Alysanne, Queen Consort, wife of Jaehaerys (but still a maid)

Queen Rhaena, widow of Prince Aegon the Uncrowned (& Maegor)

We can make the following association with these three ASOIAF characters in a similar position:

Alyssa/Cersei = Regents & Widows

Alysanne/Sansa = Wedded but No Bedded

Rhaena/Margaery = Twice Widows of Aegon/Maegor & Renly/Joffrey

But Fire & Blood has a little surprise in a footnote:

Footnote:

*1.- It should be noted, lest we be charged with omission, that there was a fourth queen in Westeros in 50 AC. The twice-widowed Queen Elinor of House Costayne, who had found King Maegor dead upon the Iron Throne, had departed King’s Landing after Jaehaerys’s ascent. Dressed in the robes of a penitent and accompanied only by a handmaid and one leal man-at-arms, she made her way to the Eyrie in the Vale of Arryn to visit the eldest of her three sons by Ser Theo Bolling, and thence to Highgarden in the Reach, where her second son had been fostered to Lord Tyrell. Once satisfied of their well-being, the former queen reclaimed her youngest boy and repaired to her father’s seat at Three Towers in the Reach, where she declared she would live quietly for the remainder of her life. Fate, and King Jaehaerys, had other plans for her, as we shall relate later. Suffice it to say that Queen Elinor played no role in the events of 50 AC.

—Fire & Blood

The fourth queen was Elinor Costayne, widow, mother of three living sons and one stillborn of Maegor. 

So we can make this final association:

Alyssa/Cersei = Regents & Widows

Alysanne/Sansa = Wedded but Not Bedded

Rhaena/Margaery = Twice Widows of Aegon/Maegor & Renly/Joffrey

Elinor/Daenerys = Widows, Mothers of three living sons: 3 Bolling sons/Drogo-Rhaegal-Viseryon & one twisted and malformed stillborn (unnamed/Rhaego)

Take note how Alysanne is described as “a younger queen” and “maid of thirteen”, because this could be a hint that Sansa Stark is the younger and more beautiful queen of Maggy The Frog prophecy.    

FLORIAN & JONQUIL

Sansa Stark’s favorite love story is the Tale of Florian and Jonquil, and Alysanne Targaryen is heavily associate with that story as well.

As mentioned earlier, Alysanne’s own love story is compared to Florian and Jonquil:

“That is how the singers tell the tale, certainly; the swift and sudden marriage of Jaehaerys and Alysanne was a romance unequaled since the days of Florian the Fool and his Jonquil, to hear them sing of it. And in songs, as ever, love conquers all. ”

—Fire & Blood

The Maidenpool incident

Alysanne suffered an attempt of murder perpetuated by three women at Maidenpool:

The town of Maidenpool was far famed for the sweetwater pool where legend had it that Florian the Fool had first glimpsed Jonquil bathing during the Age of Heroes. Like thousands of other women before her, Queen Alysanne wished to bathe in Jonquil’s pool, whose waters were said to have amazing healing properties. The lords of Maidenpool had erected a great stone bathhouse around the pool many centuries before, and given it over to an order of holy sisters. No men were allowed to enter the premises, so when the queen slipped into the sacred waters, she was attended only by her ladies-in-waiting, maids, and septas (Edyth and Lyra, who had served beside Septa Ysabel as novices, had both recently sworn their vows to become septas, consecrated in the Faith and devoted to the queen).

The goodness of the little queen, the silence of the Starry Sept, and the exhortations of the Seven Speakers had won over most of the Faithful for Jaehaerys and his Alysanne…but there are always some who will not be moved, and amongst the sisters who tended Jonquil’s Pool were three such women, whose hearts were hard with hate. They told one another that their holy waters would be polluted forever were the queen allowed to bathe in them whilst carrying the king’s “abomination” in her belly. Queen Alysanne had only slipped out of her clothing when they fell upon her with daggers they had concealed within their robes.

Blessedly, the attackers were no warriors, and they had not taken the courage of the queen’s companions into account. Naked and vulnerable, the Wise Women did not hesitate, but stepped between the attackers and their lady. Septa Edyth was slashed across the face, Prudence Celtigar stabbed through the shoulder, whilst Rosamund Ball took a dagger in the belly that, three days later, proved to be the death of her, but none of the murderous blades touched the queen. The shouts and screams of the struggle brought Alysanne’s protectors running, for Ser Joffrey Doggett and Ser Gyles Morrigen had been guarding the entrance to the bathhouse, never dreaming that the danger lurked within.

The Kingsguard made short work of the attackers, slaying two out of hand whilst keeping the third alive for questioning. When encouraged, she revealed that half a dozen others of their order had helped plan the attack, whilst lacking the courage to wield a blade. Lord Mooton hanged the guilty, and might have hanged the innocent as well, save for Queen Alysanne’s intervention.

—Fire & Blood

I find this incident a metaphor of that famous Littlefinger line: "Life is not a song, sweetling. You may learn that one day to your sorrow." Maidenpool was a place where a great love story occurred but for Alysanne was also the place where other women tried to murder her.  She was pregnant of her first child during the attack and later she gave birth a premature baby, Aegon. He died three days after birth. Alysanne blamed her son’s death on the women who attacked her at Maidenpool. Had she been allowed to bathe in the healing waters of Jonquil’s Pool, she would say, Prince Aegon would have lived.

The same ‘disillusionment’ happened when Jaime and Brienne arrived at Maidenpool in ASOIAF and found the pool full of corpses:

At Maidenpool, Lord Mooton's red salmon still flew above the castle on its hill, but the town walls were deserted, the gates smashed, half the homes and shops burned or plundered. They saw nothing living but a few feral dogs that went slinking away at the sound of their approach. The pool from which the town took its name, where legend said that Florian the Fool had first glimpsed Jonquil bathing with her sisters, was so choked with rotting corpses that the water had turned into a murky grey-green soup.

Jaime took one look and burst into song. "Six maids there were in a spring-fed pool . . ."

—A Storm of Swords - Jaime III

But this awful incident was the cause for Alysanne to take a female knight to protect her. A knight with a very singular name: Jonquil Darke.

FEMALE KNIGHT

Jonquil Darke

With hundreds of knights eager to compete for the honor of serving in the Kingsguard, the combats lasted seven full days. Several of the more colorful competitors became favorites of the smallfolk, who cheered them raucously each time they fought. One such was the Drunken Knight, Ser Willam Stafford, a short, stout, big-bellied man who always appeared so intoxicated that it was a wonder he could stand, let alone fight. The commons named him “the Keg o’ Ale,” and sang “Hail, Hail, Keg o’ Ale” whenever he took the field. Another favorite of the commons was the Bard of Flea Bottom, Tom the Strummer, who mocked his foes with ribald songs before each bout. The slender mystery knight known only as the Serpent in Scarlet also had a great following; when finally defeated and unmasked, “he” proved to be a woman, Jonquil Darke, a bastard daughter of the Lord of Duskendale.

In the end, none of these would earn a white cloak.

—Fire & Blood

Jonquil reminds me a lot of Brienne of Tarth, the True Knight of ASOIAF. Both female knights that competed for a place in the Kingsguard. Jonquil didn’t make it, but Brienne got a place in Renly’s Rainbow Guard. 

After the Maidenpool incident, Alysanne chose Jonquil Darke to be her sworn shield:   

“I need a protector of mine own,” she told His Grace. “Your Seven are leal men and valiant, but they are men, and there are places men cannot go.” The king could not disagree. A raven flew to Duskendale that very night, commanding the new Lord Darklyn to send to court his bastard half-sister, Jonquil Darke, who had thrilled the smallfolk during the War for the White Cloaks as the mystery knight known as the Serpent in Scarlet. Still in scarlet, she arrived at King’s Landing a few days later, and gladly accepted appointment as the queen’s own sworn shield. In time, she would be known about the realm as the Scarlet Shadow, so closely did she guard her lady. 

—Fire & Blood

At this point in ASOIAF, Briene of Tarth is in a quest to find Sansa Stark to fulfill the promises that Jaime Lannister and her did to Catelyn Stark:

“Hear me out, Brienne. Both of us swore oaths concerning Sansa Stark. Cersei means to see that the girl is found and killed, wherever she has gone to ground . . .”

Brienne’s homely face twisted in fury. “If you believe that I would harm my lady’s daughter for a sword, you—”

“Just listen,” he snapped, angered by her assumption. “I want you to find Sansa first, and get her somewhere safe. How else are the two of us going to make good our stupid vows to your precious dead Lady Catelyn?”

The wench blinked. “I . . . I thought . . .”

“I know what you thought.” Suddenly Jaime was sick of the sight of her. She bleats like a bloody sheep. “When Ned Stark died, his greatsword was given to the King’s Justice,” he told her. “But my father felt that such a fine blade was wasted on a mere headsman. He gave Ser Ilyn a new sword, and had Ice melted down and reforged. There was enough metal for two new blades. You’re holding one. So you’ll be defending Ned Stark’s daughter with Ned Stark’s own steel, if that makes any difference to you.”

“Ser, I . . . I owe you an apolo . . .”

He cut her off. “Take the bloody sword and go, before I change my mind. There’s a bay mare in the stables, as homely as you are but somewhat better trained. Chase after Steelshanks, search for Sansa, or ride home to your isle of sapphires, it’s naught to me. I don’t want to look at you anymore.”

“Jaime . . .”

“Kingslayer,” he reminded her. “Best use that sword to clean the wax out of your ears, wench. We’re done.”

Stubbornly, she persisted. “Joffrey was your . . .”

“My king. Leave it at that.”

“You say Sansa killed him. Why protect her?”

Because Joff was no more to me than a squirt of seed in Cersei’s cunt. And because he deserved to die. “I have made kings and unmade them. Sansa Stark is my last chance for honor.” Jaime smiled thinly. “Besides, kingslayers should band together. Are you ever going to go?”

Her big hand wrapped tight around Oathkeeper. “I will. And I will find the girl and keep her safe. For her lady mother’s sake. And for yours.” She bowed stiffly, whirled, and went.

—A Storm of Swords - Jaime IX

See? Jonquil Darke was Alysanne’s sworn shield as Brienne of Tarh is Sansa’s sworn sword. A sword made of Ice, literally.   

Later, when Alysanne visited the North for the first time, she met another “female knight”, a wildling girl:

Manderly also staged a small tourney in the queen’s honor, to show the prowess of his knights. One of the fighters (though no knight) was revealed to be a woman, a wildling girl who had been captured by rangers north of the Wall and given to one of Lord Manderly’s household knights to foster. Delighted by the girl’s daring, Alysanne summoned her own sworn shield, Jonquil Darke, and the wildling and the Scarlet Shadow dueled spear against sword whilst the northmen roared in approval.

—Fire & Blood

It would be no surprise if Sansa meets another female knight or warrior during her return to the North, a wildling spearwife, or a Mormont woman, or her wild faceless assassin sister Arya Stark.   

To finish with Jonquil Darke, take note that her name and surname are also references to Dontos Hollard, another character that acted as Sansa’s knight. Sansa called Dontos “Her Florian” and House Hollard was once sworn to House Darklyn of Duskendale, that are related to House Darke.

Also take a look at this color refrences:

Jonquil Darke was also known as the Serpent in Scarlet and the Scarlet Shadow.

Ser Joffrey Doggett was also known as the Red Dog of the Hills. 

Ser Dontos Hollard was also called Dontos the Red.

Only Brienne of Tarth breaks this pattern, because she was called Brienne the Blue, during his days as member of Renly’s Rainbow Guard. Wanna know who was the Red in Renly’s Rainbow Guard? It was Ser Robar Royce, son of Yhon Bronze Royce and brother of Waymar Royce, Sansa’s first crush.

But my point with all this Red/Scarlet colored references is that red is a color hugely associated with Sansa Stark, because of the red of her hair and the red of the weirwood tree. 

THE VISENYA AND THE RHAENYS 

During a discussion between King Jaehaerys I and his older sister Rhaena, these words were exchanged: 

“And Silverwing?” asked Rhaena. “Our sister—”

“—had no part in this. I will not put her at risk.”

The Queen in the East smiled then. “She is Rhaenys, and I am Visenya. I have never thought otherwise.”

—Fire & Blood

Rhaena compared Jaehaerys with Aegon the Conqueror, herself with Queen Visenya and Alysanne with Queen Rhaenys. 

This is part of a dichotomy that GRRM work with a lot: the Lady Woman Vs the Warrior Woman. A pattern that started with the Stark Sisters, and is replicated a lot in Fire & Blood with several Targaryen Sisters. Here some examples:

Visenya and Rhaenys

Rhaena and Alysanne

Aerea and Rhaella

Baela and Rhaena  

Rhaena was not exactly like Visenya and Alysanne was not exactly Rhaenys, but Rhaenys and Alysanne certainly shared a lot of similarities:

Rhaenys

Rhaenys, youngest of the three Targaryens, was all her sister [Visenya] was not, playful, curious, impulsive, given to flights of fancy. No true warrior, Rhaenys loved music, dancing, and poetry, and supported many a singer, mummer, and puppeteer. Yet it was said that Rhaenys spent more time on dragonback than her brother and sister combined, for above all things she loved to fly. She once was heard to say that before she died she meant to fly Meraxes across the Sunset Sea to see what lay upon its western shores.”

(...)

Queen Rhaenys was a great patron to the bards and singers of the Seven Kingdoms, showering gold and gifts on those who pleased her. Though Queen Visenya thought her sister frivolous, there was a wisdom in this that went beyond a simple love of music. For the singers of the realm, in their eagerness to win the favor of the queen, composed many a song in praise of House Targaryen and King Aegon, and then went forth and sang those songs in every keep and castle and village green from the Dornish Marches to the Wall. Thus was the Conquest made glorious to the simple people, whilst Aegon the Dragon himself became a hero king.

Queen Rhaenys also took a great interest in the smallfolk, and had a special love for women and children. Once, when she was holding court in the Aegonfort, a man was brought before her for beating his wife to death. The woman’s brothers wanted him punished, but the husband argued that he was within his lawful rights, since he had found his wife abed with another man. The right of a husband to chastise an erring wife was well established throughout the Seven Kingdoms (save in Dorne). The husband further pointed out that the rod he had used to beat his wife was no thicker than his thumb, and even produced the rod in evidence. When the queen asked him how many times he had struck his wife, however, the husband could not answer, but the dead woman’s brothers insisted there had been a hundred blows.

Queen Rhaenys consulted with her maesters and septons, then rendered her decision. An adulterous wife gave offense to the Seven, who had created women to be faithful and obedient to their husbands, and therefore must be chastised. As god has but seven faces, however, the punishment should consist of only six blows (for the seventh blow would be for the Stranger, and the Stranger is the face of death). Thus the first six blows the man had struck had been lawful…but the remaining ninety-four had been an offense against gods and men, and must be punished in kind. From that day forth, the “rule of six” became a part of the common law, along with the “rule of thumb.” (The husband was taken to the foot of the Hill of Rhaenys, where he was given ninety-four blows by the dead woman’s brothers, using rods of lawful size.)

—Fire & Blood

Alysanne

Queen Alysanne looked back on the short-lived glories of her father’s court fondly, however, and made it her purpose to make the Red Keep glitter as it never had before, buying tapestries and carpets from Free Cities and commissioning murals, statuary, and tilework to decorate the castle’s halls and chambers. At her command, men from the City Watch combed Flea Bottom until they found Tom the Strummer, whose mocking songs had amused king and commons alike during the War for the White Cloaks. Alysanne made him the court singer, the first of many who would hold that office in the decades to come. She brought in a harpist from Oldtown, a company of mummers from Braavos, dancers from Lys, and gave the Red Keep its first fool, a fat man called the Goodwife who dressed as a woman and was never seen without his wooden “children,” a pair of cleverly carved puppets who said ribald, shocking things.

(...)

The king’s first progress was meant to be a modest one, commencing with the crownlands north of King’s Landing and proceeding only as far as the Vale of Arryn. Jaehaerys wanted Alysanne with him, but as Her Grace was with child, he was concerned that their journeys not be too taxing. They began with Stokeworth and Rosby, then moved north along the coast to Duskendale. There, whilst the king viewed Lord Darklyn’s boatyards and enjoyed an afternoon of fishing, the queen held the first of her women’s courts, which were to become an important part of every royal progress to come. Only women and girls were welcome at these audiences; highborn or low, they were encouraged to come forward and share their fears, concerns, and hopes with the young queen.

(...)

Men oft speak today of Queen Alysanne’s laws, but this usage is sloppy and incorrect. Her Grace had no power to enact laws, issue decrees, make proclamations, or pass sentences. It is a mistake to speak of her as we might speak of the Conqueror’s queens, Rhaenys and Visenya. The young queen did, however, wield enormous influence over King Jaehaerys, and when she spoke, he listened…as he did upon their return from the Vale of Arryn.

It was the plight of widows throughout the Seven Kingdoms that the women’s courts had made Alysanne aware of. In times of peace especially, it was not uncommon for a man to outlive the wife of his youth, for young men most oft perish upon the battlefield, young women in the birthing bed. Be they of noble birth or humble, men left bereft suchwise would oft after a time take second wives, whose presence in the household was resented by the children of the first wife. Where no bonds of affection existed, upon the man’s own death his heirs could and did expel the widow from the home, reducing her to penury; in the case of lords, the heirs might simply strip away the widow’s prerogatives, incomes, and servants, reducing her to little more than a boarder.

To rectify these ills, King Jaehaerys in 52 AC promulgated the Widow’s Law, reaffirming the right of the eldest son (or eldest daughter, where there was no son) to inherit, but requiring said heirs to maintain surviving widows in the same condition they had enjoyed before their husband’s death. A lord’s widow, be she a second, third, or later wife, could no longer be driven from his castle, nor deprived of her servants, clothing, and income. The same law, however, also forbade men from disinheriting their children by a first wife in order to bestow their lands, seat, or property upon a later wife or her own children.

(...)

Alysanne remained in the Red Keep, presiding over council meetings in the king’s absence, and holding audience from a velvet seat at the base of the Iron Throne.

(...)

“I see no honor in any of this. I knew such things happened hundreds of years ago, I confess it, but I never dreamed that the custom endured so strongly to this day. Mayhaps I did not want to know. I closed my eyes, but that poor girl in Mole’s Town opened them. The right of the first night! Your Grace, my lords, it is time we put an end to this. I beg you.”

(...)

And so it came to pass that the second of what the smallfolk named Queen Alysanne’s Laws was enacted: the abolition of the lord’s ancient right to the first night. Henceforth, it was decreed, a bride’s maidenhead would belong only to her husband, whether joined before a septon or a heart tree, and any man, be he lord or peasant, who took her on her wedding night or any other night would be guilty of the crime of rape.

—Fire & Blood

As you can see, we can easily associate Sansa Stark with these shared similarities between Queen Rhaenys and Queen Alysanne.

SINGERS AND KNIGHTS 

Queen Alysanne was fond of singers and gallant knights, just like Sansa:

Three of the brothers had been singers before taking the black, and they took turns playing for Her Grace at night, regaling her with ballads, war songs, and bawdy barracks tunes. 

—Fire & Blood

Ser Simon Dondarrion

Though his castle was small and modest compared to the great halls of the realm, Lord Dondarrion was a splendid host and his son Simon played the high harp as well as he jousted, and entertained the royal couple by night with sad songs of star-crossed lovers and the fall of kings. So taken with him was the queen that the party lingered longer at Blackhaven than they had intended.

(...)

But the champion’s laurels went to the gallant and handsome Ser Simon Dondarrion of Blackhaven, who won the love of the commons and queen alike when he crowned Princess Daenerys as his queen of love and beauty.

—Fire & Blood

A young and handsome noble man that played the high harp as well as he jousted sounds like Sansa Stark’s ideal man. 

Also, the name Simon and the surname Dondarrion are very subtle references of Jon Snow, an idea that I’m developing in an unfinished meta. 

Ser Ryam Redwyne

Queen Alysanne knew in person to the famous knight Ser Ryam Redwyne: 

It was a time for celebration and celebrate they did, with a tourney at King’s Landing on the anniversary of the king’s coronation. Princess Daenerys and the Princes Aemon and Baelon shared the royal box with their mother and father, and reveled in the cheers of the crowd. On the field, the highlight of the competition was the brilliance of Ser Ryam Redwyne, the youngest son of Lord Manfryd Redwyne of the Arbor, Jaehaerys’s lord admiral and master of ships. In successive tilts, Ser Ryam unhorsed Ronnal Baratheon, Arthor Oakheart, Simon Dondarrion, Harys Hogg (Harry the Ham, to the commons), and two Kingsguard knights, Lorence Roxton and Lucamore Strong. When the young gallant trotted up to the royal box and crowned Good Queen Alysanne as his queen of love and beauty, the commons roared their approval.

—Fire & Blood

Later, Ser Ryam Redwyne served as Lord Commander of the Kingsguard under Jaehaerys I Targaryen and Viserys I Targaryen.

In Sansa’s case, while having a nightmare of the riot of King's Landing, Sansa wished to be saved by Ser Ryam Redwyne Florian the Fool, or Prince Aemon the Dragonknight, but none appear:

That night Sansa dreamed of the riot again. The mob surged around her, shrieking, a maddened beast with a thousand faces. Everywhere she turned she saw faces twisted into monstrous inhuman masks. She wept and told them she had never done them hurt, yet they dragged her from her horse all the same. "No," she cried, "no, please, don't, don't," but no one paid her any heed. She shouted for Ser Dontos, for her brothers, for her dead father and her dead wolf, for gallant Ser Loras who had given her a red rose once, but none of them came. She called for the heroes from the songs, for Florian and Ser Ryam Redwyne and Prince Aemon the Dragonknight, but no one heard. Women swarmed over her like weasels, pinching her legs and kicking her in the belly, and someone hit her in the face and she felt her teeth shatter. Then she saw the bright glimmer of steel. The knife plunged into her belly and tore and tore and tore, until there was nothing left of her down there but shiny wet ribbons.

—A Clash of Kings - Sansa IV

The only man that effectively, but unbeknownst for her, had fulfilled Sansa’s wishes for a hero, was Jon Snow: 

Frog-faced Lord Slynt sat at the end of the council table wearing a black velvet doublet and a shiny cloth-of-gold cape, nodding with approval every time the king pronounced a sentence. Sansa stared hard at his ugly face, remembering how he had thrown down her father for Ser Ilyn to behead, wishing she could hurt him, wishing that some hero would throw him down and cut off his head. But a voice inside her whispered, There are no heroes, and she remembered what Lord Petyr had said to her, here in this very hall. “Life is not a song, sweetling,” he’d told her. “You may learn that one day to your sorrow.” In life, the monsters win, she told herself, and now it was the Hound’s voice she heard, a cold rasp, metal on stone. “Save yourself some pain, girl, and give him what he wants.”

—A Game of Thrones - Sansa VI

“You are refusing to obey my order?” “You can stick your order up your bastard’s arse,” said Slynt, his jowls quivering. […] “As you will.” Jon nodded to Iron Emmett. “Please take Lord Janos to the Wall—” […] “—and hang him,” Jon finished. […] This is wrong, Jon thought. “Stop.” […] “I will not hang him,” said Jon. “Bring him here.” “Oh, Seven save us,” he heard Bowen Marsh cry out. The smile that Lord Janos Slynt smiled then had all the sweetness of rancid butter. Until Jon said, “Edd, fetch me a block,” and unsheathed Longclaw. […] The pale morning sunlight ran up and down his blade as Jon clasped the hilt of the bastard sword with both hands and raised it high. “If you have any last words, now is the time to speak them,” he said, expecting one last curse. Janos Slynt twisted his neck around to stare up at him. “Please, my lord. Mercy. I’ll … I’ll go, I will, I …” No, thought Jon. You closed that door. Longclaw descended. “Can I have his boots?” asked Owen the Oaf, as Janos Slynt’s head went rolling across the muddy ground. “They’re almost new, those boots. Lined with fur.”

—A Dance with Dragons - Jon II

WATER AND BREAD FOR THE SMALLFOLK

Alysanne procured clean water for the people of Kingslanding:

Queen Alysanne served each of them a tankard of river water at the next council meeting, and dared them to drink of it. The water went undrunk, but the wells and pipes were soon approved. Construction would require more than a dozen years, but in the end “the queen’s fountains” provided clean water for Kingslanders for many generations to come.

—Fire & Blood

Sansa made Joffrey gave some money to a poor woman with a death baby:  

Halfway along the route, a wailing woman forced her way between two watchmen and ran out into the street in front of the king and his companions, holding the corpse of her dead baby above her head. It was blue and swollen, grotesque, but the real horror was the mother's eyes. Joffrey looked for a moment as if he meant to ride her down, but Sansa Stark leaned over and said something to him. The king fumbled in his purse, and flung the woman a silver stag. The coin bounced off the child and rolled away, under the legs of the gold cloaks and into the crowd, where a dozen men began to fight for it. The mother never once blinked. Her skinny arms were trembling from the dead weight of her son.

—A Clash of Kings - Tyrion IX

But the people was hungry and wanted bread: 

From both sides of the street, the crowd surged against the spear shafts while the gold cloaks struggled to hold the line. Stones and dung and fouler things whistled overhead. “Feed us!” a woman shrieked. “Bread!” boomed a man behind her. “We want bread, bastard!”

—A Clash of Kings - Tyrion IX

Bread that Sansa would have given them, If she had it:

Tyrion called to her. “Are you hurt, Lady Sansa?” Blood was trickling down Sansa’s brow from a deep gash on her scalp. “They . . . they were throwing things . . . rocks and filth, eggs . . . I tried to tell them, I had no bread to give them”. 

—A Clash of Kings - Tyrion IX

In the Show they translated this Sansa’s line of dialogue to this one: “I would have given them bread if I had it.”  

Sansa, like Queen Alysanne, knew that love was a surer route to people’s loyalty than fear: 

“The night’s first traitors,” the queen said, “but not the last, I fear. Have Ser Ilyn see to them, and put their heads on pikes outside the stables as a warning.” As they left, she turned to Sansa. “Another lesson you should learn, if you hope to sit beside my son. Be gentle on a night like this and you’ll have treasons popping up all about you like mushrooms after a hard rain. The only way to keep your people loyal is to make certain they fear you more than they do the enemy.”

"I will remember, Your Grace," said Sansa, though she had always heard that love was a surer route to the people's loyalty than fear. If I am ever a queen, I'll make them love me.

—A Clash of Kings - Sansa VI

THE NORTH

Did you know that in the ASOIAF Books, Queen Alysanne is mostly mentioned in Stark POVs? Yes, she is. Queen Alysanne is mentioned by Jon, Bran, Catelyn and Sansa. You can also count Samwell Tarly in this list, because he is now a Black Brother of the Night’s Watch and Jon’s best friend. 

Jon, Bran and Samwell mention Good Queen Alysanne’s visit to the North and the Wall.

In Catelyn’s and Sansa’s case, they heard singers singing the song “Alysanne”, that according to Sansa is a sad song.  

Winterfell

In Winterfell Good Queen Alysanne met Lord Alaric Stark. A man that reminds me a lot of Stannis Baratheon:  

Alaric Stark

Alaric Stark was best left in Winterfell; a stubborn man by all reports, stern and hard-handed and unforgiving, he would make for an uncomfortable presence at the council table.  

(...)

Lord Alaric had a flinty reputation; a hard man, people said, stern and unforgiving, tight-fisted almost to the point of being niggardly, humorless, joyless, cold. Even Theomore Manderly, who was his bannerman, had not disagreed; Stark was well respected in the North, he said, but not loved. Lord Manderly’s fool had put it elsewise. “Methinks Lord Alaric has not moved his bowels since he was twelve.”

(...)

Her reception at Winterfell did nothing to disabuse the queen’s fears as to what she might expect from House Stark. Even before dismounting to bend the knee, Lord Alaric looked askance at Her Grace’s clothing and said, “I hope you brought something warmer than that.” He then proceeded to declare that he did not want her dragon inside his walls. “I’ve not seen Harrenhal, but I know what happened there.” Her knights and ladies he would receive when they got here, “and the king too, if he can find the way,” but they should not overstay their welcome. “This is the North, and winter is coming. We cannot feed a thousand men for long.” When the queen assured him that only a tenth that number would be coming, Lord Alaric grunted and said, “That’s good. Fewer would be even better.” As had been feared, he was plainly unhappy that King Jaehaerys had not deigned to accompany her, and confessed to being uncertain how to entertain a queen. “If you are expecting balls and masques and dances, you have come to the wrong place.”

—Fire & Blood

Stannis Baratheon

"Robert can barely stomach his brothers. Not that I blame him. Stannis would be enough to give anyone indigestion."

—A Game of Thrones - Bran II

"Oh, a shred, surely," Littlefinger replied negligently. "Hear me out. Stannis is no friend of yours, nor of mine. Even his brothers can scarcely stomach him. The man is iron, hard and unyielding. He'll give us a new Hand and a new council, for a certainty. No doubt he'll thank you for handing him the crown, but he won't love you for it. And his ascent will mean war. Stannis cannot rest easy on the throne until Cersei and her bastards are dead. Do you think Lord Tywin will sit idly while his daughter's head is measured for a spike? Casterly Rock will rise, and not alone. Robert found it in him to pardon men who served King Aerys, so long as they did him fealty. Stannis is less forgiving. He will not have forgotten the siege of Storm's End, and the Lords Tyrell and Redwyne dare not. Every man who fought beneath the dragon banner or rose with Balon Greyjoy will have good cause to fear. Seat Stannis on the Iron Throne and I promise you, the realm will bleed.

—A Game of Thrones - Eddard XIII

A king's first duty is to defend the realm, and Mance attacked it. His Grace is not like to forget that. My father used to say that Stannis Baratheon was a just man. No one has ever said he was forgiving." 

—A Feast for Crows - Samwell I

"A boy he may be, my lord, but … King Robert was well loved, and most men still accept that Tommen is his son. The more they see of Lord Stannis the less they love him, and fewer still are fond of Lady Melisandre with her fires and this grim red god of hers. They complain."

—A Dance with Dragons - Jon III

At this point in ASOIAF, Stannis is in the North trying to take Winterfell from the Boltons. And as Queen Alysanne melted all the ice of Lord Alaric Stark, I think Sansa could do the same with Stannis Baratheon.  Sansa would easily befriend Princess Shireen as well:    

Even a lord as stern and flinty as Alaric Stark found himself helpless before Queen Alysanne’s stubborn charm.

(...)

The longer the queen stayed, the more Lord Alaric warmed to her, and in time Alysanne came to realize that not everything that was said of him was true. He was careful with his coin, but not niggardly; he was not humorless at all, though his humor had an edge to it, sharp as a knife; his sons and daughter and the people of Winterfell seemed to love him well enough. Once the initial frost had thawed, his lordship took the queen hunting after elk and wild boar in the wolfswood, showed her the bones of a giant, and allowed her to rummage as she pleased through his modest castle library. He even deigned to approach Silverwing, though warily. The women of Winterfell were taken by the queen’s charms as well, once they grew to know her; Her Grace became particularly close with Lord Alaric’s daughter, Alarra. 

—Fire & Blood

Night’s Watch

Alysanne then decided to visit the Night’s Watch:

In the North, Queen Alysanne grew restless with waiting, and decided to take her leave of Winterfell for a time and visit the men of the Night’s Watch at Castle Black.

—Fire & Blood

Once at Castle Black she met the Lord Commander: 

Lord Commander of the Night’s Watch, Lothor Burley, assembled eight hundred of his finest men to receive her. That night the black brothers feasted the queen on mammoth meat, washed down with mead and stout.

—Fire & Blood

Lothor Burley sounds pretty much like Lothor Brune, another of Sansa’s protector.

Curiously enough, Queen Alysanne had this exchange with Lord Commander Burley:

Burley was apologetic for the quality of the food and drink presented to the queen, and the rudeness of the accommodations at Castle Black. “We do what we can, Your Grace,” the Lord Commander explained, “but our beds are hard, our halls are cold, and our food—”

“—is nourishing,” the queen finished. “And that is all that I require. It will please me to eat as you do.”

—Fire & Blood

This exchange is very similar to the one between Sansa Stark and “Lord Commander” Edd Tollet during Season 6 of the Show:

Edd Tollet: Sorry about the food. It’s not what we’re known for. 

Sansa Stark: That’s alright. There are more important things. 

From Snowgate to Queensgate  

Queen Alysanne left her mark in the Night’s Watch forever: 

Above all else, a queen must know how to listen,” Alysanne Targaryen often said. At Castle Black, she proved those words. She listened, she heard, and she won the eternal devotion of the men of the Night’s Watch by her actions. She understood the need for a castle between Snowgate and Icemark, she told Lord Burley, but the Nightfort was crumbling, overlarge, and surely ruinous to heat. The Watch should abandon it, she said, and build a smaller castle farther to the east. Lord Burley could not disagree…but the Night’s Watch lacked the coin to build new castles, he said. Alysanne had anticipated that objection. She would pay for the castle herself, she told the Lord Commander, and pledged her jewels to cover the cost. “I have a good many jewels,” she said.

It would take eight years to raise the new castle, which would bear the name of Deep Lake. Outside its main hall, a statue of Alysanne Targaryen stands to this very day. The Nightfort was abandoned even before Deep Lake was completed, as the queen had wished. Lord Commander Burley also renamed Snowgate castle in her honor, as Queensgate.

—Fire & Blood

This is an action that Sansa could easily replicate as Queen in the North. House Stark was always a friend of the Night’s Watch. And as Queen in the North Sansa would probably have statues to honor her all along the North.

Also the “Snow” gate becoming the “Queen” gate gives me a lot of Jon and Sansa romantic vibes.

A New Gift 

Queen Alysanne proposed a New Gift: 

Lord Stark and King Jaehaerys would never be fast friends; the shade of Walton Stark remained between them to the end. It was only through Queen Alysanne’s good offices that they ever found accord. The queen had visited Brandon’s Gift, the lands south of the Wall that Brandon the Builder had granted to the Watch for their support and sustenance. “It is not enough,” she told the king. “The soil is thin and stony, the hills unpopulated. The Watch lacks for coin, and when winter comes they will lack for food as well.” The answer she proposed was a New Gift, a further strip of land south of Brandon’s Gift.

The notion did not please Lord Alaric; though a strong friend to the Night’s Watch, he knew that the lords who presently held the lands in question would object to them being given away without their leave. “I have no doubt that you can persuade them, Lord Alaric,” the queen said. And finally, charmed by her as ever, Alaric Stark agreed that, aye, he could. And so it came to pass that the size of the Gift was doubled with a stroke.

—Fire & Blood

Jon remembers Ned Stark’s wishes for the New Gift:

Your brothers will not like it, no more than your father's lords, but I mean to allow the wildlings through the Wall . . . those who will swear me their fealty, pledge to keep the king's peace and the king's laws, and take the Lord of Light as their god. Even the giants, if those great knees of theirs can bend. I will settle them on the Gift, once I have wrested it away from your new Lord Commander. When the cold winds rise, we shall live or die together. It is time we made alliance against our common foe." He looked at Jon. "Would you agree?"

"My father dreamed of resettling the Gift," Jon admitted. "He and my uncle Benjen used to talk of it." He never thought of settling it with wildlings, though . . . but he never rode with wildlings, either. He did not fool himself; the free folk would make for unruly subjects and dangerous neighbors. Yet when he weighed Ygritte's red hair against the cold blue eyes of the wights, the choice was easy. "I agree."

—A Storm of Swords - Jon XI

This is something Sansa would do as Queen in the North, to fulfill Ned’s wishes, either with the wildlings or northern people, or both.

Also, take note how Jon is always choosing the redhead girl over a threat to the realm and humanity... After all, Jon is the shield that guards the realms of men.    

The Wall and Beyond

Finally, to finish the North section, we have that Queen Alysanne’s reaction to the Wall and the lands beyond, is very similar to the reaction Jon Snow imagines Sansa would have to that sight:  

Her first sight of the Wall from above took Alysanne’s breath away, Her Grace would later tell the king.

—Fire & Blood

The pale pink light of dawn sparkled on branch and leaf and stone. Every blade of grass was carved from emerald, every drip of water turned to diamond. Flowers and mushrooms alike wore coats of glass. Even the mud puddles had a bright brown sheen. Through the shimmering greenery, the black tents of his brothers were encased in a fine glaze of ice.

So there is magic beyond the Wall after all. He found himself thinking of his sisters, perhaps because he'd dreamed of them last night. Sansa would call this an enchantment, and tears would fill her eyes at the wonder of it, but Arya would run out laughing and shouting, wanting to touch it all.

—A Clash of Kings - Jon III

And this passage about Alysanne ride atop the Wall from Snowgate to the Nightfort and the descending to the ruinous castle, reminds me a lot of Sansa’s descending from the Eyrie to the Gates of the Moon:  

Lord Commander Burley himself took the queen into the haunted forest (with a hundred rangers riding escort). When Alysanne expressed the wish to see some of the other forts along the Wall, the First Ranger Benton Glover led her west atop the Wall, past Snowgate to the Nightfort, where they made their descent and spent the night. The ride, the queen decided, was as breathtaking a journey as she had ever experienced, “as exhilarating as it was cold, though the wind up there blows so strongly that I feared it was about to sweep us off the Wall.” The Nightfort itself she found grim and sinister. “It is so huge the men seem dwarfed by it, like mice in a ruined hall,” she told Jaehaerys, “and there is a darkness there…a taste in the air…I was so glad to leave that place.”

—Fire & Blood

"Ser Sweetrobin," Lord Robert said, and Alayne knew that she dare not wait for Mya to return. She helped the boy dismount, and hand in hand they walked out onto the bare stone saddle, their cloaks snapping and flapping behind them. All around was empty air and sky, the ground falling away sharply to either side. There was ice underfoot, and broken stones just waiting to turn an ankle, and the wind was howling fiercely. It sounds like a wolf, thought Sansa. A ghostwolf, big as mountains.

—A Feast for Crows - Alayne II

I HOPE MY HUSBAND FALLS OFF HIS HORSE

This is just a funny parallel:

What do those “highborn ladies do whilst their lords are out deflowering maidens? Do they sew? Sing? Pray? Were it me, I might pray my lord husband fell off his horse and broke his neck coming home.” 

—Fire & Blood

Those lords Alysanne was referring to sounds very much like Harry the Heir: 

A lady's armor is her courtesy. Alayne could feel the blood rushing to her face. No tears, she prayed. Please, please, I must not cry. "As you wish, ser. And now if you will excuse me, Littlefinger's bastard must find her lord father and let him know that you have come, so we can begin the tourney on the morrow." And may your horse stumble, Harry the Heir, so you fall on your stupid head in your first tilt. She showed the Waynwoods a stone face as they blurted out awkward apologies for their companion. When they were done she turned and fled.

—The Winds of Winter - Alayne I

Sassy Queens!

A FEMALE RULER

A ruler needs a good head and a true heart. A cock is not essential. —Alysanne Targaryen

Queen Alysanne wanted a female Targaryen ruler. She really wanted it. She tried. She failed.    

This is a bit hypocrite tho... Since Alyssa, Jaehaerys and Alysanne herself wronged Rhaena and her claim to the throne, but still...

You could argue Jaehaerys and Alysanne ruled together, but despite the great influence and counsel of Queen Alysanne, she was not the ruler. Jaehaerys was. Alysanne was only the Queen consort.

Alysanne wished for her daughter Daenerys to be Queen, but Jaehaerys wanted a male heir to succeed him on the throne, so he chose his son Aemon:

“She is so clever, she will be reading to me before long,” she told the king. “She is going to be a great queen, I know it.”

(...)

Jaehaerys loved all three children fiercely, but from the moment Aemon was born, the king began to speak of him as his heir, to Queen Alysanne’s displeasure. “Daenerys is older,” she would remind His Grace. “She is first in line; she should be queen.” The king would never disagree, except to say, “She shall be queen, when she and Aemon marry. They will rule together, just as we have.” But Benifer could see that the king’s words did not entirely please the queen, as he noted in his letters.

—Fire & Blood

Alysanne also wished for her granddaughter Rhaenys to be Queen, she was the only child of the heir to the throne, Prince Aemon, but Jaehaerys wanted a male heir to succeed him on the throne, so he named Prince Baelon, Aemon’s younger brother, the Prince of Dragonstone:

Baelon, a seasoned knight of thirty-five, was better suited for rule than the eighteen-year-old Princess Rhaenys or her unborn babe (who might or might not be a boy, whereas Prince Baelon had already sired two healthy sons, Viserys and Daemon). The love of the commons for Baelon the Brave was also cited.

(...)

The most prominent dissenter was Good Queen Alysanne, who had helped her husband rule the Seven Kingdoms for many years, and now saw her son’s daughter being passed over because of her sex. “A ruler needs a good head and a true heart,” she famously told the king. “A cock is not essential.”

(...)

The queen died of a wasting illness in 100 AC, at the age of four-and-sixty, still insisting that her granddaughter Rhaenys and her children had been unfairly cheated of their rights. 

Sansa Stark has a lot of Queen foreshadowing and imagery around her and she could be the one female ruler to defeat patriarchy in ASOIAF.  

SARA SNOW

Let me tell you about a northern girl, the mysterious bastard girl from Winterfell, a wolf girl called Sara Snow:

But we turn to Mushroom to find the tales other chronicles omit, nor does he fail us now. His account introduces a young maiden, or “wolf girl” as he dubs her, with the name of Sara Snow. So smitten was Prince Jacaerys with this creature, a bastard daughter of the late Lord Rickon Stark, that he lay with her of a night. On learning that his guest had claimed the maidenhead of his bastard sister, Lord Cregan became most wroth, and only softened when Sara Snow told him that the prince had taken her for his wife. They had spoken their vows in Winterfell’s own godswood before a heart tree, and only then had she given herself to him, wrapped in furs amidst the snows as the old gods looked on.

This makes for a charming story, to be sure, but as with many of Mushroom’s fables, it seems to partake more of a fool’s fevered imaginings than of historical truth. Jacaerys Velaryon had been betrothed to his cousin Baela since he was four and she was two, and from all we know of his character, it seems most unlikely that he would break such a solemn agreement to protect the uncertain virtue of some half-wild, unwashed northern bastard. If indeed there ever lived a Sara Snow, and if indeed the Prince of Dragonstone perchanced to dally with her, that is no more than other princes have done in the past, and will do on the morrow, but to talk of marriage is preposterous.

(Mushroom also claims that Vermax left a clutch of dragon’s eggs at Winterfell, which is equally absurd. Whilst it is true that determining the sex of a living dragon is a nigh on impossible task, no other source mentions Vermax producing so much as a single egg, so it must be assumed that he was male. Septon Barth’s speculation that the dragons change sex at need, being “as mutable as flame,” is too ludicrous to consider.)

This we do know: Cregan Stark and Jacaerys Velaryon reached an accord, and signed and sealed the agreement that Grand Maester Munkun calls “the Pact of Ice and Fire” in his True Telling. Like many such pacts, it was to be sealed with a marriage. Lord Cregan’s son, Rickon, was a year old. Prince Jacaerys was as yet unmarried and childless, but it was assumed that he would sire children of his own once his mother sat the Iron Throne. Under the terms of the pact, the prince’s firstborn daughter would be sent north at the age of seven, to be fostered at Winterfell until such time as she was old enough to marry Lord Cregan’s heir.

—Fire & Blood

How is Sara Snow connected with Queen Alysanne and Sansa Stark?

At this point in ASOIAF, Sansa Stark is under the disguise of Alayne Stone, a bastard girl, like Sara Snow.  Both young maidens, and both were called wolf girls: 

The green knight laughed again. "Barristan the Old, you mean. Don't flatter him too sweetly, child, he thinks overmuch of himself already." He smiled at her. "Now, wolf girl, if you can put a name to me as well, then I must concede that you are truly our Hand's daughter."

—A Game of Thrones - Sansa I

And regarding Queen Alysanne, Sara Snow is linked with her through their husbands. 

According to Mushroom, Sara Snow married a Targaryen Prince in secret. And who was this Targaryen Prince? It was Prince Jacaerys Velaryon, the older son of Rhaenyra Targaryen, the Prince of Dragonstone, Heir to the Iron Throne.

Prince Jacaerys Velaryon was a Targaryen Prince with brown hair (Like Jon Snow). He was probable a bastard (Like Jon Snow) son of Rhaenyra Targaryen and Ser Harwin Strong, called Breakbones.

Curiously enough, Jacaerys Velaryon supposed father, Laenor Velaryon wanted to name him Joffrey (Like Sansa’s first betrothed Joffrey Baratheon, also a bastard).

Jacaerys is a traditional Velaryon name. House Velaryon is of Valyrian descent, and its members often have Valyrian features, such as silver hair, purple eyes, and pale skin. But as I said before, Jacaerys had brown hair, like Jon Snow.

Also, Jacaerys sounds like the Velaryon version of Jaehaerys. The short for Jacaerys was Jace. 

Sara Snow and Jacaerys Velaryon married in secret like Alysanne and Jaehaerys. 

Alysanne and Jaehaerys eloped because their mother planned to marry Alysanne with Orryn Baratheon (This is also parallel with Rhaegar and Lyanna).  

Jacaerys Velaryon was already betrothed with his cousin Baela Targaryen. Jacaerys Velaryon broke that vow to marry Sara Snow in secret.

These two couples Sara Snow & Jacaerys Velaryon and Alysanne and Jaehaerys Targaryen are two similar versions of Rhaegar and Lyanna, a Targaryen Prince with a Stark maiden or, in Alysanne case, a maiden that reminds us of a Stark one. All three secret marriages that broke a previous betrothal.

Curiously enough, Cregan Stark (Sara Snow’s brother) and Jacaerys Velaryon  signed “the Pact of Ice and Fire”, a pact sealed with a marriage, a marriage between the Stark Heir (Cregan’s son) with a Velaryon/Targaryen Princess (Jacaerys’ daughter).  

Under the terms of the pact, Jacaerys’ firstborn daughter would be sent north at the age of seven, to be fostered at Winterfell until such time as she was old enough to marry Lord Cregan’s heir.

That pact never happened because Jacaerys Velaryon died childless.

Mushroom said that Vermax (Jacaerys’ dragon) left a clutch of dragon’s eggs at Winterfell. This could have meant that Sara Snow (Jacaerys’ wife) was already pregnant with Jacaerys’ first child and if that child were a girl, she must have married her cousin Rickon Stark. But that never happened.

What did happen was that Jon Snow, the son of a Targaryen Prince with a Stark Maiden, was raised at Winterfell, next to his cousin Sansa Stark, older daughter of Lord Eddard Stark, with whom he can fulfill the “the Pact of Ice and Fire”. 

Rhaegar himself probably tried to fulfill “the Pact of Ice and Fire” with Lyanna Stark. And Jon Snow would be the fruit of that fulfillment, a son of Ice and Fire. 

Here you can read more about Jace & Sara.

ALYSANNE “BLACK ALY” BLACKWOOD

Alysanne Blackwood, also known as Black Aly, is not very similar to Queen Alysanne or Sansa Stark. She was a woman more like Arya Stark. In summary: Not a Lady.

But Alysanne Blackwood became the second wife of Lord Cregan Stark, wich made her Lady Stark, Lady Alysanne Stark.

RICKON STARK

Lord Cregan Stark had a son with his first wife Arra Norrey, a boy named Rickon Stark. And little Rickon sang for the new Lady Stark:

The wedding itself was said to be splendid, however; Black Aly and her wolf pledged their troth before the heart tree in Winterfell’s icy godswood. At the feast afterward, four-year-old Rickon, Lord Cregan’s son by his first wife, sang a song for his new stepmother.

—Fire & Blood

This will probably never happen, but imagine our little Rickon Stark singing for his sister-mother Sansa Stark... But our beloved Rickon is a wild wolf pup so he would probably howl instead of sing, after all: 

“The Starks know no music but the howling of wolves.” —A Game of Thrones - Catelyn V

SANSARA TARLY

If you thought that all this similar/linked names are just a coincidence, that Sara Snow has nothing to do with Queen Alysanne and Sansa Stark, now let me tell you about “more coincidences”, let me tell you about Sansara Tarly.

In Fire & Blood, during the searching for King Aegon III second wife, we meet a character named Sansara Tarly:

Perhaps the boldest letter came from the irrepressible Lady Samantha of Oldtown, who declared that her sister Sansara (of House Tarly) “is spirited and strong, and has read more books than half the maesters in the Citadel” whilst her good-sister Bethany (of House Hightower) was “very beautiful, with smooth soft skin and lustrous hair and the sweetest manner,” though also “lazy and somewhat stupid, truth be told, though some men seem to like that in a wife.” She concluded by suggesting that perhaps King Aegon should marry both of them, “one to rule beside him, as Queen Alysanne did King Jaehaerys, and one to bed and breed.” 

—Fire & Blood

Sansara is literally a combination of Sansa and Sara.

Sansara is from House Tarly, and our beloved Samwell Tarly is, what I call, a Male!Sansa:

Yes, it’s just amazing how similar Sansa Stark and Samwell Tarly are. They have a lot of common interests and they sure would be the best of friends:

Whatever pride his lord father might have felt at Samwell’s birth vanished as the boy grew up plump, soft, and awkward. Sam loved to listen to music and make his own songs, to wear soft velvets, to play in the castle kitchen beside the cooks, drinking in the rich smells as he snitched lemon cakes and blueberry tarts. His passions were books and kittens and dancing, clumsy as he was.

—A Game of Thrones - Jon IV

Sam remembered the last time he’d sung the song with his mother, to lull baby Dickon to sleep. His father had heard their voices and come barging in, angry. “I will have no more of that,” Lord Randyll told his wife harshly. “You ruined one boy with those soft septon’s songs, do you mean to do the same to this babe?” Then he looked at Sam and said, “Go sing to your sisters, if you must sing. I don’t want you near my son.”

—A Storm of Swords - Samwell III

And during a few passages in the ASOIAF Books you can read how Samwell prays to the Mother: “Mother have mercy, Mother have mercy, Mother have mercy.”, just like Sansa. 

It is said that Sansara Tarly “has read more books than half the maesters in the Citadel”. This is a direct connection to Queen Alysanne, another book lover that could have been a Maester of the Citadel; and also to Samwell Tarly who is actually studying at the Citadel to become a Maester (Thanks to Jon Snow). Another book lover? Yes, Sansa Stark.     

Sansa - Alayne - Alysanne - Sara - Sansara

What an interesting chain of names George, all of them connected, so subtle of you:  

SANSA’S bastard name is ALAYNE  

ALAYNE can be formed removing a letter S and one letter N from ALYSANNE    

SARA was called WOLF GIRL like SANSA

SARA is a bastard like ALAYNE 

SARA married in secret with JACAERYS just like ALYSANNE married in secret with JAEHAERYS (Also JACAERYS = JAEHAERYS) 

ALYSANNE “Black Aly” Blackwood married Lord Cregan Stark and became LADY STARK, LADY ALYSANNE STARK 

SANSARA is a combination of SANSA and SARA

SANSARA is from House Tarly, like Samwell Tarly who is a Male!Sansa

SANSARA is as cultured and well read as ALYSANNE (Also like Samwell and Sansa) 

GRRM chooses the names of his characters very carefully. For example, here is what he has said about the Stark Sisters’ Names:     

The names Arya and Sansa are meant to represent the polar opposites of their characters, Arya being a hard sounding name, Sansa a softer more pretty name, etc. [Source]

After all of this, if GRRM decides to name a next character of the ASOIAF Universe: ‘ALYSANSA’, I would not be surprised.  

I rest my case.  

[maniclemons]

Yolanda, Camp Sensibility and the "Oscar Wilde Of The Camera"

Okay, so I was minding my business reading stuff for my work on dream narratives in popular culture and suddenly I was attacked at the footnotes section of one of the academic papers (which happens all the time tbh). The author mentioned in passing that, well, there is a musical called YOLANDA AND THE THIEF (1945) which just happens to be one of three Vincente Minnelli musicals that have been characterized as a self-conscious camp style of visual excess. The author argued that the camp style in musicals, especially those made by the Arthur Freed unit at MGM, was particularly appropriate to the even greater visual excess of the dream sequences. 

So yeah, of course I did a double-take and immediately thought of Donde estás Yolanda (Sherlock and John reunion theme) - thanks for the opportunity to refresh the hell out of it @thepineapplering !

FEATURES OF INTEREST of “Yolanda and the Thief” in no particular order:

• The "dream ballet" dream sequence (inspired by Dali); • Repressed homosexuality manifesting itself through nightmares and fear of entrapment in a heterosexual marriage; • Integration of straight romance (plot) and gay-inflected visual codes; • Critique of a capitalist culture industry from the point of view of a queer professional embedded in it (writer/director/set designer/crew member etc.) • Something else?

Also of interest: Holmesosexuality: On Mark Gatiss’s Camp 

As I am not, academically speaking, a specialist in queer theory, all the references can be found below.

I haven’t seen anyone writing about this particular musical in connection with Sherlock yet, but I might be wrong, because my tumblr search skills still suck a bit. Anyways, it was fun and added more contextual layers to my own understanding of the show!

“YOLANDA AND THE THIEF” is a 1945 American Technicolor Metro-Goldwyn-Mayer “Arthur Freed Unit” musical-comedy film set in a fictional Latin American country called Patria. It stars Fred Astaire, Lucille Bremer, Frank Morgan, and Mildred Natwick, with music by Harry Warren and lyrics by Arthur Freed. The film was directed by Vincente Minnelli and produced by Arthur Freed. The “Freed Unit” refers to the “unit” (studio team within the larger studio production house that was MGM) headed by lyricist and producer Arthur Freed. 

"Yolanda and the Thief" is one of three Vincente Minnelli musicals that have been characterized as a self-conscious camp style of visual excess, the other two being " Ziegfeld Follies " (1946) and…….. "The Pirate" (1947). As Jane Feuer suggests, "a gay subcultural reading would elevate these Minnelli masterpieces of the 1940s above the currently more esteemed Freed Unit musicals of the 1950s – "Singin' in the Rain" and "The Band Wagon", whose sophistication stems more from their smart Comden and Green scripts than from elements of excess in their mise-en-scene."

CAST:

Fred Astaire as Johnny Parkson Riggs Lucille Bremer as Yolanda Aquaviva (aqua-viva? as in Latin vivere/vita? as in "aqua vita(e)" which is "an archaic name for a concentrated aqueous solution of ethanol" and at the same time a type of magical water which brings people (mostly heroes) back to life in Slavic mythology?) Frank Morgan as Victor Budlow Trout (a friend of Johnny's and literally his partner in crime)

FEATURES OF INTEREST (in no particular order):

• The "dream ballet" dream sequence (inspired by Dali); • Repressed homosexuality manifesting itself through nightmares and fear of entrapment in a heterosexual marriage; • Integration of straight romance (plot) and gay-inflected visual codes; • Critique of a capitalist culture industry from the point of view of a queer professional embedded in it (writer/director/set designer/crew member etc.) • Something else?

The narrative of Yolanda offers a romance between a naive and wealthy young woman, Yolanda Aquaviva (Lucille Bremer), who is tricked by a con man, Johnny Riggs (Fred Astaire), into believing that he is her guardian angel. Johnny plays upon Yolanda's gullibility in order to convince her to confer her power of attorney on him, but just as he is ready to depart with the goods, he finds himself romantically and erotically drawn to her. His attraction to her surprises Johnny, because he ostensibly does not expect to find Yolanda a figure of erotic contemplation, and his jaded sensibilities lose out to his romantic impulses. But moments of camp playfulness in the film offer another reading of Johnny's surprise at discovering himself in a seduction beyond his overarching greed and cynicism, for there are strong possibilities for seeing him as gay.

DREAM SEQUENCE BALLET

The "dream ballet" sequence is an extended (approximately 15 minute) routine for Astaire, Bremer, and various others, which Minnelli has described as, "the first surrealistic ballet in film". Its Dali-esque scenery sort of mirrors "real-life" Patria which Yolanda’s Aunt Amarilla called “an out of the world place” elsewhere. That’s really what Minnelli was going for here. He seeks to evoke a feeling that Johnny have left behind what he knows and entered a world of mysticism and dreams.

This dream sequence ballet opens with Astaire dressed in a remarkable dandy outfit with a pair of off-white satin pajamas. Becoming restless in his bed, Johnny dresses and walks through the streets of Patria's unnamed capital, where he moves into increasingly surreal landscapes in which various women trap him in symmetrical dance steps: washerwomen unfold furls of different-colored fabric in stark geometric patterns that form a prison out of which he cannot escape. Yolanda’s entrance into the dream is grandly spooky. Against the backdrop of a Dali-esque desert landscape, Yolanda rises from a pool of water wrapped head-to-toe in pale scarves that float all around her. Her face is obscured, a look reminiscent of René Magritte’s 1928 painting The Lovers, and more suggestive of alienation than romance. Once Johnny unwraps Yolanda from her scarves, the spookiness of the sequence dissipates a little, but the mood has been set, and when the unwrapped Yolanda puts her arms around Johnny and sings, “Will You Marry Me?,” the effect is mildly sinister. The sequence concludes as Yolanda dons a set of outrageously long bridal veils and Johnny gets one of them wrapped around his neck like a noose when he attempts to flee.

In the "Will You Marry Me?" number Johnny wrestles with the trauma of potentially being trapped in a marriage to Yolanda for her money. Yolanda appears throwing off a series of veils trimmed in coins, and sirens in short dresses and high heels entice him with a cask into which Yolanda has dispensed her gold. The number effectively links Johnny's fear of marriage with his greed, or, more properly according to the dream-logic of the "Will You Marry Me?" sequence, his greed is the film's alibi for not stating more directly his desire not to bond with a woman, no matter what her beauty or wealth. The film temporarily addresses the question of whether Johnny will accede to the demands of marriage through the camp art direction's treatment of him as gay.

So this is more specifically a nightmare ballet, one that takes marriage—the typical happy ending of many an MGM musical (including—spoiler alert—this one)—and transforms it into a thing of anxiety and horror.

While the dramatic function of the dream ballet is questionable, its adventurous spirit and execution should not be ignored. Bear in mind that Agnes de Mille’s dream ballet for the original stage production of Oklahoma! first appeared on Broadway in 1943, just two years before Yolanda and the Thief hit movie screens. Yolanda and the Thief also predates The Red Shoes by three years and An American in Paris by six. Minnelli was staking out new territory here, trying out a storytelling technique that he and other filmmakers would employ with greater success in the future.

STYLE

What is labeled as the integration of straight romance and gay-inflected visual codes is more generally within the camp sensibility what we might call "style," or more particularly, a style of excess. James Naremore describes this differentiated style as Minnelli bringing “a rarefied sense of camp to musical numbers, making…[him] ‘an Oscar Wilde of the camera.’” To be an “Oscar Wilde of the camera” would of course conjure images not only of queer sexuality, but a simultaneous devotion to the aesthetics: one who would converse, write, lecture on subjects ranging from poetry to interior design. This parallels Sunsan Sontag’s assertion that “Clothes, furniture, all the elements of visual décor, for instance, make up a large part of camp. For camp art is often decorative art, emphasizing texture, sensuous surface, and style [sometimes] at the expense of content.” Indeed, Sontag begins her “notes on camp” by quoting Oscar Wilde’s famous aphorism, “one should either be a work of art, or wear a work of art.” However, camp is not simply an adoration of colour and texture, but a certain critical – comical, even – perspective on heterosexist and gender normative culture, both male and female. 

And beyond discussion of pure aesthetics of delight, camp within the Freed Unit is also indicative of a process of labour as method of negotiation between queer identity and heteropatriarchal capitalist hegemony (critique of a culture industry from the point of view of a queer professional embedded in it).

AUDIENCE REACTION

Campy style within Freed films circulated to noncamp audiences under the more general idea of their being “stylized” or “witty". The comments of film-goers who attended previews of, for example, Minnelli's "The Pirate" confirm that the studio knew that the film tended to emphasize its own spectacular art direction while sometimes disregarding streamlined storyline and clear characterization. In the cards, where anonymous viewers offered praise and disparagement, a repeated emphasis on the art direction arises: "the sets detracted from the people and the music was too loud," "not realistic enough," "entirely too surrealistic," "the beautiful background settings were exceptional," "plot rather thin," "truly one of the most exciting pictures from every standpoint, direction, artwork, color, dancing, scoring," "beautiful coloring," "slightly fantastic plot not developed in as natural and realistic a way as it could have been," and perhaps the most telling, "Minnelli back to the small minority who really appreciate him." The above comments would suggest that these viewers had screened a film by Dali or Bunuel, not the product of MGM after twenty years of corporate film-production experience.

Which takes us to the next (and very familiar) aspect…

MISE-EN-SCENE VS. STORYLINE

Musicals have largely been understood as primarily narrative films at the expense of other features. The plotline that structures many musicals is that of straight romance and marriage. The world in which a man and a woman meet and find initial attraction, in which their union is frustrated, and where ultimately the prohibitions to heterosexual bonding are overcome through the mediation of the song and dance number is typically the world of the musical. But there is more to the making of musicals beyond the plotline and its ancillary subplots, all of which are said to be brought to happy closure at the film's completion.

What seem to have been the memorable features of Freed unit musicals for contemporaneous viewers were their dazzling sets, costumes, use of color (in terms of film stock, set painting, and lighting) and choreography. These specific elements of film production are perhaps most likely what the various viewers are locating as the Freed unit's distinguishing style, or, to remember the viewer who commented on the "small minority" who might be interested in Minnelli films, that this style was idiosyncratic enough to have both fans and detractors. This style distinguished the unit's films from those of its rivals.

Minnelli's work habit of plotting a film's numbers by creating a series of paper dolls and scaled-down sound stages in which to place these figures suggests that his first impulses were to conceive of a film through its mise-en-scene rather than its storyline. Within the limits of the system, Minnelli was able to say a good deal about sets and costumes, and he usually influenced the overall visual conception of his films.

Dance (and singing) performance disrupts the narrative by momentarily disregarding the force of the story for the power of the spectacular dance routine. Likewise, the backdrops and costumes perform a similar function but that we tend not to notice their potential to antagonize narrative because, of course, most often the disjunctive features of the mise-en-scene are maintained in the film's movement back to the storyline.

Just as Johnny emerges from his dream shaken but unsure of what it means, the historian of camp production can perhaps trace the presence of a masked homosexual narrative only by remembering the strange details which seem to have been so easily forgotten.

REFERENCE:

Tinkcom, Matthew. Working like a Homosexual: Camp Visual Codes and the Labor of Gay Subjects in the MGM Freed Unit. Cinema Journal, Vol. 35, No. 2 (Winter, 1996), pp. 24-42.

Turner,  Lexi C M K. A Queer Translation: “Camp” Sensibilities of the Classical Hollywood Musical Era, vs. the 1970s Desertion of Narrative Utopia.

Cohan, Steven. Incongruous Entertainment: Camp, Cultural Value, and the MGM Musical (Durham N.C.: Duke University Press, 2005).

Dunne, Michael. American Film Musical Themes and Forms (Jefferson, N.C.: McFarland & Company, 2004).

Cohan, Steven. “Introduction: Musicals of the Studio Era.” In Hollywood Musicals, the Film Reader. Edited by Steven Cohan. 1-15 (London and New York: Routledge, 2002).

Feuer, Jane. The Hollywood Musical, 2d ed. (London: BFI Books, 1993).

Sontag, Susan. “Notes On ‘Camp.’” In Against Interpretation and Other Essays. 275-292 (London: Penguin, 2009).

https://www.brightwalldarkroom.com/2018/10/24/yolanda-and-the-thief-1945/ https://en.wikipedia.org/wiki/Yolanda_and_the_Thief

[yeniayofnymeria]

Arya's Return to Westeros... To Jon Snow

Hello everyone,

Introduction

As you know, Arya Stark escaped from King's Landing at the end of the first book and constantly made an effort to reach her family and home, but so far she has not been successful. Both her family and the house have been destroyed, at least that is what within Arya's knowledge. On the other hand, she knows that Jon Snow is still at the Wall, and when she went to King's Landing, she often missed Jon and dreamed of going to him, even on her way to Braavos, she actually intended to go to the Wall, but the captain refused her. He took her to Braavos, but when Arya saw the two Men of the Watch even while she was there, she wondered if they would return to the Wall because she still had in mind to go to the Wall, to Jon's side.

On the show, they gave Lady Stoneheart's Frey scenes to Arya(Yeah they did this a alot). When this happened in the show, many readers began to think that Arya would likewise go directly to the riverlands when she returned to Westeros. A few things put forward as justification for this; The presence of Nymeria and Cat there; and also Beric and his crew and Gendry characters... and even the Freys themselves.

This is more of a fictional math guess, of course. There are these people in the land of the river, and these are the people Arya has met before, if so, Arya will return here ... Even if there is a bit of plain logic, this is one of many interpretations and is possible. Of course I do not think so.

Why not riverlands?

In the first place I want to express my opinion, why not Riverlands? To summarize briefly, there is nothing there for Arya. During her time there, she did not take any time to find Nymeria, and actually she did not have much opportunity, but although Nymeria was constantly around her, she never went directly to her. Even if they meet there, there is nothing they can do on the first stage riverlands. It makes no sense to expect a meeting without purpose. On the other hand, those Beric and his crew are not important for Arya, so there is no reason for them to go there. She could only go for her mother, but she doesn't know that her mother is alive. The Freys might have been a good reason, but Arya couldn't kill anyone she didn't know their name and couldn't add names to her prayer because she didn't know the Frey's names. Naturally, she is not after them.

The riverlands had already covered most of Arya's adventure over the course of two books, and she did what she would do there, learned that she would learn, and she was done ... It makes no sense to go riverlands as her first target when she decides to return.

There are those who say she will go to King's Landing to kill Cersei, but as we know when Cersei's death will come, we know that her death will be carried out by a Valonqar, so it is pointless for the author to take Arya there for something she could never achieve. In addition, it is logical that Arya, who is trained in Faceless Men, should infiltrate Cersei and kill her.

That's why as a writer you wouldn't want to use such a character that way because either you have to kill one of your character early, or you write an unsuccessful attempt and write a meaningless and ridiculous scene, and your character will be distracted by empty scenes, like the show playing for time...this is what a novice writer does... Also, Arya will woke up one night and said that, "OK, I'll go and kill Cersei." ? It would be a little ridiculous.

In summary, according to the mathematics of fiction, Arya's possible directions do not fit these two places, and I have not seen any signs of them yet.

Let's come to the question of why Arya Stark will go to Jon Snow, towards the Wall.

First Cause: Jon Snow himself

As I said at the beginning of the article, Arya has missed Jon since she left Jon in the first book and wanted to go to her, even when she got on the ship of the captain from Braavos, she said it was where she wanted to go, but received a refusal. Even as Yoren was taking him to Winterfell, he somehow wanted to reach first to the Wall.

When at last she slept, she dreamed of home. The kingsroad wound its way past Winterfell on its way to the Wall, and Yoren had promised he'd leave her there with no one any wiser about who she'd been. She yearned to see her mother again, and Robb and Bran and Rickon . . . but it was Jon Snow she thought of most. She wished somehow they could come to the Wall before Winterfell, so Jon might muss up her hair and call her "little sister." She'd tell him, "I missed you," and he'd say it too at the very same moment, the way they always used to say things together. She would have liked that. She would have liked that better than anything.

As I am sure that Brienne's whole purpose and the focus of her current story is to find Sansa, she will eventually find her, so I'm sure Arya will go where he is because of her wish go to Jon Snow since the first book.

We already have two sample scenes showing that she is still thinking of going to wall while in Braavos. The desire of someone with this goal to go elsewhere is unthinkable, especially if we consider that this girl suffers from family and loneliness as much as the desire for revenge.

Personally, if I were Arya, I'd rather go to my only living family than take revenge. First I would like to feel safe and whole again. For example, Sansa, although she knows the state of Winterfell, her heart prefers to go there ... she knows that she will feel safer and stronger there.

The place where Arya will feel safe and quench her desire for home is obviously Jon Snow himself. Indeed, even Jon had told Mance to "bring Arya" home. Logically, Arya was already at home, but for Jon it is obvious that the house is not there, but him side.

In the conversation between Jon and Arya, Jon said, "Sometimes different roads lead to the same castle." After all, they both differed ways, but they will eventually meet at the same castle. You know Martin wanted to reunite the two characters at the Wall, as he wrote in the first outline.

Of course, this interpretation is possible. "Okay, it looks like a strong foreshadowing, but this castle doesn't have to be Black Castle, they can meet at Winterfell."

It is quite possible, which is a very strong possibility. It doesn't matter much, either the Wall or Winterfell ... Arya's direction will be Jon Snow, this is the important part; I don't think their meeting at the Black Castle or Winterfell is important for the development of the story. However, I still have to say that there are signs that he will go to the Wall, I will mention that when the time comes, let's continue.

So the question is… Why would Arya Stark want to stop training and leave when she was training the Faceless Men in Braavos? We do not know how many years this training takes in total, but we know that it should take years, so Arya looks like she has taken several years of training. I have already said that Martin wanted the 5-year jump for Arya and Bran's education and growth.

Parallelism

There is a parallel story development between Arya and Jon. The two got into an organization where they would never marry, have no children, and would leave their families behind completely. These are the things that are demanded of them. Both of them have to spend their entire lives in this organization.

Both stand out in the books as each other's "weakness". For example, even for Arya's father, she did not betray Jon and remained silent, or when someone accuses Jon of being a thief (even indirectly), Arya got angry ...Jon did what he did not do for Robb and Ned or even Ygritte; He goes around his vows for Arya and tries to use anyone he can use for Arya Stark ...

I think we will see a parallel development from now on. Jon decides to break his vows for Arya in the last book and is killed. It is also the author's use of the Arya factor to free Jon from his vows. I think a similar thing will happen on Arya side. We have read that Arya can sometimes get news from Westeros; She learned that her aunt was dead, and even learned about Hardhome.

Also, we also read that from time to time she heard about Jon Snow being spoken in taverns and inns. In short, our girl gets information about Jon Snow. Martin must not have added this part for nothing. If even she gets some news Jon's election as Lord Commander at the Wall, then I see no reason not to hear the news that Jon was dead. So, how will Arya react when she finds out that her only family member and her most fond and beloved family member have died? Do you think it is appropriate for Arya to sit calmly and continue her education and shed two tears? I do not think so. Anyway, this girl is Braavos for a reason and has to return before completing the training. Why is that?

It's actually very simple. Being a Faceless Men means being of all identity and not. When a person becomes FM, that person becomes "nobody"; she has no identity, you cannot call her an individual, only a means of her deities; are people who constantly live under other identities and faces. Consequently, if Arya completes her education as FM, she will no longer be Arya Stark and she will completely lose her identity. In this case, Arya has no place in the story because Arya is dead. We do not read Arya ... Therefore, we cannot wait for Arya to seek revenge in Westeros or to meet with other characters.

When the emphasis was made in a question in an interview that Arya was the Faceless Men, Martin objected to this; “She's not yet the Faceless Men, you assume she will. She's still an apprentice. ” he said. In other words, Arya did not take an oath as she had not completed the training yet. You know Jon was trained first and was taken when it was decided he was ready. It would be absurd to expect her to complete the training in a year, anyway. Although Arya's education is progressing much faster than usual, this is a separate topic.

In other words, after learning as much as Arya should learn, she will need a reason to leave here before she has the opportunity to complete the training, without being promoted to be the Faceless Men and taking their oaths; that's Jon Snow. The death of Jon will save Arya from being the Faceless Man and return her home, just as the author eventually caused his death by using Arya reason to escape Jon's from his vows.

Anyway, Arya had given us the signal that she would not throw the Needle that Jon gave her, but would continue to be Arya by hiding it, and that she would never lose her identity. The needle symbolizes Arya's identity in the books. It symbolizes her connection with her home, family and Jon.

She stood on the end of the dock, pale and goosefleshed and shivering in the fog. In her hand, Needle seemed to whisper to her. Stick them with the pointy end, it said, and, don't tell Sansa! Mikken's mark was on the blade. It's just a sword. If she needed a sword, there were a hundred under the temple. Needle was too small to be a proper sword, it was hardly more than a toy. She'd been a stupid little girl when Jon had it made for her. "It's just a sword," she said, aloud this time . . .

. . . but it wasn't.

Needle was Robb and Bran and Rickon, her mother and her father, even Sansa. Needle was Winterfell's grey walls, and the laughter of its people. Needle was the summer snows, Old Nan's stories, the heart tree with its red leaves and scary face, the warm earthy smell of the glass gardens, the sound of the north wind rattling the shutters of her room. Needle was Jon Snow's smile. He used to mess my hair and call me "little sister," she remembered, and suddenly there were tears in her eyes.

As it seems from this quote, Arya doesn't want to give up her identity. We actually have a possible foreshadowing scene where Arya might act to avenge Jon.

He is a man of the Night's Watch, she thought, as he sang about some stupid lady throwing herself off some stupid tower because her stupid prince was dead. The lady should go kill the ones who killed her prince. And the singer should be on the Wall.

As you know, Jon Snow was actually a Targaryen prince as Rhaegar's son and killed, and Arya is a character who will avenge her prince. And yes, maybe the singer will go to the Wall. ;)

Cause Two: The Night's Watch

To explain this, I want to go through another example first. When you read Jaime Lannister's POV on the Riverlands, especially in book 4; There was an intense interaction with Brotherhood without banners. On the first povs with Brienne, he almost fell into their trap, but they did not swallow the bait and escaped. Later, we read that when Jaime returned to the Riverlands, he often spoke about Brotherhood without Banners and heard news from them. If I was not mistaken, he had assigned someone to hunt them.

There is a similar thing for Brienne, but there was not as much interaction as with Jaime, of course, his was more extreme, but there was for Brienne too. Of course, even they heard the name of Lady Stoneheart. As a result, both of them are now in the hands of the without Banners and Lady Stoneheart(at least we assume it). In a way, Martin "made a way" to the characters here ... For example, he said that he made the way for Tywin's death by using the "gold shitting" theme, as a sign. For Jaime, there is another "way build" that he interacts with; Nymeria and her pack. There are many references to this as well, as Jaime will probably encounter not only the Cat, but also the direwolf and her pack.

There is a similar theme for Arya. Night's Watch. Arya is constantly interacting with the Night's Watch (another thing she's interacting with is dragons, by the way). Let's continue with the watch. Logically, the first member of the brotherhood with whom he interacted is Jon Snow(after Benjen), who left home to join. Later, she meets Yoren and the first one she asks is Jon, and she even talks about wanting to send him a letter.

Then, at the end of the book, Yoren finds Arya and disguises her as a boy, takes her with him as one of the apprentices of the Watch and leaves the city. His goal, of course, is to bring her to her family. When Yoren first saw our daughter Arya, he thought she was even a boy. In fact, the "boy" theme is another sign for Arya ... It is not surprising that a child is thought to be "boy" when she is scruffy and dressed in boy's clothes. We know that when Cersei changed her clothes with Jaime as a child, even her father thought she was a boy(Jaime). Consequently, they thought Jaime was a girl(Cersei) too. Nevertheless, for Arya, it was a recurring thema, and eventually our she-wolf disguised as a boy and joined the Night's Watch.

Well, do you know the story of a girl participating to the Watch disguised as a boy? You know. Danny Flint. Flint girl disguises herself as a man to join the Watch to escape the abuse. Her story is sad and the only part that interests us as a matter of our subject is the girl figure who participated in the watch disguised as a boy. The name of this girl is mentioned in three places; We heard the first one while Bran was hiding at the Wall. We heard the second from Lord Manderly's mouth in Theon POV called Prince of Winterfell in the last book, which I think was a very interesting combination. And later again in last the book, from Jon's mouth.

The Manderly part is remarkable.

After serving Frey pies at Arya Stark's wedding feast, our fat lord was so happy and wanted for 2 songs for Arya Stark; The first one is "Ending Night", which tells the end of the Long Night, and the other is the song of "Brave Danny Flint". It is interesting, is not it? He wanted for Arya two songs about the Long Night and the girl who participated in the Watch as a boy.

By the way, for those who don't know, Arya probably takes her name from one of her great-grandmothers who lived years ago; the woman's name was Arya Flint.

Lets continue. Arya continued her journey with the Watch in the second book, she had beaten Pie well, and Yoren had beaten her as a punishment and then made the following phrase.

"Might be I got your attention now," Yoren said. "Next time you take that stick to one of your brothers, you'll get twice what you give, you hear me? Now cover yourself."

They're not my brothers, Arya thought as she bent to yank up her breeches, but she knew better than to say so. Her hands fumbled with her belt and laces.

Brothers? They are not Arya's brothers... because Arya is not an apprentice to join the Watch, not even a boy. Despite this, the author wrote such a sentence in Yoren's mouth. Why is that? If a character says something stranger than usual, I guess pay attention.

The reason is obvious, it is highly probable that Arya gave a sign that she was going to the Wall; he's making a way. Everything is in front of our eyes; The story of the Flint girl; some people thinks Arya is a boy in the first books and she travels with the Watch, even when she goes to Braavos, meeting two Night Watch members and intending to go to Wall with them. There were always Night's Watch around this girl; Just like there are references to Braavos and Braavosi people in the first book, and eventually she went to Braavos ... I think it would be a correct inference to predict that she will go to Night's Watch as all previous character examples tell us that this is the case.

In addition, considering that she has aimed to reach Jon from the first moments, when they are all combined, it leaves us no choice but the Wall. So, at worst, Arya will surely leave Braavos and education for Jon Snow, and at best, the meeting place will be the Wall.

It is possible to present another sign in this regard. Dead man's boots ...

You know Melisandre and Mance thing... Melisandre said to Jon "Mance will help you for Arya" and Jon asked "how he can live and she changed his looks"

Melisandre said:

"The bones help," said Melisandre. "The bones remember. The strongest glamors are built of such things. A dead man's boots, a hank of hair, a bag of fingerbones. With whispered words and prayer, a man's shadow can be drawn forth from such and draped about another like a cloak. The wearer's essence does not change, only his seeming."

In other words, the magic of blindfold is mentioned where Arya is mentioned and one of the things mentioned as sample items is "the boots of a dead man ..." (By the way, it is also interesting to refer to Davos's finger bones)

Dead man's boots ... logically, the item does not have to belong to a dead person in order to wear someone's image as a cloak, because we saw Mance and the other man were both using each other's belongings while they were alive. There's a dead man accent though, why?

So now I'm taking you back to the Arya scene. We're in Braavos and Arya gets an impression of Dareon. The singer called the Black Singer, but none of his clothes were black except for his boots.

The whores called him the black singer, but there was hardly any black about him now. With the coin his singing brought him, the crow had transformed himself into a peacock. Today he wore a plush purple cloak lined with vair, a striped white-and-lilac tunic, and the parti-colored breeches of a bravo, but he owned a silken cloak as well, and one made of burgundy velvet that was lined with cloth-of-gold. The only black about him was his boots.

In the Arya scene, the "boots" first catch the eye, and then, chatting with this singer, she continues to walk and kills him, and when she go to Brusco has these black boots with her.

By the time Cat returned to Brusco's house, an evening fog was gathering above the small canal. She put away her barrow, found Brusco in his counting room, and thumped her purse down on the table in front of him. She thumped the boots down too.

Brusco gave the purse a pat. "Good. But what's this?"

"Boots."

"Good boots are hard to find," said Brusco, "but these are too small for my feet." He picked one up to squint at it.

"The moon will be black tonight," she reminded him.

In the same POV (all aff this happening in the same pov) later she went to Kindly Man.

This time she did not hesitate. "Dareon is dead. The black singer who was sleeping at the Happy Port. He was really a deserter from the Night's Watch. Someone slit his throat and pushed him into a canal, but they kept his boots."

"Good boots are hard to find."

"Just so." She tried to keep her face still.

In both scenes, there is an emphasis on "good boots are not easy to find". How does Kindly Man knows that the boots are good which he has not seen, it is thought provoking, but I think it is not just the quality of the boots here. Dead man's boots are a good tool for Arya's future purpose ... so they're good boots ...

In other words, the emphasis on the boots of the dead man here indicates that Arya can wear these boots and go to the Wall as a man with the magic of the blindfold. Well, does Arya know about this spell? Where can she learn? Let's listen to the Kindly Man.

"Mummers change their faces with artifice," the kindly man was saying, "and sorcerers use glamors, weaving light and shadow and desire to make illusions that trick the eye. These arts you shall learn, but what we do here goes deeper. Wise men can see through artifice, and glamors dissolve before sharp eyes, but the face you are about to don will be as true and solid as that face you were born with."

KM mentions that he will teach all face replacement methods; The method of a mummer(which Arya is with the mummers at the moment) and he will also teach the magic of the blindfold ... On the other hand, there is also the issue of wearing the faces of dead people, it's already being told during this scene ... In short, when Arya is done here, she will knows all of this, and naturally, she will go to the Wall by making a "blindfold" spell with the boots of the dead man belonging to the Night watch member, disguising herself as Dareon. I think it will be a very interesting and funny scene.

Let me even give another possible parallel scene example for this scene that I expect in the future. Now Theon is Jon's foil anyway. Martin pointed out that the two had similar positions, but that they both made different choices. Another thing that the two have in common is that both Jon and Theon have sisters they saw as a child. Theon did not recognize Asha when he returned home, the scenes are well known to you all.

Jon was also wondering if he would recognize Arya even if he saw her right now, we can expect him not to recognize Arya at first because she's already grown up, but especially if she use this spell, he cannot recognize her at all, and we can read funny scenes. A little parallel with Theon, but I think it will be a nice thing.

What if they meet at Winterfell instead of the wall, I think it probably coincides with the moment of war. When Martin wrote the last script for the series, he added a scene note where Ramsay fought direwolves against his hounds. He noted something that would probably happen in the books, and there is already information that Ramsay raised his hounds to kill wolves in Theon pov. These wolves are undoubtedly Ghost and probably Rickon's wolf Shaggydog, but since GRRM stated that they had plans for Nymeria and did not write this wolf pack for decoration, it is possible to see Nymeria and her pack in the final battle with the Boltons in the north. How long will they stay in the riverlands? If the owner is there, the wolf is there too; if the wolf is there, the owner is there too ...

So this end. Thank you for read and sorry my bad grammer.

[capsiclesteebrogers]

Bastard Turned King

So, here is another post nobody asked for, but I’m making it because I see a lot of people ignoring Arthur or saying he is not an interesting character and I can’t stand behind this slander. So I’m here to show support for this wonderful character.

SPOILERS FOR CURSED DOWN BELOW!

Again, if you haven’t watched the show, I do not recommend reading this because I will give spoilers.

In a previous post I made I compared The Weeping Monk to Jaime Lannister and it got me thinking about the parallels between Arthur and Jon Snow. I thought of them during the show as well, but only now are they more clear to me and I can make a somewhat coherent post. So let’s dive in.

1) Bastard (Lowborn) becoming King

This may be the most obvious parallel between Arthur and Jon. One is a born a bastard who later on becomes King on his own and the other one is lowborn who will, in the future, become King. Jon lived all his life with “bastard” associated with him and people having a lot of prejudices against him because of his status and he always tried to be more and prove himself much like Arthur, who alligned himself with the wrong people and has his father’s debts on his name.

Both characters work hard to prove themselves and show people their worth. They are honorable men who fight for their people and want what’s best for them. As we all know, Jon is elected King in the North despite his status as bastard (I will talk about his true parentage later on) and I strongly believe that Arthur will become King through his own actions and will demonstrate his worth and inspire people with his good heart.

2) Being accepted by people who initially hated them

This came to me just the other day when I was thinking about them. Jon is accepted by the wildings and they later on become loyal to him and even support him in his quest to regain Winterfell and the Fey embrace Arthur and even trust him enough to be led by him to the ships.

Both proved to this people that they want to help and are not prejudiced against them. The Wildings helped Jon regain his ancestral home and without doubt the Fey will help Arthur in his journey to become King because he gained their trust and loyalty through his actions. 

3) Their swords

We know that each King has his own sword with great value for them. And it is the same case with Jon and Arthur.

Jon received Longclaw from Jeor Mormont and became his. He even altered the bear to a direwolf because it reminded him of Ghost. Now this ties to Arthur and The Sword of Power/Excalibur. We know from the legends that Arthur wields both swords and proves himself worthy by doing so. In the show, he already had for a little while The Sword of Power and if I remember correctly (I may be wrong) it didn’t seem to corrupt in the same way that it corrupted Merlin and sometimes Nimue. Yes, he stole the sword from Nimue but he did so because he wanted to become an honorable men and do right by his father. But it still seemed to have no negative impact over him. I do believe Arthur will wield that sword again and maybe later on he will receive Excalibur before becoming Kind. Swords have meanings, especially for kings.

4) Red Paladins and White Walkers

I already linked the Red Paladins with the Lannister army, but they also have similarities with the White Walkers. Both want to exterminate a race (the Paladisn want to eradicate the Fey and the White Walkers want to eradicate the humans). And obviously, our heroes are trying to stop them and save the persecuted. Jon succeded (obviouslt with a lot of help) and of course Arthur will succeed as well.

5) True parentage

This may be the most important one and I saw few people discuss this. As we all know Jon is actually Rhaegar Targaryen and Lyanna Stark’s son and he had a legitimate claim to the throne. Now this storyline was ignored in season 8 (and I am still mad about it and won’t shut up about it) and it strongly believe that Arthur is more than he seems. 

We know who Arthur’s father was, but do we know anything about his mother? I may have forgot if there was anything said or shown about his mother, but I believe we know close to nothing about her. Mothers are equally important as fathers as we can clearly see in Jon’s case. This may be important later on.

And for now we have two kings fighting for The Sword of Power/Camelot. Uther is a bastard and not the rightful king as we were already been told and Cumber claims to be the true heir of House Pendragon but he doesn’t have any proof? Like what makes you the true heir? Neither of them are fit to be king. Enter Arthur! He may be exactly what the people need and even a member of House Pendragon as well (I really hope this is true).

Also, people love triangles and they are often shown on TV. You really think the fight will only be between Uther and Cumber? Also, Nimue doesn’t wish to rule upon men so we will exclude her from this. The two “pretended” kings will have to face Arthur later on and it will come as a surprise to them. 

This also reminds me of the triangle between Sansa/Cersei/Daenerys. One was queen and sit on the throne (Cersei/and in our case Uther), one wanted it and claimed to be the rightful heir (Daenerys/for us Cumber) and one didn’t want it and became queen on her own (Sansa/later on it will be Arthur). And we all know which of the three survived.

Now that I’ve presented my arguments, I can tell you that I think Arthur’s arc is incredibly interesting and will develope more in the future. Arthur is a good person who made mistakes and has time to prove himself and bocome the King he is meant to be. It hurts me that people push Arthur aside and consider him boring or not intersting enough (and focus on the antagonist) when he clearly has more planed for him in the future and his story is only at the beginning.

I can’t wait to see what’s in store for Arthur and where his story will go. Let’s show some love for this character and start acknowledging his importance.

[the-witch-and-her-husbands]

Her New Master

The Judge woke up with a start, as sunlight through an unfamiliar window fell onto his face.

After a moment, he remembered. He’d purchased a new whore the evening previous, and had spent the night in her bed.

What a night it had been! He’d had her three times, all in different positions. This girl was indeed different to any that he had purchased before. Not only had she taken a whipping from his crop with hardly a whimper, she had proved herself most creative in her willingness to try different sexual positions. Once he’d had her on her back, standard but effective, once with her on top riding him, and once with them standing up while she rested one of her feet on a low stool.

It seemed like she was from one of the illustrations in his extensive collection at home, magically come to life and as willing to please her master as a djinn.

As he lay looking up at the ceiling, he wondered what else she might be coerced into performing for him. He wished he had one of his many volumes to hand, so that he might find some inspiration on what to try with her next. The possibilities were so endless, he hardly knew where to begin.

She stirred, turning onto her side so that her back was facing him. The blanket had slipped down and he could see every inch of her on display, as they’d both fallen asleep completely naked. He could see the faint red stripes on her bottom that he’d left with his crop, the parallel lines standing out in stark contrast to her pale skin. It made him achingly hard, just looking at his handiwork.

He longed to do it again, to rain down blows on her tender flesh. Out of all of his catalogue of fantasies, this was his absolute favourite, one he returned to again and again: having a naked woman at his mercy while he spanked or paddled or whipped her soundly.

The girl turned over again, placing a small hand on his chest. ‘Good morning, Sir.’

Startled, he turned to look at her, mumbling good morning in reply.

There was a hint of a smile on her face, and she seemed completely unperturbed. ‘May I be of use to you again, Sir?’

He thought hard for a moment. There was time, he’d risen early enough that he had at least an hour before he had to be in chambers. He might even have enough minutes to spare afterwards to break his fast, first. But what to do with her?

Turpin looked around, as though for inspiration. His eye fell on a simple wooden hairbrush, lying on her dressing table. Perfect. He commanded her to rise and fetch it.

He sat up in the bed while watching her cross the small room, staring at the way her hips rolled, swaying side to side. It didn’t seem affected, but rather the way she just moved naturally. The movement was almost hypnotic.

She returned, holding the implement in her hand. He gestured that she should hand it over, which she did without a moment’s hesitation. He tested its weight, tapping it lightly against his opposite palm. Not quite as heavy as he would have liked, but it would more than do. Perhaps he could purchase some new implements to use on her, some new heavier hairbrushes and bath brushes and maybe even a new cobbing board.

Already he was thinking in future tense, after passing just one night in her company.

He patted his thigh. ‘Bend over my knee.’

The girl did so, without any hesitation, resting her torso on the bed behind him.

He paused to look down at her for a second, not daring to believe his eyes. For here was one of his greatest fantasies becoming reality. A naked woman was bent over his knee, vulnerable bottom just waiting to be spanked. Near perfection.

Only one little detail remained to make it even better. He used a hand to part her legs, encouraging her to open them so that her thighs were now resting either side of his. Looking up and glancing at the mirror across the room, he could see that she was completely open to his view. Not a shred of modesty remaining. Fascinated, he reached to stroke her opening, unable to tear his eyes away from what he was seeing.

A soft moan brought him back to the matter at hand.

It would be a waste to have a naked woman at his mercy in such a position and not take advantage. He raised the hairbrush and brought it down firmly.

As it made contact with flesh still tender from her whipping of the night before, she let out a small whimper but did not attempt to get away from him.

This was incredibly promising. He spanked her again and again, watching the pale skin between the stripes turn pink and then the same rosy red as the marks he had laid with his crop.

The girl cried out, kicking slightly as she was spanked, but made no real protests or pleas for him to stop.

He paused for a rest, slipping his hand between her legs to stroke her opening with a teasing finger. To his great surprise, he found her slick with need. It would appear that being spanked was arousing her as much as giving her a spanking was arousing him. Truly a fortuitous match. He thanked Providence for bringing them together. With such a willing partner, there was no end to the depraved fantasies that he might be able to act out and make reality.

His mind raced. Now that he had found her, he had to have her. Had to make her his. A girl like her was incredibly rare. He’d never found a woman who was willing to let herself be beaten in such a way, no matter how much money he’d offered.

The Madame of the house had indicated that she was a new girl, fresh to the scene and therefore mostly unsullied. He had been the first to purchase her wares, and so therefore he felt that he had a claim on her. Unlike the rest of his cronies, Turpin wasn’t one for sharing what belonged to him. The thought of some other man touching her, fucking her, or worst yet, beating her, wasn’t to be borne. For certain, he could still hire her services whenever he liked, but it wouldn’t be the same knowing that she was allowing other men to have their way with her.

Still. He had to go careful. If the Madame had any indication that he wanted the girl for himself, she would no doubt charge some exorbitant amount for her purchase. It wasn’t about the money, not really, as the Judge was a wealthy man. But why spend recklessly? He hadn’t gotten where he was today by being careless and throwing his money around. Better to somehow seduce the girl into leaving willingly. Then, once she was in his household, he would be able to keep her there and the Madame would be unable to do anything about it.

‘Sir?’ Her quiet voice broke his reverie, and he realised he’d been sitting there motionless while he thought. Time to act. He would need to somehow cajole her into cooperation.

‘Yes, my dear. Sorry. I was transfixed by your beauty.’ He changed tactics completely, laying down the brush. If his plan went accordingly, then he would have every evening at his disposal to spank her for as long as he saw fit. He stroked his fingers gently over her skin, leaving gooseflesh in their wake. ‘So beautiful...’ he murmured.

‘Thank you, Sir.’ Her eyes were at half mast with pleasure. She wasn’t used to such careful treatment, and it was heady stuff indeed.

‘My dear. Come. Come here.’ He helped her to sit upright, pulling her into his lap where he could continue to pet her. His hands roamed freely: one fondling her breast, one dipping into the space between her legs. One of his beloved tomes had provided an entire chapter devoted to pleasuring a woman. He recalled the pages, softly rubbing her nub in a way that he knew would cause the most pleasure.

Sure enough, she moaned loudly, her head dropping back against his shoulder. ‘Sir! Ohhh....’

‘Do you like that, my dear? Hmm?’ He smiled at her, knowing what the answer would be already without her having to confirm.

‘Oh yes, Sir! That feels...wonderful!’ She bucked her hips against his hand, clearly desperate for more.

‘Has anyone ever done this to you before?’ There was a hard edge to his voice.

‘No! No, Sir! Only me! I have touched myself, but this is...is...so much more!’ She panted, lost in the sensations that he was providing.

That was good, but once she belonged to him, that would have to stop. As her Master, only he would be able to grant her pleasure. Her orgasms would belong to him and him alone to administer as he saw fit. ‘Good girl. You want to be a good girl, don’t you?’

‘Yes! Yes, Sir! Please!’ She writhed in his lap, wanting only to be allowed to have her release.

‘Would you like to be my good girl? You would live in my household, and I would see to it that your every need got my personal attention.’ Especially her sexual needs. His hand kept working as he was talking, bringing her close and then slowing down or even stopping, ensuring that he had her full attention. ‘I would feed and clothe you. In exchange, you would perform your services for me whenever I require them. You would warm my bed at night. You would be my kept woman, to spoil...and to spank.’

She didn’t have to think for long. She was young and naive, and had only turned to prostitution in a moment of desperation. The thought of selling herself to strange men night after night had turned her stomach, but there were only so many occupations that an uneducated young woman might undertake. Her parents had died in her infancy, her older sister had passed away in childbirth a fortnight ago. She’d found herself penniless and on the streets, when the Madame had taken her in. This man was well dressed, and of a respectable profession. Better to live with him as a member of his household than to have to sell her body night after night.

‘Yes! Please, Sir!’ She nodded fervently.

‘Please, what?’ He needed to hear her say the words. At the moment, she might merely be pleading for release, rather than agreeing to come live with him.

‘Please, Sir! Let me live with you!’ She was wide eyed in her earnestness that he should believe her.

That was good enough for him. ‘Good girl. Come. Come on my hand.’ He sped up his movements slightly.

She came hard, crying out and writhing as he continued to pump his fingers into her, helping her to ride out her orgasm, until she collapsed against him with a sigh. ‘Sir....’

‘Good girl.’ He held her until she was still and composed again. ‘Here is what we will do. Wash and dress yourself. You will pack your belongings into one small bag which I will take out with me now. Five minutes after I have departed, you will meet my carriage which will be parked around the corner. You will say nothing, and if asked, you will say that you are merely taking the air. Do you understand?’

‘Yes, Sir.’ She hastily got up and began to do as he had bade her. As it turned out, she hadn’t many possessions: the hairbrush, a comb, a few nightshirts, and a few pairs of small clothes. She handed him the bag, and he silently vowed to buy her a whole new wardrobe of dresses, and whatever else her heart might desire.

‘Five minutes.’ She nodded, and he was gone.

After a seeming eternity, but what was in reality about five minutes and thirty seconds, he could see her turning the corner and approaching.

He opened the door to help her into the carriage, and then they were away.

[365daysofsasuhina]

[ 365 Days of SasuHina || Day Three Hundred Eight: Servitude ] [ Uchiha Sasuke, Hyūga Hinata ] [ SasuHina ] [ Verse: A Light Amongst Shadows ] [ AO3 Link ]

When you’re young, some established norms in your life that - to anyone else - may appear strange or even wrong can be hard to realize yourself. You grow up in an environment that’s all you know. Has always been the way you know it. And only by taking in outside stimuli and opinions can you start to form your own beyond what you’ve always known.

For Hinata...her suspicions began earlier than most that something was very, very wrong with her clan.

Neji, her dear cousin and playmate when very young, took a sudden turn for the worse after her third birthday. Hinata, so new to the world, had difficulty understanding precisely why. But the next time she saw him, the strange mark upon his brow was a stark difference...as well as the cold, hollow look in his eye.

“This is the legacy of the Hyūga, Hinata,” Hiashi had told her, a hand on her shoulder as she peered to him in question. “This seal is what has protected our bloodline and its secrets for centuries. The branch clan will always serve the main house...to keep us safe.”

Young and impressionable, Hinata hadn’t wholly questioned it...but nor has she fully understood it. The house hierarchy was something her young mind had yet to comprehend.

And yet...even then, part of her knew that anything to bring such an expression to Neji’s face was something she did not like.

As she grew, Hinata began to notice more and more things about the Hyūga that struck her as odd at best...and horrifying at worst. In the Academy, no one knew what she meant by branch house. The other clan children assured her there was no such thing in their bloodline. When Hinata asked how they kept their kekkei genkai or secrets safe, none had an answer...but nor did any admit to having such a stark line drawn through their clans.

The first time she saw Hiashi use the Caged Bird seal against Neji...she almost threw up. Seeing him suddenly so helpless, so pained, so eager for death to make it stop...her horror was only outweighed by her shock. Only once he deemed his nephew properly subdued did Hiashi release the technique, Neji left drooling and twitching on the dojo floor before being hauled away to his room to recover by other branch clan Hyūga.

She didn’t sleep for over a week after that, haunted by the contorted misery in her cousin’s face.

...no wonder he hated them.

Years passed, and the servitude expected of the branch clan Hyūga began to disgust her. While there was no punishment so long as one was obedient - and most of them seemed to know their place - the fact that they could be treated so poorly was bad enough...let alone that they were literally servants to other members of their own clan…!

Bringing her concerns to Hiashi, however...did more harm than good.

“You dare to question our ways…?” he’d retorted, tone dangerously quiet and foretelling of punishment. “The Hyūga have relied on that seal to keep our eyes safe for generations! Without it, the Byakugan and its secrets would be known across the continent!”

“B-but...the punishment -?”

“Is meant to keep those of lower, thinner blood in their place,” Hiashi had cut in, eyes narrowing. “To maintain order...force must often be used. Remember, Hinata...you are of the purest Hyūga breeding. This makes you fortunate...and there are those within our clan who would take that fortune from you if given the chance.”

She didn’t believe it.

Not once had she ever felt animosity from her clan save for her cousin’s thinly-veiled hatred of the main house. All she’d ever felt was a tired, somber acceptance. If any of the other Hyūga truly wished to take her place, to usurp the main house...they hid it well.

Early on, Hinata had secretly, silently promised herself one thing: that, when she became head of the Hyūga clan...the seal would be discontinued, no matter what lengths she had to go to.

...but her hesitation about the seal wasn’t the only weakness her father saw in her. Before even becoming a genin, Hinata was stripped of her title, which was given instead to her younger sister.

Every dream she’d had about ridding the clan of the seal was stolen that day...and could only be regained by reclaiming that title.

And though it was a major factor, it wasn’t the only thing that saw her determined to get stronger. Naruto, her idol, would quickly grow to outmatch her, getting further and further ahead once they became genin. And the longer he kept his back to her...the more Hinata realized...he would never see her as she saw him.

But her determination remained. She would get stronger…! If not for Naruto, if not for her title...then for herself. And someday...she would confront her clan, even if she never regained her position as heiress. Because she had made up her mind after Neji nearly killed her with the fires of his hate:

Enough was enough.

The gap between Naruto’s departure and return saw her train with her cousin nearly every day, even on the days when she would also have sessions to work with her team. Once-dainty hands became calloused from Jūken strikes against the wooden training logs. Baby fat slowly stripped away until her round face became more heart shaped. Though her build remained rounded, it was accented with muscle. Her Byakugan range reached ten kilometers. She pushed her limits of the Hakke. And after the Uzumaki’s return, she created and mastered her own technique, Jūho Sōshiken.

In those few years, under Neji’s tutelage - the genius of the branch clan - Hinata flourished...and edged closer to her goal.

...which made his death all the more heart shattering.

She’d made her choice. Even if Naruto couldn’t see her...he was too precious to lose. Both for her personally, and for the sake of their world. Hinata was ready to die for him. And yet, despite his fate being told to him as a boy...Neji embraced it not out of duty, but of a genuine will to protect his cousin when he took those mokuton shards through the chest, and died in the village hero’s arms.

...like father, like son.

Though she was exhausted, and in pain, and grieving more than words could say...Hinata pressed on with a lioness’ ferocity, helping to tear through the enemy until they overwhelmed her...and she was lost in her dream.

And then...the war was over.

But her fight had just begun.

Hanabi was still heiress. In truth, Hinata no longer wanted the position. The war had changed her perspective so drastically...she felt without direction. Save for one thing: to change her clan, for good...for the better.

But it wouldn’t be easy.

The aid of an old friend saw Neji revived, seal conquered. Hiashi, attempting to better himself, embraced his nephew fully, and agreed to help him and his daughters begin fighting back against the seal’s implementation.

At last...the branch clan’s future began to brighten.

And she felt...at peace.

...in part.

For Hinata, there was still something...missing. She had accepted the shape of Naruto’s heart, so different from her own. It would take time to do so fully...but no longer would she chase him as she had. What it meant to be a shinobi, however...she was no longer sure. Their entire world was shifting...and she had no idea how to keep up.

...but she found that in the last place she expected.

Uchiha Sasuke was, in many ways, a mystery...and yet, in others, she understood him better than most given their almost eerie parallels. It was that, coupled with her heightened understanding, that made her the champion among their year to welcome him back and do so without hesitation or wariness. In many ways, she knew his struggles, if only in a different light.

So when he, too, fought for change...she helped him, arranging for the Hyūga to ally themselves with the last Uchiha, and bring the massacre to light at long last.

And then, he repaid her...though he really had no intention to with what he’d done.

Reviving the police force with the Hyūga clan’s help was meant to help ensure that such shadows would never again choke their village. And as Sasuke explained his plan, wanting to earn her approval, Hinata felt his meaning in her bones: to work within their village to keep peace, connect with the villagers, and help keep darkness at bay.

It called to her...and so she joined: a public servant to the people. Fitting, she thought. Shinobi and their place were changing. And her doubts about her role only made her all the more sure that this would be the path to take. And alongside another champion of an oppressed clan, she would serve her village proudly.

Of course...her new career and friendship led to something else completely unexpected, getting closer to Sasuke in a way she’d never thought to. But sometimes, things just...fit.

Her road was long, and difficult...but in the end, it brought her right where she needed to be.

                                                              .oOo.

     First let me say that if this is a lil...off, that's my bad. It's very late and I had to deal with some severe tooth pain, so I'm a liiil bit out of it compared to my usual self, so...this might be a little...well, off, lol - hence why it's more introspective than actually...narrative. idk, I'm very tired and really just ready to crash.      One thing I despise about the canon ending is the complete lack of address given to certain issues. Foremost is the Uchiha massacre just being...swept under the rug despite ALL of team seven knowing the truth. But a close second is the Hyūga clan and their abuse of the branch house being COMPLETELY ignored, even after Neji's (unnecessary) sacrifice, and Naruto's promise to change them. We even see Hiashi - Mr. Abandon-his-daughter-and-abuse-his-nephew - supposedly embrace his half-blood grandkids, who would NORMALLY be given the seal. But otherwise, to my knowledge...nothin'.      I'm disappointed, Naruto.      So, in my lil version of things (which I'm currently overhauling, so...bear with me lol), Hinata puts her heckin' foot down cuz THAT AIN'T GONNA FLY with her around. So...yeah, lol      Anywho, I'm...on the verge of passing out, so that's it from me. Thanks for reading!

[wargwhatisitgoodfor]

GRRM’S Much Ado About Mirrors - The Evenstar Necklace of Game of Thrones

NOTE: This is entirely speculation and doesn’t include any spoilers from any episodes. Also when I reference “missing scenes” in the tv series, I’m not implying that the cast and crew filmed them but instead that the show runners informed the actors that those scenes exist in the narrative and then discussed the impact that those scenes would have on the characters moving forward in the story. Since I am running short on time, I may write a second part to this meta after episode two airs.

I am a book reader who acknowledges that Jon Snow may be in love with Sansa Stark at the start of the story (I don’t want to write about that at this point, so please message me if anyone has written/knows of a meta that explains how that’s possible… I’ll reblog with that addition).  Even at this point in the tv series, his love for her from the beginning could be a part the plot, and, if so, then Jaime Lannister or Bronn (the latter may be more likely at this point) may unknowingly expose it when he meets with Sansa and returns the dragonfly necklace (i.e. the “Evenstar Necklace” of Game of Thrones) that Jon originally gave to her between episodes one and two of season one.

Background Information - Sansa’s Dragonfly Necklace is the Inverse of Arwen’s Evenstar Necklace from The Lord of the Rings:  

In writing the film adaptation of The Lord of the Rings, Peter Jackson took the minor plot point of Arwen giving a necklace to Frodo and turned it into a narrative device regarding Arwen and Aragorn’s love for one another that accomplished several items:

The necklace is a talisman as it provides both protection and comfort to Aragorn just as it originally does for Frodo.

It enabled them to reference their personal history without having to do a flashback.

It conveyed their love for one another as well as Arwen’s sacrifice to forgo an immortal life in order to be with Aragorn.

When the audience views Aragorn touching it/in silent contemplation with the necklace in plain view, the audience can imagine that he is thinking of Arwen without having to verbally express it.

The dragonfly necklace would be the “bastard/poor man’s” version of the Evenstar as Jon would have had to commission and pay for it with limited means unlike Arwen who would have received it as a princess from her family. Although it is the man giving it to the woman in Game of Thrones, it would still convey Jon’s love for Sansa as well as the sacrifice/vow that he made to her as his future queen.

If Jaime/Bronn DOES return this dragonfly necklace to Sansa, the audience should be able to view the tv show from the beginning and understand the impact this necklace has on Sansa:

It is a constant part of her wardrobe as Sansa journeys south and settles in King’s Landing even as she changes her clothing and hairstyles to reflect people who influence her and to assimilate more into the Southern culture. Thus, one can infer all of the positive emotions surrounding this piece of jewelry (e.g. she is proud of the necklace, it brings her joy, makes her feel mature, etc.)

The show runners may have intended it to be a talisman for Sansa/an extension of the vow of protection Jon may have made to her when he presented it to her because whenever she removes it from her wardrobe  her experiences are extremely negative: 

Sansa starts wearing the Lannister necklace that Joffrey gives her, which is shortly before Ned’s capture and execution.

Sansa does not have it on during the King’s Landing riot.

When Sansa is courted by Loras Tyrell/his family, she starts wearing another necklace to model herself after their family. This ends when she finds out that she will be marrying Tyrion and staying in King’s Landing instead of marrying into House Tyrell and leaving for Highgarden.  

For the purple wedding, the show creators have Dontos giving her a poisonous necklace instead of a hair net because a.) the necklace is more visible to the audience than a hair piece, and b.) to give her a reason for not wearing the dragonfly necklace to the wedding when Petyr Baelish kidnaps her.

How could the show pull off a “Jon x Sansa” plot twist without the general audience feeling cheated?

The show’s writers CREATED TWO NARRATIVE DEVICES THAT DO NOT EXIST IN THE BOOKS TO TELL THIS STORY DURING SEASON ONE:

PHYSICAL EVIDENCE is provided to indicate that Jon felt this way towards Sansa from the start (Jon gave Sansa the dragonfly necklace around the same time as he gives Arya her present).

THEON/ROS/TYRION SERVE AS A DOUBLE FOR THE DYNAMIC/FEELINGS AMONGST JON/SANSA/JOFFREY.

Part One: Physical Evidence - The Dragonfly Necklace

Just as Jorah presents Tyrion to Dany in season five and Euron brings Ellaria and Tyene to Cersei in season seven, Jaime will be finishing the “rule-of-three” by giving gifts to the last queen/Lady Sansa as a testament of good faith (if it’s Bronn it’ll be part of his ruse to be accepted and ingratiate himself while in Winterfell). Either man should at least give two specific gifts to Sansa:

NED’S DOLL

JON’S DRAGONFLY NECKLACE

Why these Two Gifts?

The doll should be fairly recognizable for the general audience, and they’ll understand the emotional impact that this has on Sansa. The GA may not remember the necklace, but the doll provides a reference point: a.) these are important to Sansa and are from her past. b.) Jaime/Bronn made an effort to bring them to her, and she will be grateful for their return.

This also provides a juxtaposition between how the original gift-givers viewed her at the time: Ned saw Sansa as a little girl, whereas Jon harbored romantic feelings towards her.

What Happens if Jaime or Bronn Does Return these Items?

It’s highly likely that Jon may place the necklace back on Sansa in a gathering of people. This provides an opportunity for the following:

It would be the POSITIVE MIRROR to the season one scene in which Joffrey manipulates Sansa into trusting him when he apologizes for his past actions, gives her the necklace, vows to never hurt her, and then kisses her.

Depending on how this is shot, it could parallel the impact that Ned’s death has on both the GA and on the other characters in the story in that they both realize that they were mistaken in their assumptions/expectations. The entire plot will be affected along with every single character if this scene takes place.  

Jon and Sansa may be able to acknowledge their feelings for each other at present and what happened between them before they left Winterfell (e.g. one that was fairly innocent on a physical level but that .

It provides a parallel between Jon and Sansa and his parents at the Tournament of Harrenhal, specifically the moment when Rhaegar placed the crown of thrones on Lyanna’s head and “all the smiles died”. To make this clear to the GA, we may be getting another flashback/weirwood tree vision of his parents.

Jon making a similarly inappropriate public display of affection as his father did and recognizing that he did so would enable Jon to accept his family’s past.

Part Two: JON/SANSA/JOFFREY in season one have THEON/ROS/TYRION as their DOUBLE

Growing up as outsiders in Winterfell, Jon and Theon are foils to one another just as Joffrey and Tyrion serve the same role within the Lannister family.  THE RESPECTIVE LOVE INTERESTS FOR JON AND THEON ARE SANSA AND ROS (THE PROSISTUTE FROM WINTERTOWN) WHO ALSO HAVE RELATIONSHIPS WITH MEMBERS OF THE LANNISTER FAMILY THAT ARE DICTATED BY THEIR CULTURAL STATIONS IN LIFE (e.g. Sansa is betrothed to Joffrey, and Ros services Tyrion at a brothel). Both Jon and Theon don’t have the social standing and resources to compete with their respective rivals; however as foils, Jon and Theon would differ in how they would treat their romantic interests and in what they communicate to them about their personal feelings.  

Sansa and Ros not only share similar physical features (tall, beautiful redheads) but are strikingly observant, intelligent, and adaptable despite horrible experiences. Their respective stations in life not only dictate their parallel experiences with House Lannister but with other players in King’s Landing until Ros’s death in season three when Petyr sells her to Joffrey (i.e. Yes, Petyr sells both woman to psychopathic noble bastards who enjoy torturing and killing women her with crossbows).

(NOTE: In making these comparisons between the two Northern women, I am not condoning Sansa’s season five storyline in the slightest.)

What are the Missing Scenes between Sansa and Jon?

BASED ON THE SCENES BETWEEN THEON AND ROS, WE CAN DEDUCE THAT THERE WERE AT LEAST TWO PLANNED “MISSING SCENES” THAT WERE TO HAVE TAKEN PLACE BETWEEN JON AND SANSA:

FIRST SCENE - “PRACTICING KISSING”: AS THE POSITIVE MIRROR TO THEON AND ROS, WE CAN DEDUCE THAT SANSA AND JON’S FIRST SCENE DURING THE COURSE OF THE TV SERIES WOULD BE INITIATED BY SANSA AND WOULD INVOLVE AN INNOCENT ALBEIT PHYSICAL ENCOUNTER, MOST LIKELY TO ‘PRACTICE’ KISSING TO PREPARE HER FOR KISSING JOFFREY. THIS CORRELATES TO BOOK!CATELYN’S MEMORIES OF HER AND HER SISTER PRACTICING KISSING PETYR IN ORDER TO PREPARE THEMSELVES FOR THEIR FUTURE HUSBANDS. DURING THE COURSE OF THIS ENCOUNTER, SANSA WOULD LIKELY REALIZE JON’S JEALOUSY TOWARDS JOFFREY JUST AS ROS COMES TO A REALIZATION ABOUT THEON’S FEELINGS TOWARDS HER. 

SECOND SCENE - GOODBYE AND A GIFT: JUST AS JON GIVES ARYA A GIFT THAT SHE IS THRILLED TO RECEIVE, JON SAYS GOODBYE TO SANSA AND GIVES HER A THOUGHTFUL, GENEROUS GIFT (again the positive mirror to Theon being unprepared to say goodbye to Ros, insulting her at first, but finally admitting his feelings towards her). IN ANOTHER REFERENCE TO THE BOOKS, JON MADE A VOW TO PROTECT THE REALM FOR SANSA, HIS FUTURE QUEEN, AS NED DENIED HIS REQUEST TO ACCOMPANY THEM TO KING’S LANDING AS SANSA’S SWORN SWORD.  AFTER ROBERT’S PROPOSAL OF A BETROTHAL BETWEEN SANSA AND JOFFREY, BECOMING A MEMBER OF THE KNIGHT’S WATCH WAS JON’S SECOND CHOICE.  THAT EXPLAINS JON’S FOCUS ON PROTECTING BOTH SANSA AND THE NORTH; IT WAS HIS FIRST AND LAST VOW, AND HE IS STILL DEVOTED TO IT. 

What is the show conveying about Sansa and Jon with the Dragonfly Necklace?

Again, it symbolizes their initial, budding romantic relationship before they both left their home.

As a ‘bastard’ of House Stark, he wasn’t able to give her a necklace with their house’s sigil on it; however JON INADVERTENTLY GIVES SANSA A DERIVATIVE OF HIS FATHER’S SIGIL.

While in captivity in King’s Landing, it provides proof that Sansa was subverting her captors as she silently but physically conveyed her steadfast loyalty to her family.  Just like Jon couldn’t give her a gift with the sigil of House Stark on it, Sansa wasn’t able to wear anything that could have been mistaken as disrespectul to those who were holding her hostage.

It provided a comfort to Sansa while she was a political prisoner and totally isolated from her family. If Jon indeed swore a vow of protection to her/the realm she would rule as queen, then Sansa was seemingly ‘protected’ whenever she wore it and will once again when it is returned to her.

More than likely, it will continue to be a plot device for both Sansa and Jon just as the Lannister necklace Tyrion gave to Ros influenced both of their narratives.

(I’ll hopefully publish part two later this week.)  

[possiblyderangedpenguinstuff]

(baby I) love the boom

Maria Stark was a photographer.

It's a rare known fact, but that doesn't change anything.

It doesn't change how there are boxes and boxes and boxes of photos, in storage facilities and the attic of Stark Manor and framed all around the world, sold or given to friends and acquaintances, business partners, board members.

It doesn't change how Tony remembers his mother not as the sparkling debutante trophy-wife, but as his mama speaking Italian and telling him to pose for the camera.

It doesn't change how she always, always carried a camera, in her purse or around her neck, or in her hand. Howard saw the beauty in machines, Tony in lines of code, Maria, through a lens.

She grew up in Italy, surrounded by the sea, by vineyards and orchards and growth, a warm house bustling with life and people and food. Her early photos reflect that, dinner tables filled with people, the wild, grey sea crashing against cliffs, the symmetrical, perfect lines of a vineyard running straight down the scalp of the earth like braided hair.

She decided to leave her corner of Italy, where everyone knew everyone and the most adventure you could get is venturing into the already well-explored woods to the north of the village. There’s a few scattered pictures of her trip to Milan, where the big airport was, but they’re too excited to be any good.

There are more pictures of the plane than almost anything else, it was a long flight with not much entertainment, and she was bored. The stewardesses, laughing, tipping their hats at the lens, the fabric seats and their inhabitants, most laughing, smiling, waving, excited for their new lives in America; but a few staring glumly or caught eating, Maria once said that she took a picture of every person on that plane. He thinks he might be right. As he gets older, he likes to flick through them, see all of the faces, all of the people with their own stories. He wonders where they are now.

Once in America, she found herself chasing the coattails of white, pretty pale girls, blue eyes and blonde hair, big skirts and milkshakes. The perfect Americano life; far different than her dark hair and dark eyes, the immigrant Italian girl with a camera around her neck.

When she landed, she found herself a home in New York, some little place in Queens, Howard happened to be passing by, when she was taking pictures of the pigeons and people and cracks in the sidewalk and god knows what else.

The rest is history. There aren't many photos from her dating Howard, most are just pictures of him, smiling, happy, mellow, machine grease on his forehead, in work stained clothes. Some are taken by surprise, in the middle of him laughing, or chowing down on noodles. There are a few of her, young and beautiful, not yet the mother he knew and far from the simple girl who left Italy.

There are plenty of pictures from their wedding, all white and money and Maria’s happy face, There are more pictures of the guests with their hats and dresses than of the bride and groom. Tony wonders what went wrong. They seemed happy.

Then after, as a high society woman, glittering with pearls and gowns, sneakily taken photos of rich extravagance that only the 1% will ever experience. People forgot, once she ascended to society, how they had whispered about the brown girl, the gold digger, the filthy Italian thief who stole one of their people. People forgot, but she didn’t. There’s enough dirt inside those pages to fill a landfill.

Then Tony's childhood, a few pictures of a smiling boy, curly-haired and red-cheeked. He was a quiet boy, but shone with a curious light. She used to tell him he was going to change the world, and he believed her. 

The Maria Stark foundation, pictures of meetings, of galas, then of the people they help, some with Maria, some photographed by.

Peggy and Howard and Obie and Angie and Maria and Ana and Jarvis, all smiling and happy and maybe a bit drunk, two years after the war or twenty.

She used to lie down with him on his race-car bed, tuck the cartoon-patterned sheets around them and flick through the picture book with him, until it was dark and he had every single one memorized, every page carved into memory. He still remembers the sound of fingers flipping through the pages with a certain magnitude, a certain meaning that he was in awe of. Some were in color, some were grainy, some from film and some in black and white, but all were beautiful. She had a gift for it.

Tony’s favourites, though, were the explosions. He’d hide his face in her hair, inhale her perfume; that ungraspable scent that always floated around her. He could never figure out what it was. He never did.

She knew Howard when he was in Los Alamos, when he was working on the atomic bomb.

First, there are the pictures of them in a workshop or in the hot New Mexico sun, a few of a bar with dim lighting and blurry faces, and it’s just unplaceable enough not to immediately place, and then there Howard is, there Maria is, sitting with Oppenheimer. Edward Teller’s fiddling with something out-of-frame, Leslie Groves next to him.

They’re surrounded with history, with the thing that will kill 381,000 hundred thousand Japs, but for now, forever, in this moment caught in sap, petrified in time, it’s just a few scraps of metal and an idea.

After that, the focus diverges from Howard and group scenes, and onto Maria’s artistic side. Generals with their hats and uniforms lined up like toy soldiers forgotten outside in the sweaty Alamogordo sun. Their noses are shiny, faces flushed and ruddy. They look like plastic, about to melt.

A dusky, smooth desert sunset, with the yellow half-disc of the sun sinking down the horizon like melting butter. Gold, yellow, red, the colors of Iron-Man. Of night. Of a few scientists in the desert, trying to help their countries. Of life in death, maybe.

Later though, past the conventionally beautiful, almost hidden at the back of the book are the explosions, and the aftermath.

They're big and bulging, filling up the sky, mushroom clouds the color of dirt. Some of them, you can practically hear the sound wave through the paper.

They should be monstrous, should be horrible, disgusting things, the lowest of humanity, but how can something that can soar 60,000 feet into the sky in a matter of minutes be so bad?

There were seven major tests, and it looks like Maria has every single one of them captured on film.

Tony sees it not as death, but as mankind, beautiful in it’s destruction, beautiful like nothing else can be beautiful, because only it can kill like it does.

Maria had told Tony once, whispered in his ear, that she’d never seen such a thing before, that she never would, that watching it hurt in her chest, because there it was, billowing up from earth, about to disappear in between heartbeats.

And then, taking up two pages, commandeered, surrendered to their power, their brilliance: Little Boy and Fat Man.

Fat Man, in his roundness, his laden belly full with poison, with radiation, with death. Tony always imagined a smiling, jolly face on the head of his snub nose.

Little Boy like a submarine, diving from the sky, swimming down to land, his square propeller spinning behind him. Tony imagined his own face on this one, serious like he only practices in the mirror. It’s important work. He has to be important.

They would spend what seemed like hours staring at these killers, these killers with one of the highest kill counts of the war. 155,000 on impact, and 226,000 from radiation. Maria would hold him, hide her face in his hair, and it almost seemed like she knew who he would become, what his own kill count would grow to. He wonders what she thought then, what she would think now. She always told him he was going to change the world, is this what she meant? 

He guesses he knows why he didn’t argue when SI was shoved into his hands. He’s always loved demolition. Whether it be his own or the world’s. That’s why he is who he is, why he does what he does. Why he fucks and drinks and makes jokes when he shouldn’t. It’s why when people say his name, they know who he is. Tony Stark. Right?

There are pictures of the testing site after. He likes these just as much. Maybe more, even. There’s a finality there that’s missing in the moment. A certainty.

Green, glassy Trinite suspended in the air, maybe thrown, maybe permanently suspended by the arms of the atomic bomb, Tony doesn't know. He suspects the former.

There's a crater, 5′ deep and 30′ wide, left in the dusty, rocky ground, the parallel of that cloud, the reverse of creation, destruction.

Howard and a few other figures, clad in rubbery radiation gear, faces obscured. Tony knows it’s Howard because he’s holding a cigarette and a flask of scotch, and trying to persuade the others to have a light and a drink with him, Tony can hear him telling them to celebrate their legacy.

It sure is a big one.

--

He’s 21, and it’s been many years since his mother last held him and flicked through picture books and he doesn't even really remember the smell of her perfume, anymore.

He’s 21, and they’re dead.

He’s 21, and he’s alone.

He’s 21, and he finally knows what it feels like to be one of those explosions, to be so destructive that everyone around either left on after a night or was never there to begin with.

He’s 21, and now he really does understand those bombs. The urge to destroy, to burn, stronger than anything else.

He’s 21, and...tired.

He’s tired of the parties and the girls and the taste of blood on his tongue from where he’s bitten it to stop himself from screaming at all of it.

He’s tired of the company asking him tony tony we need those designs tony tony are you done with those specs tony tony remember you have responsibilities tony tony your dad would be proud tony tony do you have any ideas?

He’s tired of Ty pushing pills into his hand and giving him a drink to down them with.

He’s tired to having to call Rhodey in the middle of the night because he’s off on deployment.

He’s tired of Obie, Obie and his shark grins and big hands and deals.

He’s tired of the press and the journalists and the gossip.

He’s tired of Tony Stark. Who he is, what he stands for, what he does. He likes the shattering, sure, but it’s getting harder and harder to pick up the broken pieces.

He thinks back to Anthony, to that little boy who didn't have any of that, just his mama and a photobook and silence in a big house.

But, Maria Stark and Maria Carbonell are both dead now. That photobook is dust and that big house is gone, he had it demolished as soon as possible.

Anthony is buried next to his mama.

--

Later, someone asks him, he’s not sure if it's at a party or an interview or at a press conference, because, frankly, it’s all a blur and sometimes it seems like he leaves a club and steps into a bright-lit conference room.

“Why do you do it?” they ask, “why do you kill and explode and make bombs?”

And he can only grin, a little lopsidedly, lean forward, try not to trip, and laugh.

“Baby, I love the boom,” he says, and he feels it in his chest, the mushroom cloud expanding and flying into the sky, perfectly, Arizona, Nevada, New Mexico blue.

He’s not sure if anyone ever even asked, and suddenly he’s sitting in his workshop, looking at the clean, white lines of the walls only interrupted by half of a dismantled gun or a car engine, and there are pictures on his lap, papery and thin, his mother’s face staring up at him, judgement in her eyes. He wonders for who. 

“I like the boom,” he says again, and not even JARVIS answers.