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The "Sansa reminds Sandor of his sister" motive that some people try to hitch to his character really just flies in the face of his actual attachments to her, doesn't it? Sansa reminds Sandor of himself. He sees the little boy who used to love knights in this girl who's been swept up by the same romanticism. He sees his abuser in her abusers, the much larger knight(s) beating on the helpless child. He sees how she is betrayed by every level of authority that should have saved her and remembers his father's neglect and Tywin and Robert's apathy for Gregor's crimes. He's protective of Sansa because he was Sansa.

And GRRM's design, that one of the strongest warriors in the series, a fearsome and cynical 6'8" guy who's "muscled like a bull" and has the face of death itself, sees himself in this soft and effeminate teen girl, and empathizes with her because he was an abuse victim too, is INFINITELY more compelling than "Oh yeah I bet she just reminds him of his sister," who he's never mentioned and who we know literally nothing about. Way to unnecessarily water down a character, you couldn't have ignored the black and white text more efficiently if you tried.

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Day 4: House Stark

Arya, the lone wolf, still lived, but the wolves of the pack had been taken and slain and skinned.

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hi new followers i don’t know where you came from!! i’m sorry i haven’t been very active on this blog for years bc i got really into Rhaegar and Dany and Jon and TPWWP bullshit. I’ve been writing a lot of half-formed theories with my husband that hopefully i’ll share to here soon. We are currently rereading AGoT for the hundredth time so maybe i’ll have some more ideas to post on Petyr and southron activities in the near future!

I’ve shared non-Sansa or Petyr related theories here before and stuff cross posted to our ASOIAF theories website so i’ll certainly keep you updated with anything that we think up even if it’s about some house in the river lands no one cares about. may we see Winds soon! happy august!

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*you don't have to have posted any, just written some

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

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

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

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My mate requested for me to draw Petyr Baelish with Pokémon and we spent a very short and logical amount of time, tinkering out what kind of Pokémon he'd have. We landed on Psychic and thus added Espeon but I couldn't be bothered to draw anything else that wasn't slightly cat shaped. So, have Umbreon for the vibe.

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after all these years she’s still my fave🧎🧎🧎

twitter

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I’m sorry milord, but the peasants are nailing erotic artwork of you and your court jester to the church doors again

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I remember when antis are claiming that Sansa disguising as Alayne Stone is not because she is copying Jon. They literally said there is no proof that she is modelling herself after Jon. Similarly Arya playing Mercy in TWOW had nothing to with Sansa as she was playing a common girl not highborn lady.

How many bastards does Sansa know?

How many bastards has Sansa interacted with?

She has known Jon Snow for eleven years. Even is she has said "She had not thought of Jon in ages," Jon is the only bastard Sansa interacted with enough to know how they act and behave in reality, and how they are seen in society. Jon is not a common bastard tho, and the bar is really high with him as blueprint.

So, even at an unconscious level, Jon Snow is the bastard after she is probably modeling her Alayne persona.

Or are they trying to say that Sansa is modelling Alayne after Mya Stone? Someone Sansa met after becoming Alayne?

Or are they trying to say that Sansa is modelling Alayne after Joffrey? Someone who is publicly known as a trueborn and the the heir to the Iron Throne? Because that would be epically ironic!

And even if Sansa, the character, is not modelling her Alayne Stone persona after his bastard half-brother Jon Snow; the thing is that GRRM, the creator of Sansa the character, has made Alayne too similar to Jon, for us not to think in one of them when we read about the other:

Ned came back to his Tully wife after a separation with his bastard brown haired baby boy.

Petyr came back to his Tully bride after a separation with his bastard and brand new brown haired maiden daughter. The brown dye was Lysa's idea.

Jon is actually Ned's nephew.

Sansa is actually Petyr's niece.

Jon was named after Ned's foster father Jon's Arryn.

Alayne was named after Petyr's mother.

Jon needed to be hidden from Robert's wrath.

Sansa needed to be hidden from Cersei's wrath.

Catelyn was very jealous and resentful about Jon.

Lysa started to be very jealous and resentful about Sansa/Alayne.

I mean... Come on!

And about Arya and Mercy, this is a very layered issue and you can't expect antis to do a thorough analysis...

Arya Stark is playing a common girl called Mercy (short for Mercedene). And Mercedene (From Spanish Mercedes) & Mercy literally mean mercy, a theme that is deeply linked with both Stark sisters. Arya represents once side of mercy, the mercy of the death. And Sansa represents the other side of mercy, the mercy of forgiveness and compassion, the mercy of a new life after an atonement or transformation. You can see these two sides of mercy with the hound and his interactions with the Stark sisters. Sansa gave him the Mother's mercy which broke him, and while Arya refused to give him the mercy of death, she somehow also gave him the mercy of a new life as a broken man.

Now, the Mercy chapter is a play inside a play.

Arya Stark is under disguise (playing a role) as Mercedene (Mercy), and at the same time Mercy is playing a role in a theater play called the “Bloody Hand”, and her role is a maiden marrying a Dwarf and having her wedding night (marital rape), and then being murdered.

Arya is playing Sansa twice in this chapter:

As Mercy or the idea Arya has of Sansa ("She was made for eating fruit, for smiling and joking, for working hard and doing as she was told. “Mercy, Mercy, Mercy,” she sang as she descended the wooden stair to the street" / “Mercy, Mercy, Mercy,” she sang sadly. A foolish, giddy girl she’d been, but good hearted.). This idea is reinforced with the presence of two female characters around Mercy, her friend Daena (Also a Sansa figure that knows about Westerosi sigils and how to sew) and another actress in the play called Lady Stork (That sounds too similar to Lady Stark = Arya's mother Catelyn Stark). In short, Arya was playing Mercy as a version of Sansa, the one that Sansa and Catelyn would have liked her to be.

As Mercy playing Sansa Stark marrying Tyrion Lannister and being raped by her husband during their wedding night. But that’s just a theater play, Sansa’s marriage with Tyrion was never consummated and while Sansa has disappeared or presumed dead, she is alive in the Vale under disguise (playing a role) as a bastard girl called Alayne Stone.

This chapter always makes me think about Sansa, Jeyne and Arya, three girls from Winterfell under disguise / playing a role that is very similar of the other.

Jeyne is playing to be Arya

Arya is playing to be Sansa

Sansa is playing to be Alayne

Now, what I saw when I read this chapter is some kind of reenactment of Sansa’s chapter during the night of the Blackwater Battle and her wedding night with Tyrion.

Raff is a Lannister soldier that killed one of Arya’s friend (Lommy). Arya put Raff’s name on her list of kills and later Arya (as Mercy/Sansa) faces him during a situation full of sexual undertones and gives him “mercy”.

Sounds familiar?

The Hound was a Lannister soldier that killed one of Arya’s friend (Mycah). Arya put Hound’s name on her list of kills and later the Hound told her about Sansa and the night of the Blackwater Battle (a situation full of sexual undertones) and Arya gave him a kind of “mercy.”

Bobono is an adult dwarf that plays Tyrion in a theater play where he rapes Mercy’s character (Sansa Stark). Bobono touches Mercy’s breasts and nipples and asks her to have sex with him, he also unlaces his fake cock for the play and asks Mercy’s help to put it inside his breeches again.

Sounds familar?

Bobono (inside and outside the theater play) is basically Tyrion Lannister during his wedding night with Sansa.

GRRM is once again shaming certain shippers in this chapter, where Bobono gropes Mercy (Like Tyrion did to Sansa) and Raff, a man approximately in his 30′s wants to have sex with a girl of 11 (Like the Hound almost did to Sansa).

Mercy looked down at her feet, so shy. “Izembaro said to please the lords,” she whispered. “If there is anything you want, anything at all… “

The two guardsmen exchanged a look. Then the handsome one reached out and touched her breast. “Anything?“

“You’re disgusting,” said the older man.

“Why? If this Izembaro wants to be hospitable, it would be rude to refuse.” He gave her nipple a tweak through the fabric of her dress, just the way the dwarf had done when she was fixing his cock for him.

“Mummers are the next best thing to whores.”

“Might be, but this one is a child.”

“I am not,” lied Mercy. “I’m a maiden now.”

“Not for long,” said the comely one. “I’m Lord Rafford, sweetling, and I know just what I want. Hike up those skirts now, and lean back against that wall.”

—MERCY - EXCERPT FROM THE WINDS OF WINTER

Tyrion and the Hound are two men that had sexual unwanted advances with Sansa the same way Bobono (that plays Tyrion) and Raff (that is the Hound’s stand in) do with Mercy (that is Arya playing Mercy playing Sansa) in this chapter.

But no rape happened. Arya (Mercy) killed Raff, in a similar but darker way Sansa killed the Hound’s with the Mother’s Mercy and Bobono (playing Tyrion) is just an actor with a fake cock that will perform a rape in a theater play, in a similar way Sansa’s marriage with Tyrion was a sham and remained unconsummated.

Now tell me again that "Arya playing Mercy in TWOW had nothing to with Sansa"

Again:

I mean... Come on!

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What should we do next- Jon Snow analysis, Qarth (just… everything), or something just totally different?

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I love having a real job but I also hate being too busy to do like anything for more than 30 min at a time… basically it took me and my husband like 4 months to type up this crack theory-

https://www.reddit.com/r/asoiaf/comments/ozwmvk/spoilers_extended_a_theory_for_fools_rubies/?utm_source=share&utm_medium=ios_app&utm_name=iossmf

Tl;dr- we followed a trail of symbols from glamours in the south to north of the wall, and some rumours from wise fools, and all the way to a confrontation in the Winterfell Crypts. If you’re interested in Bael the Bard I would recommend but it is a long read.

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Sorry not related to this blog but can someone go comment something nice on my fic you don’t have to read it just say ‘interesting concept, girl!!’ I just woke up to a really annoying comment and it’s the only one on it and I want to delete it

https://archiveofourown.org/works/11400039

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*hits bong* petyr baelish has a glass candle

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I must be as strong as my lady mother.

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I bring forth some uses I've made of this meme that's been going around

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Wow I got kudos today maybe I should actually edit and post chapters

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I can’t believe Melisandre burned Shireen in GoT what were the writers even doing