#asoiaf giants

[horizon-verizon]

The fact that so many people think the Starks are honorable anticolonial fighters and the pinnacle of morality is absolutely insane, they literally built a massive wall to isolated a bunch of people they considered as “savages”, they hunted and slaughtered the Free Folk, the Children of the Forest, giants, exterminated whole houses and clans and took their daughters as “prizes” while conquering the North, etc. The Blackwoods were originally from the North and ruled most of the wolfswood, before being driven out by the Starks and forced to flee south. The Starks are the OG COLONIZERS in ASOIAF.

Even this did not give Winterfell dominion over all the North. Many other petty kings remained, ruling over realms great and small, and it would require thousands of years and many more wars before the last of them was conquered. Yet one by one, the Starks subdued them all, and during these struggles, many proud houses and ancient lines were extinguished forever. — The World of Ice and Fire – The North: The Kings of Winter.

I recently finished a Tiktok series that will probably just be as lost to the internet if we lose TikTok but I had to get out in response to a particular creator who bashes Rhaenyra while also proclaiming themselves as black stans. I think they are really more black stans because they hate Alicent personally and feels the thrill of the side-taking, but that's neither here nor there. 😏

To quote one of my mutuals here [rhaenin]:

It just rings so familiar to the way so many people view the other in real life. Because the Targaryens are overtly, and intentionally written as the other. It's the reason so many people identify with them, and it's the very same reason that other people vilify them. They're not just the in-universe other to the 'default' culture established in the text, but they're also given characteristics that we, the reader and audience, can recognize as other and even sometimes anathema to Western Christian culture. To paraphrase the annoying people that love to cite Ramsay when they feel like it: If you look at a morally complex family surrounded by other morally complex families in a morally complex world in a story that's famed for seeking to challenge your underlying assumptions, and think that their association with fire and brimstone is meant to signify their singular satanic evilness, rather than say... challenge that very Eurocentric assumption, you haven't been paying attention. This vilification mindset where the Targaryens are the singular evil of Westeros is so common to people who seem to want to consume ASoIaF without engaging with the criticisms of the Eurocentric worldview of history at the heart of it. And they end up using the convenient “others” to project all the wrongs of that world onto so they don't need to examine it any deeper. ........... It comes from the same place with how someone pointed out that the baffling bastardphobia that would have medieval peasants giving the side eye is so often people jumping at the chance to “cosplay” as bigots who base their arguments in misogyny and bio-essentialism. Because it's an acceptable channel to indulge in that mindset in a way that they'd often otherwise question, or at least hold back from expressing out of caution.

[branwyn-the-half-witch]

The Wall and the Waning of Magic: 1/2

(this was originally a Twitter thread; re-posting here for ease of reading)

The Wall is an edifice created, best guesses conclude, some 8000 years prior to the events of A Game of Thrones; it was constructed by some combination of the First Men, led by Bran the Builder, those they called ‘Children of the Forest’, more rightly known as those who sing the song of earth (hereafter ‘singers’) and giants. It is patrolled by the Night’s watch, who protect the realms of men from what lies beyond; notably the Others, although this mission has been forgotten until very recently, with the so-called ‘Wildlings’ (Free Folk) taking the place of the great foe.

It is commonly accepted that the Wall is a net good, both in-universe and without, and that any distaste we may have about the necessity of the Night’s Watch pales in comparison to the horror that will occur when the Wall comes down.

I propose differently; I propose that the Wall is sickening and weakening the world, and it coming down will be one of the greatest moments of the tale – and moreover that the Wall was potentially always intended by its makers to be thrown down.

Magic Lingers

ASOIAF takes place in a world where magic is waning, to the point that learned men will insist magic is gone from the world entirely – and many of them consider this a good thing. The disappearing of magic is largely attributed to the death of the last dragons, and the revival of magic following Daenery’s miraculous rebirth of dragonkind seems to be proof of that.

However, the truth is more complex; we learn from several sources that magic is not entirely gone from the world, even prior to the dragons’ cradle-pyre. It is simply gone from the west of the world following the Doom of Valyria – further east, we are told, magic still exists and its practitioners endure, and even thrive in places such as Asshai.

More intriguingly is this from Maester Luwin, that supposes magic was fading even before the Doom, describing Valyria (a magical empire lasting thousands of years) as merely an ‘ember’. It cannot therefore solely be the death of dragons that caused magic to fade in the West.

The Sad Fate of the Singers

Westeros was once home to a large number of magical beings; unicorns, mammoths, direwolves, ‘great lions’ and, of course, the giants and the singers. All of these are now believed to be extinct, as per Maester Luwin above. Those who venture or live beyond the Wall know that this is not the case; these beings cling on, albeit in scant numbers.

We know that the singers fought and lost a terrible long war with the First Men, and that they retreated to the deepest forests upon the Pact that saw the end of the war. We know also that they were still present in the South in some numbers when the Andals arrived.

However, common wisdom says the singers have been extinct for thousands of years; we know they still linger beyond the Wall...but why? The North remained a bastion of the Old Gods, yet even the northmen believe them gone. Why did they not remain in the deep forests of the North? Why did their numbers continue to decline even after the wars? Why go beyond the Wall, closer to the Others?

The Evil of the Wall Magical and Mundane

The Wall is made of ice. This is an obvious statement to make, but its curious to consider what it means in the context of this world, where cold is the enemy and ice represents death, darkness and crucially – the Others.

If we take as given that Bran the Builder built the Wall, why was it made of ice, when his other claimed works are all of stone? The magic of the singers likewise is in earth and tree and water. So why is the Wall made of ice, the very symbol and strength of the enemy the Wall was built, allegedly, to keep out?

The Wall has its own collection of spooky, disturbing myths that have grown up around it, many of them centring around the Nightfort, formerly the seat of the Night’s Watch. The one that concerns us here is that of the Night’s King, allegedly the 13th commander of the Watch who took to wife a woman commonly been believed to be one of the Others – and from the description of her, that’s highly likely.

However, observe that the Night’s King brings that woman back beyond the Wall to his fortress – it does not keep her out, any more than it keeps out the two wights that awaken in Castle Black in AGOT.

But the Wall was created to keep the Others out, no? Coldhands indeed asserts that he, almost certainly some kind of dead man, cannot pass beyond the Wall due to the spells it is imbued with, presumably those created by the singers; but there is a gate.

The Black Gate, situated beneath the Nightfort, is itself a source of much theorising; it is magical, made of weirwood, and a sad construction that sheds a tear as Bran passes beneath it. The use of weirwood – and the face especially – suggest that this is the work of the singers, who made a door that only the Night’s Watch could open.

It seems unlike that the singers, aiding in the building of an anti-Others defence, would create a door that an Other could pass through; Bloodraven’s cave seems thus warded, so far successfully. But why is the Gate blind? Why is it described as resembling a corpse? This could be a function of the sheer age of the Gate, but I believe it to be more significant than that.

Of Silverwing

Queen Alysanne Targaryen made a visit to the Wall and visited the Nightfort in particular. The castle gave the Queen such bad vibes that she arranged it to be abandoned – immediately – paying for the replacement herself.

That’s quite a reaction, and one that should be contrasted with Stannis, who plans to make the place his seat (and note that Sam considers the possibility that the Black Gate is not permanent – which is very intriguing).

More interesting than Alysanne’s reaction to the Nightfort is her dragon Silverwing’s reaction explicitly to the Wall itself. She is disturbed by the winds from it – and I reject the notion that this was solely the cold, as the cold at Winterfell makes Vermax ‘ill tempered’, not disobedient and disturbed.

It is suggested that the Wall is anathema to creatures of fire – and yet Melisandre is seemingly stronger at the Wall than she is Asshai!

It is also suggested that Silverwing feared not the Wall but what lay beyond – but the Others had not yet begun to stir, so what was she sensing? I posit that the Wall was drinking in the magic that Silverwing generated, effectively draining her.

Also pertinent is the fact that Jon Snow loses all sense of Ghost when the Wall is between them. An unbreakable powerful bond that endures over great distances is rendered inert due to the Wall. This could be a matter of inexperience on Jon’s part, but it is worth bearing in mind.

Waning of Magic

Taking everything together, I propose that the Wall is draining the magic from the world. The magical peoples and creatures of Westeros exist only beyond the Wall, having died out everywhere else, notably the singers who have disappeared even from presumably safe strongholds.

Dragons, whose mere existence makes magic stronger (and possibly what is actually empowering Melisandre), mislike and possibly even fear the Wall, to the degree that Alysanne was deeply disturbed for long after. It needs must be noted also that the dragons of the Targaryens did not reach the size and strength of their forebears in Valyria, dwindling ever more with the years. Perhaps this was due to the Dragonpit, to the betrayal of the house’s women, tied so completely to its dragons. Perhaps it was something more insidious.

Where magic does exist still, it exists in the further East; in Qarth, Asshai and so forth. These places also had a lack of dragons post-Doom, also endured the Long Night, so it cannot be solely these factors. But they are much further away from the Wall; their magic is weakened but endures.

To touch also on the seasons as an aside, WOIAF offers some further credence to the Wall-as-problem. The seasons used to be normal, we are told, only in the most ancient tales. Tales presumably predating the Wall.

If the issue of seasons were solely one of balance between Ice and Fire, when why were there no world-ending catastrophes when Fire was ascendant? The Doom impacted only Valyria, after all.

We must return to the symbolism; where Ice is death, silence, darkness and inhumanity and Fire is life, song, light and passion.

TBC

[mkstrigidae]

Backgrounds? *puts on sunglasses* I don't know her.

My favorite girl Sansa, here to eat lemon cakes and take names.

[nightswatchdisbandmentera]

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

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

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

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

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

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

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

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

But then we have Daenerys Targaryen in the Dothraki Sea.

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

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

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

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

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

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

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

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

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

Now Bran is an interesting case.

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

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

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

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

Because not only does Jon have music to herald him:

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

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

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

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

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

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

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

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

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

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

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

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

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

Now Arya is no singer, but her wolf is.

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

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

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

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

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

[thewatcher0nthewall]

"You can kneel to him if you like, he won't mind. I know your kneeler's knees must be itching, for want of some king to bend to. Watch out he don't step on you, though. Giants have bad eyes, and might be he wouldn't see some little crow all the way down there by his feet."

Jon II.

A Storm of Swords

[gramnel]

A Song of Ice and Fire × Merlin

Merlin, the last Targaryen, had been rescued by his father's dragon before his entire family was vanished. He has to hide his identity and he constantly changes his hair color. Not only he is a Targaryen, he is also a warg. And one day Merlin found out about a prophecy. . . The Prince That Was Promised will save them all from long night.

Arthur from house Lannister is a young prince and heir to the throne. It is house Lannister that took the rulership over the Seven Kingdoms. He doesn't know about his great destiny. But the price for the brighter future will be almost unbearable. . .

[citizensun]

Purple Wedding Planning

[fromtheseventhhell]

"Sansa = Ned 2.0 and Arya = Catelyn 2.0" is one of those takes where you can just tell people are more attached to the aesthetic than anything. "The Stark girls are most like the parent they look least like" sounds good on paper and people run with the idea, regardless of how it actually fits into the story. A majority of the justification relies on misinterpreting all of their characters + a healthy dose of fanon. What gets me is that this is the same fandom that insists that Lyanna, only compared to Arya in the text, is equal parts Arya and Sansa but Ned and Catelyn, two fully fleshed-out and complex characters, have to be more like one girl or the other? There's just nothing in the story to justify being so adamant about these comparisons. Arya and Sansa have parallels with both of their parents but at the end of the day, they are unique characters with their own stories. I'll never understand why people want to flatten these complex characters down to their most basic tropes and fit them into restrictive boxes just for a "poetical~" comparison.

[dr3adlady]

🐦How to Catch a Bird🐦

This au has been eating up my mind recently :) long story short, Sandor and other vikings raid a convent and he decides to steal this beautiful brave nun.

In the first picture, he's telling his friend, Asha, that maybe this little chirping bird can be a good loving wife for him, but Asha is doubtful :)

Sansa's clothes designs:

Also there's one raunchier illustration, open at your own risk (cw: noncon elements):

[limoneads]

i think that the funniest part of asoiaf is when grrr loredrops entire extinct animals. makes me feel indescribable emotions. babe what do you mean that mammoths still exist in this world?? and they're supposed to be a bit like a cryptid? can we focus for two seconds on that? i know you have time to take an extra paragraph for this. jon's reaction is just kinda "huh, okay. whelp-"

[lagosbratzdoll]

On Daenerys, Colonisation and Race Discourse within the ASOIAF Fandom

This has been on my mind for a good long while and honestly, as much as I would like to leave discourse in the pits, it has been bugging me intermittently over the past few weeks.

Far too many of you get on here and call people who like the fictional dragon-riding family, neo-Nazis and that sentiment is so prevalent, that white people feel comfortable telling me a black woman that I am a neo-Nazi for rooting for Daenerys Targaryen. I am upholding neo-Nazi power fantasies for wanting to see a little girl live at the end of a story. I am a neo-Nazi for wanting to see the rape survivor have the family she aches for and children with the man (or men) she loves.

Then, those same people go on spiels about how the systemic erasure of those who sing the song of the earth and other old races is not colonialism. That their removal from their home is not displacement but an agreement between two equal parties. The fact that the only place where those who sing the song of the earth exist in the present timeline is north of the wall, surrounded by the bones of their dead, is not a travesty. That the expulsion of the old races from their home isn't that bad and should not be condemned. 

Instead, people argue, completely seriously, that the harm that the First Men and Andals have caused is centuries in the past, so essentially the slate has been wiped clean. The logical leaps that are required to arrive at such a boneheaded conclusion are truly mind-boggling, and those who make such arguments are not good people. 

I am unsure how one could read those books and come away with the impression that the old races do not mourn the loss of their home. I am unsure how one could read The Last of the Giants[1] and Ygritte’s reaction to both the song and Jon’s dismissal of the ethnic cleansing of the giants then believe that the old races and the free folk have moved past their displacement. 

In Westeros, from the Wall to the broken arm of Dorne, they all speak one language despite the fact they are all different ethnicities and they all landed on the shores at different times. That is not the case in Essos, we have been introduced to at least six languages and in A Dance with Dragons, Tyrion notes that the Valyrian spoken in the Free Cities has evolved into nine distinct dialects, and they are well on their way to becoming different languages.

How would a continent as large and diverse as Westeros maintain its hegemony over the people if not for forced assimilation, discriminatory practices and violence? The brutal repression required to keep one house in power for thousands of years is nothing to sniff at. The suppression required to keep the vast majority of Westeros worshipping one (or seven) gods. The systems in place ensure that language does not grow or evolve amongst the highborns at least.

Centuries before Aegon's Landing the maesters were the definitive educational authority and even now centuries after, nothing has changed. The grey rats still decide who learns what and when they learn it. There's one in every highborn home, all correspondence passes through them, they are the healers and the councillors.

The circular logic gets even more blockheaded when you factor in the fact that Daenerys is far from the only white character in the books. She is not the only character who wishes for home. She is not the only character who draws strength from her ancestors, her bloodline and her magical creatures. 

Cersei draws strength from her family’s iconography, and the Stark children (Jon included) all draw strength from their direwolves, their home and their blood. Sansa, Arya and Bran wish to return home and their home was built on the indiscriminate murder and displacement of the indigenous peoples. Their home is built on centuries of rape, murder, exclusionary practices and sexual slavery. 

However, if we give the nonsensical argument that time erases crimes air; the Starks, Lannisters and Tullys are warring to settle personal grievances in the present timeline. As a consequence of that war, thousands (a modest guesstimate) of small folk, minor nobles and even some major ones have been raped, tortured, maimed and killed.

Despite all this, no one writes meta after meta about how Sansa and her siblings must surely die for justice to be had for those who sing the song of the earth, the free folk, the giants and all the old races that fled beyond the wall.  

People write meta about Cersei and how she must die, but those are typically more misogynistic nature. They typically argue that she must die not for the “crime” of being Lannister, but for the “crime” of being Cersei and “ruining” Jamie. 

I would not mind criticisms of Dany and her peace-focused approach to ending slavery because the approach is naïve and she gives the slavers far too much ground. However, she is learning, growing and self-critiquing. At the end of A Dance with Dragons, she has decided to embrace fire and blood, her knight is breaking the false peace which is a necessary step forward.

What I find offensive is people saying that she should have planned better before she abolished slavery. And that the death, violence, and sickness that arises from her quest to eradicate slavery is somehow worse than the death, violence, and sickness that already existed in Slaver’s Bay. 

This argument often downplays the horrific conditions and suffering that exist(ed) under the slave system in Slaver's Bay. Such arguments are often in poor taste and prioritise the lives and comforts of the slavers more than the people they have enslaved.

I would not mind criticisms of Dany if people applied that same critique even-handedly. The same people who believe that Jon and Bran have done much to rectify the evil that their ancestors perpetuated believe that Dany has not done anything to right the wrongs of her ethnic kin. They praise them for the non-existent steps that they have taken, but in the same breath, they condemn Dany for not being able to immediately end the plague that is slavery. 

It is perfectly alright to not like fictional characters, no law requires you to like certain fictional characters over others. However, what is not right is making broad accusations about those who do, it is beyond the pale. It is disgusting, and annoying, and trivialises real-world issues to score cheap points against fictional characters.

Equating the survival of a teenage survivor to the restoration of a fascist house or neo-Nazi power fantasy when such designations do not exist in the world of ice and fire is strange behaviour. Saying that the teenage survivor will eventually be manipulated and raped (again) before ending up dead on her manipulator's blade is also strange behaviour. 

Dismissing the horrors of colonialism, especially when the text shows you that the involved parties are still affected by it, is not normal and often veers into real-world imperialism apologia. While criticism and analysis of characters and their actions are valid and even encouraged, it is essential that we do not resort to sweeping generalisations about other people and that we keep criticisms of characters grounded in the text. 

[1]  

Ooooooh, I am the last of the giants, my people are gone from the earth.

The last of the great mountain giants, who ruled all the world at my birth

Oh, the smallfolk have stolen my forests, they’ve stolen my rivers and hills.

And they’ve built a great wall through my valleys, and fished all the fish from my rills

In stone halls they burn their great fires, in stone halls they forge their sharp spears.

Whilst I walk alone in the mountains, with no true companion but tears.

They hunt me with dogs in the daylight, they hunt me with torches by night.

For these men who are small can never stand tall, whilst giants still walk in the light.

Oooooooh, I am the LAST of the giants, so learn well the words of my song.

For when I am gone the singing will fade, and the silence shall last long and long.

[daenysthedreamer101]

Seeing Vermithor in all his glory is doing so much for my creative juices! BRB gonna go and write a dragon-riding sequence!

[branwyn-the-half-witch]

The Wall and the Waning of Magic: 2/2

(this was originally a Twitter thread; re-posting here for ease of reading)

Why Do We Build The Wall?

There are three possibilities I would offer regarding the nature of the Wall on the basis of these observations. Firstly, due to the sheer age of the Wall and the scarce-remembered events, one tantalising possibility is that everyone is wrong, and the Wall was not built as a defence against the Others, but BY them as they fled North from the powers of the Last Hero, Azor Ahai, the monkey-tailed girl, the choirs of the Rhoynar and every other half-remembered hero.

This seems absurd, but the Wall is made of ice, and described often in the same terms as the ice-swords of the Others.

It plainly does not keep out the Others or their servants, as we have indisputably seen, but does potentially cut off the magic of a skinchanger, blocks the agent of the 3EC (allied to the singers) and drains and distresses dragons.

In short, it has a negative effect on all those who could feasibly be described as the enemies of the Others. And yet, when Jon Snow sees it, he is seized with the necessity of keeping the Wall up.

He knows that if the Wall falls, the world falls; but what, famously, does Jon Snow know?

This may be a magical compulsion to ensure the Wall remains, whilst the enemies of its makers are drained by it, weakened to the point where they cannot thwart another Longer Night. It is often asked why the Others woke now, why are the dead marching now? Perhaps it was simply finally time; the dragons gone, the singers and giants barely a memory (and forced closer to the Others geographically than to anyone who might help them). The last great greenseer old, fading and unable to flee.

If Azor Ahai took dragons to war against the dark, if the singers aided the Last Hero...those things seemingly could not happen this time.

Another option is that the Wall – which does have foundations of stone, even if it is largely ice by now – was not initially thus but became corrupted. And we have a ready-made candidate for who may have done that. The Night’s King is a contemporary of Joramun, whose horn can allegedly bring down the Wall (more on him in a moment), married an Other (so they must have still been there) and held the Night’s Watchmen in thrall.

Perhaps his great sin was building or infecting the Wall to begin with, and once it began to drain the magic, magic was not strong enough to throw it down. This man, an enemy of humanity in much the same way as Craster and Euron, chose his side and aided it well, if so. And this may explain why the Black Gate, a creation of the singers, looks decayed, has been blinded and appears to be grieving.

Giants and the Horn of Joramun

However, if either of the above were true, then we should have heard of it by now from someone, surely? We have met some surviving singers, and a greenseer who all have access to the knowledge and memories of their ancient comrades. Surely this would have come up?

So suppose the Wall was build as described and is functioning as designed. Does that mean it isn’t draining magic, and this is all just very coincidental? I think it still is draining the world, because such an enormous ward must require something to power it.

But let me offer a solution: the Wall was always intended to come down.

Joramun was a King Beyond the Wall who joined with the Starks in throwing down the Night’s King. His Horn, sought by Mance, is allegedly capable of bringing the Wall down.

Now, Mance found a horn, which Mel burns, but that horn was assuredly not THE Horn. Its suspected that the actual horn maybe somewhere Old, soon with a side helping of squids.

But why was the fake horn convincing? Tormund tells us that this was because the fake horn was found in a giant’s grave – and the Horn brings down the Wall, we are told, by waking giants from the earth.

The ‘horn that wakes the sleepers’ if you will. My contention is therefore that Joramun was a giant, one of the very ones who helped build the Wall, and that his horn was fashioned as a failsafe to destroy what was made when it was no longer necessary.

Perhaps the hope was, with the singers and giants and First Men closer than ever, with dragons in the East and heroes aplenty the world over, the threat would be held at bay and the gifting of their combined magic to keep the defences strong was a willing sacrifice on all parts. But men forget, and war destroys records, and Doom came upon the dragons.

Conclusion

We are shown at length that, from a humanitarian standpoint, the Wall is evil. The Free Folk are demonised in ways that cannot possibly be true, they are hunted like beasts and left in horrible danger when the real threat arises. What are they if not the men the Night’s Watch swear to defend, as Jon comes to ask? What original sin did they commit, other than living on the other side when it was built?

The Wall also dehumanises and destroys those who serve upon it. The world would be better without the Wall, physically and magically. GRRM has said that the seasons will be restored to normal by the end, and whilst we don’t know the details of what is going to happen, but we all agree – that wall is coming down.

JRR Tolkien posits, through King Theoden, that ‘oft evil will shall evil mar’; if Euron Greyjoy, the Night’s Pirate King, does indeed bring down the Wall and lets winter in, perhaps he shall have done a greater good than he would ever had intended, and given us a chance for spring thereafter. Let’s not thank him for it, though.

Original thread here: https://x.com/BranwynHlfwitch/status/1768776863961243700

[slaymondoneeye]

Also. Final note. VERY funny that Vhagar can’t fit in the dragonpit so they keep her big ass in a field somewhere

[nightswatchdisbandmentera]

As an aspiring hater, I must appreciate Jon’s dedication to the game. He literally met everyone on Team Dragonstone and just immediately hated them. The only reason he and Davos don’t have beef is because they don’t really know each other like that. But otherwise, my boy is ready to throw straight hands every time he has to deal with Mel, or the Kingsmen, and especially the Queensmen. He’s probably even ready to throw hands with Stannis himself but I think he lowkey doesn’t want to do it because that would now be abusing the elderly, which wouldn’t be very good given his track record with Thorne and Slynt.

[thewatcher0nthewall]

just sketching some westerosi folk