this is a tale, a tale of a coward. the tale of “never good enough” and “always behind,” the tale of failures and heartbreaks and fears. it is a tale of a boy who abandons his best friends in times of need: during the triwizard tournament, during the horcrux hunt. it is a tale of a youngest brother struggling to keep up, who dreams of glory and honor and fame. it is a tale of the sidekick, the best friend, the second-in-command.
this is a tale, a tale of a hero. the tale of overcoming feelings of inferiority and a sense of resentment, the tale of loyalty and bravery and persistence. it is a tale of a boy who returns to his best friends in times of need: who hugs another young boy in the common room, gruff with choked up emotion, a boy who sheepishly returns to a winter search with renewed determination. it is a tale of a quidditch player who practices day and night for a sport he loves, whose confidence claims him chants of “weasley is our king, he didn’t let the quaffle in…”
this is a tale, a tale of an extraordinary boy in extraordinary circumstances. the tale of a boy who offers his sandwiches to a stranger, a boy who scoffs at blood purity and combats injustice, who fights for his friends. it is a tale of a boy who becomes a man; not perfect, not flawless, but mature enough to learn and realize and grow. it is a tale of a steady, true, indispensable companion whose generosity and bravery and good old fashioned wits turn the battle’s tide, a tale of a hero in his own right. it is a tale of a defiant battle cry, a shouted “he beat you!” and a shattered silence charm, a scream that frees hogwarts’s defenders.
okay but tbh lgbt etc people are more likely to come out in moving vehicles (i would know) so like… trans percy coming out to sally on one of the car rides to their special place, that beach where she met poseidon.
its fugliano’s shitty car and percy hates it, of course, but his mom is there and its so easy to forget all the bad things in their life when its just him and his mom. theyre talking, just catching up because hes been at school, and he says, suddenly, “mom, can you ask you something weird?” and she nods her consent.
percy asks “if i was a boy, what would you have named me?”
its a pretty standard question, lots of kids ask it, so she doesnt think anything of it. she thinks for a long time about it, going through the names she considered before the sex reveal, trying to decide, but then says “perseus” and he hears the name and he loves it so much. he asks her why and she explains, tells the story of perseus the hero, the tale of the hero that survived. when the story finishes, all thats left is the sound of the tires on the road, the wind rushing around them from speed. its a comfortable silence, mostly, but percy is fighting to find resolve and sally can kind of tell.
suddenly, he asks, in a voice so quiet she can barely hear him, “will you call me perseus?” and his voice still breaks and it surprises him more than it surprises sally somehow, who looks over with wide eyes before looking back at the road. she agrees, no matter what, but she asks why. he tries to explain, but he doesnt have the vocabulary beyond “because im a boy.” she agrees again, says yes, of course, anything for my baby boy, and then suddenly percy is crying and hard too.
percy’s tears startle a wet laugh out of her and her voice is thick when she says “oh baby no, no crying, we’re okay, i love you” and percy cant find the voice to tell her thats hes just so fuckin happy so he just smiles as big as he can, laughing too.
Note: I’ll be posting condensed versions of this analysis in other sites
A) Relevance of plot and characterization AKA Unbiased Readers Vs. Delusional Shippers
“Who lives on ilusions dies from disappointment” – An old Puerto Rican saying
Most of us know One Piece is a very popular manga. Its high quality and
popularity depends on several factors, among them we could name
memorable and likeable characters along a deep, compelling, fun and
action-packed story. The One Piece many know and love wouldn’t exist
without the balance between these factors
When talking to at least 3 different One Piece fans, each of them
non-shippers who analyzed the manga they all enjoy, I found interesting
and pretty sound perspectives of the One Piece story and its nature. All
of them value characters, story, development, consistency and logic;
something I can totally relate to
But I also found a pattern; these 3 guys shared one single outlook on
the very same subject: shipping. Regardless of their expectations, all
of them expressed distate for shippers’ general mindset and “odd”
One of them called shippers out for ignoring characterization and very
clear and direct statements made in the manga. His attention was
centered on a Luffy pairing and how it contradicts his own character.
Oda once explained that he writes Luffy as someone pretty straightfoward
when it comes to expressing his thoughts and feelings, and this
non-shipper said with brutal honesty that for the discussed ship to
happen we would need to disregard and/or discard the very core of
Luffy’s character. Meaning Oda would need to stop being consistent and
faithful to his own story and characters
The next one explained how shippers tend to turn a characters’
relationship into a sappy teen love fantasy that doesn’t match One Piece
at all. His analysis also exposed how integrating this kind of
underdeveloped “love” into the story would severely damage One Piece
originality, ruin the series and needless to say destroy the likable
dynamics between several characters as well as their own development.
This fantasy, this so-called “love”, is what the vast majority of
shippers support and defend. The same kind of “love” most non-shippers,
fans and critics dread
The third non-shipper gave me a more detailed explanation: this is even
more rough than the other two as he describes that the common shipper
mentality of “he/she likes her/him so they should be together” can “only
be likened to that of elementary schoolers”. And how shippers take
every little meaningless detail and blow it out of proportion with no
regard for context, legitimate bonding or the canon story!
But we can’t put all the blame on shippers. Many manga authors seem to
have no idea how to write a character-driven series or complex character
relationships. In fact, mainstream shonen writers have their fair share
of guilt into promoting this common shipping mindset by being
notoriously bad at writing romance. Which results in underveloped
premises that leave your average fan skeptical, and your average critic
disappointed at a poor portrayal of emotional bonding and a severe lack
of cohesive narrative in the “romantic love” department
This is the reason why many fans, critics and non-shippers hold the
shippers’ perspective in a very low regard. Just like the third
non-shipper states: “The blushing, longing stares, corny ass lines etc.
That kind of poorly portrayed romance is the kind of thing dreaded by
the average fan because it reduces the quality of One Piece to the level
of such poorly written series”
So an author needs to build a relationship the same way one person would
construct a building: stablishing a strong foundation on companionship,
respect, trust, signifcant moments, and emotional bonding. All of this
must come before reaching the status of “romantic interest". In relation
to this subject, there’s a trope called “First Girl Wins”, a portion of
its description truly fits this criteria:
“From a [extradiegetic] point of view, the Law of Conservation of
Detail suggests introducing the Love Interest early. An early
introduction allows you to get the audience interested in her and
rooting for her, gives you space for Character Development, and gives
her relationship with her (eventual) partner the most time to develop
organically. And with all that said, it’s such a common device that in
all likelihood, it sometimes gets played for its own sake.” – tvtropes.org, 2017
Notice this isn’t a cliché, this is a literary device to enhance the
story. Pairing up two characters without meaningful moments, emotional
build-up and development, is the equivalent to lazy writing.
Having such elements firmly stablished for two characters and then
deciding to go for a different “route”, pretty much wasting a
well-developed relationship for the sake of a “weaker” premise, would be
the equivalent to bad writing
Is Oda, the man who’s willing to die for One Piece, a lazy writer? Of
course not! Is he, a man who planned the ending years ago and is still
sticking to said ending, a bad writer? Being number 1 in Japan and
having such a loyal fanbase all around the world prove he’s not!
Do shippers want Oda to be a lazy/bad writer? Facts already
answered this question as many (although not all) fans value their own
fantasies and delusions over the manga canon and/or the author’s take on
the characters and their relationships
Many (but not all) shippers now have a war. Not only against rival ships
but mainly against One Piece story and consistent development. Yet as
the old saying goes, those who live on delusions will have to eventually
face reality and disappointment, because Oda is not a lazy/bad writer
like some people here would want him to be
B) Romance Dawn AKA The not so secret origins of One Piece
“If we don’t know where we are going, it can be helpful to know where we come from” – Jostein Gaarder
When debating posible outcomes, fans rarely look back at the time when
One Piecewas a still a work in progress. Taking a look at Romance Dawn
V.1 and Romance Dawn V.2 helps us to see there are constants present in
all versions of these Works that made it into what would later become
the most popular manga in Japan
But before discussing those constants I would like to clarify the
meaning of the word: “Romance”. There are people who doesn’t really grasp the
concept of “Romance” both One Piece and Oda work with. Luckily the first
two non-shippers I meantioned shed some light on this subject:
“A mysterious or fascinating quality or appeal, as of something adventurous, heroic, or strangely beautiful”
“A long fictitious tale of heroes and extraordinary or mysterious events, usually set in a distant time or place”
“A narrative in verse or prose, written in a vernacular language in the Middle Ages, dealing with strange and exciting adventures of chivalrous heroes”
– thefreedictionary.com, 2016
“A prose narrative treating imaginary characters involved in events remote in time or place and usually heroic, adventurous, or mysterious”
– Merriam Webster, 2016
“Marked by the imaginative or emotional appeal of what is heroic, adventurous, remote, mysterious, or idealized”
“Having an inclination for romance: responsive to the appeal of what is idealized, heroic, or adventurous”
– Merriam Webster, 2016
These definitions match pretty well One Piece and Oda outlook on this
concept. Even Oda lampshaped this by giving his own translation to the
title: 冒険の夜明け (“Bōken no Yoake”, “Dawn of the Adventure”)
So Oda’s “romance” covers a wide variety of themes: Adventure, heroism,
mystery, virtue, idealism… we can find comedy and tragedy, happiness and
sadness. And among the virtues and the idealism we find companionship
and love. As the second non-shipper I mentioned explained One Piece is
pretty much like an “Adventure novel”, which is why we’ll find in One
Piece many of the tropes commonly used in those books
Among those tropes, we find a couple of constants in all versions of “Romance Dawn”
The golden-hearted protagonist and the “First Girl” who doubles as a
female lead. Think about this “what if” scenario: If things would’ve
played different back then and One Piece never went beyond “Romance Dawn
V.1”. If that story were to be elaborated futher, which two characters
would had shared the most moments to become endgame? The answer is
pretty simple: The golden-hearted protagonist and the female lead!
But when debating, the weight of the argument depends on edvidence so we
need to rely on what we can confirm. And we confirm this, what’s the
constant in Luffy’s story in all versions of Romance Dawn? a Nami-like
This becomes even more interesting when we discover that at an interview
at “Manga no Chikara” and others, Nami was supposed to be the first one
to join Luffy but her debut was postponed by Oda’s editor at that time.
Edvidence of this being a last minute decision remains on the first color cover:
Yet as the second non-shipper noted: “her role as secondary protagonist
was not altered” for “Nami shares with Luffy the largest character
development in the entire series”. And as explained here we already know
how the trope goes when someone seeks to write a natural growth for an
emotional connection between two characters
In fact, the relevance of Nami to Luffy’s story is implied in what Oda himself said about Strong World: “I really wanted to make a ‘hero saves the heroine’ story (ヒロインを助けるヒーローを描きたい the japanese sentence). [….]. You might think otherwise, but I had no intention of bringing in someone new to fill that [heroine] role. So when I had to think about whom to use for it amongst the straw hats of course that meant Nami”
In Oda’s mind, Luffy is the hero and Nami is the heorine! We can tell that the hero and the heroine are meant to be the driving forces of the series, and therefore putting them together makes the most sense from a storytelling perspective
C) LuffyxNami AKA LuNa/LuNami
“Logical consequences are the scarecrows of fools and the beacons of wise men” – Thomas Huxley
Many shippers tend to ignore and disregard
the importance of staying faithful to the canon story, and the author’s take on the characters and their relationships
To makes matters worst some of them even deem as illogical any argument
solidly based on these factors. While considering stuff like lines,
frogs, sweat, fire, nonexistent sexual tension, assumption of sexuality, and even assumptions of pregnancy, as
legitimate proofs of a plausible outcome! In fact they even value
comparisons to other series with a different tone, themes, and
characters over anything that the One Piece author conveys through his
There’s even people who goes as far as editing the wiki as if that would change the story to match their preferred pairing!
But in order to reach a conclusion that remains true to One Piece and
its nature we have to rely on the very same foundation that was already
described several times: mutual trust/respect, faith on one another,
significant moments, stress in their relationship and emotional
development. If the story doesn’t let you build your premises on these
elements, the conclusion you’ll reach will obviously be flawed and stray
away from what One Piece really is
So here I’m not only defending the premise I strongly support; I’m
defending the very same story and build-up that contributes to this
bond’s natural growth:
As explained before there’s nothing explicitly romantic about major
interactions. But given we’re dealing with a good and dilligent writer,
what we’ll get to see is how big to small moments stablish an emotional
connection between two characters, and how that becomes the base for a
even greater growth
First we have the themes of trust and faith: At first Nami doesn’t trust
Luffy very much, out of her clear distate for pirates, until witnessing
how far was Luffy willing to go to selflessly help others. Even then
Nami treated their relationship as a mere business and later betrayed
Still Luffy always trusted Nami to the point of putting blind faith in
her. Even when given reasons not to do so. One remarkable example is
when Luffy was informed by someone trustworthy (Johnny) that Nami
apparently “killed” to Usopp, and Luffy not only kept holding onto his
blind faith in Nami but he also threatened Johnny for saying such things
This becomes something remarkable when we take into consideration that
Zoro quickly gave up on Nami and later tried to attack her without even a
second thought! While Usopp just wanted the Merry back…
would later become even more
the Whiskey Peak Arc when Luffy came to doubt Zoro because of the words of
wounded man he didn’t even know, and even doubted Robin during Water 7
until Nami told him and the crew the truth behind Robin’s desertion:
But what else makes this situation with Nami any different from others
we see in the manga? Some might point to the saga where rescuing Robin
was the primary objective; but in Robin’s case Luffy knew her life was
in danger for Robin was planning to die for the crew, and he got the
resolve to save her only after learning the truth. Others might point to
the current arc, but he saw right through Sanji’s act and got desperate
to rescue him only after hearing his life is in danger.
Here, Nami’s life wasn’t in danger as far as Luffy knew. And he
constantly try to reach out to her despite her harsh attitude and the
fact he knew next to nothing about her past and her current
circumstances. It was only when he saw her cry he got enough motivation
to beat Arlong, and it was only when he got a small glimpse of what she
went through that he lost it!
How does Nami respond to this? Initially she wanted to get Luffy out of
her villaje and her life. While Nami indeed grew fond of Luffy and the
others she wasn’t willing to bond with any of them; she held on her
distrust of others. But that changed when she finally hitted her lowest
point, when she finally lost all hope. Then it comes Nami’s first major
development as character: she realized she needed to rely on someone
else, she realized Luffy was her only hope Nami decided to rely on him.
The following scene marks the first time of many when Nami relied on
Luffy to a emotional level. And the first of two times when Luffy
entrusted his treasure to her in a touching gesture to provide comfort
From the very beginning the emotional build-up between Luffy and Nami
was a key factor for one of the most meaningful and memorable moments in
One Piece. The moment when Luffy becomes Nami’s “emotional anchor”
The effect Luffy had on her character was also quite powerful as we
could see during the 2nd pass of the hat: back then at Skypiea arc Nami
could still panic at dreadful situations:
But as soon as Luffy gave her his treasure, the panic stopped and when
he was later removed from the battle field, Nami was capable of drawing
enough courage from Luffy to face the big bad from that arc:
Not to mention Luffy’s final move against Enel was combined effort of
the two as well as an impressive display of mutual trust/faith
We can continue to appreciate their development even futher as the story
goes on. As someone already pointed out, Nami during Water 7 displayed
an impressive resolve and determination, but as soon as she got the
chance to explain Luffy their situation she opened her heart to express
how she felt, her anguish and her distress. When Luffy reassures her
that he will save Robin, she doesn’t cry anymore until she reunites with
Their bonding is even futher explored in the only One Piece movie fully
written by Oda: Strong World. As this is the author’s take on their
relationship is still a valid argument to support Luffy/Nami
We already considered how impressive Luffy’s blind faith in Nami can be.
So after listening to most of Nami’s recorded message, Luffy gets
Well, after all that time Luffy relied on his navigator without ever
doubting her. He was likely expecting all his trust and faith in Nami to
Turns out Nami does return that feeling! And why can we say that?
Remember the movie’s ending: Nami finds out everyone in the crew got her
hidden “save me” at the end of her message… everyone but Luffy. Then
when Luffy is about to play the recorded proof of Nami’s unwavering
faith in him, what does she do? She tries to get rid of the “edvidence”
out of embarrassment
It’s easy to see then why Nami seeked out Luffy for hope and comfort
during Zou. And how she did something similar to what happened in Water
7: she opened up to Luffy
I said it before, since Luffy is Nami’s “emotional anchor”, it makes
sense for her to keep strengthening her bond with Luffy. And given Luffy
needs a guide to new adventures and someone “mature” enough to
sometimes keep him in line, it makes sense for Luffy to grow closer to
She once summed it up pretty well: “He always talks big, but when it
comes down to it, he knows nothing about the sea! He’s severely lacking
in the ‘sense of danger’ area! And he always overdoes it…if I left
him alone, he’d die. And he’s stupid, so I have to take care of him.
That’s why I’m gonna help him!” - Nami, chapter 596
Still, none of this is explicitly romantic in the traditional sense of
the word. But just like someone who’s contructing a building, we start
dealing with the foundations to then proceed to make a solid structure: a
well-written relationship that enhances the story
As someone once reviewed, Luffy and Nami dynamic doesn’t need to chance
for them to become endgame for they already have anything they need to
finish that “building”. And that’s what’s being a potent pairing means:
having everything to your favor for futher development and growth. Luffy
and Nami definitively have the major moments and the emotional bonding
while remaining consistent to the One Piece canon to be considered a Potent Pairing
It’s interesting we find other interaction that proves how comfortable is Nami around Luffy:
She doesn’t mind having Luffy around her, what she really minds is Luffy wanting to go to dangerous places
But why is this relevant? In Thriller Bark we had a clear showing of
how she reacts to pervs trying to accomplish what Luffy did here. She
electrocutes them. We can confirm she haven’t changed in this regard
because at the end of Fishman Island arc Nami electrocutes a perv for
trying to peek at her while she was taking a bath
Another interesting detail about Nami’s attitude toward Luffy is a
change we see in WCI. Of course we have the remarkable faith and trust
Nami puts on Luffy by even boasting how him being the future Pirate King
ensures their victory over Cracker’s ability.
But the real change is when Sanji brutalizes Luffy. Nami already stated
she felt guilty for what happened when Sanji got taken. But when Sanji
did his “little” number on Luffy her attitude changed, she not only
begged him to stop but was also promising they’ll leave if he did (Luffy
clearly disagreed on that)
After seeing the way Sanji treated her captain, Nami did something the
could seem pretty justified because of what happened: she slapped Sanji
and then sarcastically played along Sanji’s “royal” act.
When she goes to Luffy and finds out her captain is not relenting on his effort to get Sanji back, she gives us this little gem:
The Japanese text for Nami’s dialogue reads: “Luffy!! Why?! No matter what his reasons are, after he did all that to you…”
The term she used here for the line in bold conveys the idea of severe
mistreatment. She was obviously mad at the way Sanji attacked and
badmouthed Luffy and his dream. Ironically Luffy is the one who shows far more
emotion to the prospect of getting Sanji back than Nami, she kept
displaying far more concern for Luffy as the chapters went on
Nami is now showing, little by little, more of a emotional attachment to Luffy. Which makes a lot sense given what we saw in their story
He never has been.
He can’t tell whether this is just the way he is, or it’s one
more thing he can blame on his father, but he knows that he isn’t
good at this. People call him stoic, and cold. Some even call him
mysterious. Others call him emotionless.
It’s not that he
doesn’t feel. He does feel, but it all gets locked inside and none
of it ever shows. Sometimes it’s because he can’t show it. Other
times it’s because he’s afraid to.
Authors note: Greek mythology seventeen au hell yeah! Based loosely
on the Hades-Persephone myth.
Summary: who would’ve thought Persephone would’ve fallen for
someone from the underworld?
word count: 9k
“Seriously, you nymph! Stay still” you teased Hoshi as he
fidgeted with his bow and arrow of hearts. You were trying to fix his hair how
his mother liked it like she had asked of you. There was to be a banquet later,
and everyone needed to look their best.
Accidentally found these and I thought it was pretty cool to have a coloured version of Cressida’s illustrations on the covers, although I do not like the How to train your dragon font. It feels a bit generic-fantasy-book-ish.
I’m especially fond of the first, fifth and ninth cover. I also love the handwritten titles <3
(But I am also that person that wants their books’ covers to match and thus passes)
hi! Can u give me some cdrama recommendations? Preferably historical and/or fantasy lol thanks
I love you, Anon!
All of these should be easily found with English subs, but if you are having trouble, message me. As you will see, I am fond of a decent amount of romance, and am a fangirl for some actors more than others. Plus, they are all (IMO) good entry points. I put in a MV for each.
To watch if you like beautiful visuals (arguably most beautiful drama I’ve seen, design-wise), high fantasy, heroic quests, brotherly love, something that looks like a Tolkien AU, BAMF heroines, multiple romances, fairy tales.
Not to watch if you don’t like - major wigs and costumes, a certain simplicity that comes from fairy tale frame up, plot holes.
To watch if you like romance novels in period form, killer dudes with long hair who are putty in hands of tiny heroines, married couples in love, evil harem intrigue, defying fate, masks and rose petals.
Not to watch if you don’t like stories that lack political complexity and look like shoujo manga come to life.
To watch if you like something shorter than your usual cdrama, fantasy, romance, people with wings.
Not to watch if you don’t like a strong case of what looks like BDSM fixation on part of the writer, a bit of childishness, and an ending that is polarizing (fair warning - I am in the tiny minority who was OK with it.)
The Glamorous Imperial Concubine/Qing Shi Huang Fei
To watch if you like female centric stories, messed up love stories, evil families, secondary guys who are unhealthy intense but magnetic, a lot of hurt/comfort, arc where heroine goes from disney princess to cynical BAMF.
Not to watch if you don’t like family intrigue, messed up male leads, crazy secondaries.
To watch if you like wuxia, truly jaw-dropping visuals, beautiful deadly people madly in forbidden love (sometimes the whole drama feels like a cinematic swoon), battles. My first cdrama that got me hooked.
Not to watch if you don’t want to skip the first two-three eps (which are awful), are not OK with certain fairy tale logic.
To watch if you are like me and this is your number 1 drama ever. OK, seriously, if you like time travel, moral dilemmas, best hero ever, battles, tragedy, amazing character arcs. SERIOUSLY THE WAY EVERYONE ELSE FEELS ABOUT NIRVANA IN FIRE, I FEEL ABOUT THE MYTH.
Not to watch if you don’t want to be an ugly sobbing wreck. OK, and also if you want romance be number 1 (it’s in there and awesome but secondary) and also I skipped the modern storyline so no idea if it’s good but the period part of the drama is THE BEST THING EVER EVER EVER EVER.
The Young Warriors/Young Warriors of the Yang Clan
I’ve been thinking a lot about the arguments that people use to support villain Dany theories and thinking why this argument always got under my skin and it suddenly struck me. Yes, this line stands true. We know in part, roles such as villains and heroes aren’t ubiquitous in some ways. Tyrion is considered a villain by the smallfolk and the Starks and while we know that he is no villain, most other people do not. The people within the text may not truly know who is the hero of the tale and who is not but the audience certainly will. We have a greater perspective than all the characters put together and therefore we know completely and absolutely who are the heroes. It’s very clear from the text who are the heroes. We know the Starks are heroes. We know that Tyrion if not one already will be a hero just as we know that Cersei, despite her history is not. Why, therefore, do we play obtuse when dealing with Dany’s character?
More so, does being a villain to a group of people therefore then make you a villain? You could easily argue that Sansa is a villain from this basis since she’s believed to have murdered Joffrey. She’s certainly a villain to Cersei at the very least but does this basis, therefore, transform her into a villain? No, we know that to be wrong because we know Sansa to be both kind and good. This is similar to Dany who we know to have a strong love for both justice and humanity, to the point that she pushed back her plans for a Westeros conquest in order to end the slavery within the different areas of Slavers Bay. Yes, Dany may be considered a villain to a wide range of people but considering that these people happily use slavery, are depicted as sexist, greedy and so on, should we even begin to consider this idea that Dany is somehow a villain for this.
Even more importantly and separate from this point, how does Dany becoming a villain even fit or belong to the narrative. What point does GRRM make with doing that to her? I know many people cite the fact that it offers shock value and that the series does not rely on tropes and therefore, makes sense. But, all the shocking moments we have seen were done for a reason. The Red Wedding and Ned’s death weren’t just depicted for shock value but to allow Arya and Bran and Jon and Sansa to take center stage and to lead the change that their predecessors had been so focused on achieving. Ned’s death itself is beyond tropey, we’ve seen it in Harry Potter and Kingsman and other huge series and narratives. The death of a mentor or parent is a massive aspect of many stories. Dany turning into a villain makes no narrative sense. What important message does it give if Dany is turned into a villain?
So much of his series is based on human perseverance and hope and doing good despite how difficult it is. Being good is hard. Having power and not falling into the same pit as Cersei and other villains we have seen, not allowing that power to corrupt is even more difficult.It is some of these themes that are so central to Dany’s character. What purpose would it, therefore, serve to make Dany a villain?
In addition, all the villains we have seen have been very flat and clearly evil, even Cersei is very clearly a villain. GRRM does not do gray with his major villains. We don’t even have the POV of most of the antagonists and yet we have been with Dany from the beginning. We’ve seen her character grow from a scared little girl to the Mother of Dragons and queen. Seen her grapple with morality and her idea of home and her identity. Seen her, very overtly separate herself from the Valyrians, her ancestors, use of slavery and continuously rejects Viserys way of ruling and dealing. Let’s not even begin to discuss how Dany is likely the figure within these prophecies and how she did the impossible and brought dragons back (which if you’re wondering is a very heroesque type of thing to do) or how the narrative continuously frames her as a hero.
If you still don’t believe me on this then how about on a practical level? The story is drawing closer to the battle against the Others in which it has been shown that Dany will play a part.
That night she dreamt that she was Rhaegar, riding to the Trident. But she was mounted on a dragon, not a horse. When she saw the Usurper’s rebel host across the river they were armored all in ice, but she bathed them in dragonfire and they melted away like dew and turned the Trident into a torrent.
It was a futile thought. He might as well wish for another thousand men, and maybe a dragon or three.
The story is moving away from the political war and onto the supernatural one in which Dany will establish herself fully as a hero and save the word.
Now, this isn’t to say that Dany hasn’t done a great many things that are both villainous or wrong or even that she doesn’t walk closer to the edge of darkness in comparison to our other heroes. Dany has and likely will do some more things that will be wrong but this in no way means that she will be a villain or that she should even be considered one