i was reading a clash of kings

A-Z Book Recommendation

I heard @macrolit​ started a trend of A-Z Book Recommendations? I may be late to this party but it looked like fun, so here are mine!

(Much to my chagrin I had to cheat on Q and Z; and V is also a bit of a cheat since I haven’t actually finished reading the book yet. On the other hand I did manage to get through it without repeating an author. Enjoy.)

  • The Archer’s Tale by Bernard Cornwell (also published as Harlequin). An adventurous historical fiction novel diving into the life of an English longbow archer in 14th c Europe
  • The Book Thief by Markus Zusak. One of my favorite books of all time; I sob like a baby every single time I read it. By turns heartwarming and heartwrenching, it tells the story of a young girl growing up in Nazi Germany, stealing books and finding escape and solace in reading. It is beautiful and unusual in its style, narrated by Death and painted in vivid imagery.
  • The Chimes by Anna Smaill. A moving and strange dystopia novel about a world where memories have been destroyed and people communicate using music.
  • Dune by Frank Herbert. A powerhouse science fiction novel, Dune is at once a space opera, a political thriller, and a study in religion and survivalism.
  • L’étudiant étranger by Philippe Labro. An autobiographical novel about the sometimes comedic, sometimes serious experience of Labro’s life as an exchange student at a US university.
  • The Fellowship of the Ring by J.R.R. Tolkien. I’m sure this one needs no introduction - the entire Lord of the Rings trilogy remains, in my opinion, one of the best books ever published, and debatably the best fantasy epic of all time.
  • The Girl with the Dragon Tattoo by Stieg Larsson. A very dark but smart and exciting crime novel.
  • A Heartbreaking Work of Staggering Genius by Dave Eggers. It’s more accurate to say that I experienced this work than that I read it. Part autobiographical, part stretching the factual truth to tell an emotional one, part wild invention, this is the story of Dave and his little brother, Christopher, making their way in the world after the death of both their parents. It is stylized and designed to pull the rug out from under you, toss you out of your comfort zone, and it’s either insane pretentiousness or exactly what it claims: staggering genius.
  • Incarceron by Catherine Fisher. A futuristic fantasy novel about a living prison, the society that built itself inside, and those on the outside living a lie. A fascinating world to dive into.
  • Jonathan Strange & Mr. Norrell by Susanna Clarke. A massive brick of a book but well worth the time for the subtle and detailed world building. It takes place in a slightly different England, where magic was once a fact of life but has long been relegated to a purely theoretical field, until Mr. Norrell teaches himself how to be a practical magician.
  • Kidnapped by Robert Louis Stevenson. A thrilling adventure story, following the journey of a young boy who ends up caught in the power struggles of 18th c Scotland.
  • The Lightning Thief by Rick Riordan. I don’t care how old I get or how many books he publishes, Rick Riordan will always make me laugh, and I was raised on Greek and Egyptian mythology, so I always adore seeing Riordan play with sticking the gods in the modern day world.
  • The Martian by Andy Weir. Even if you’ve seen the film, the book is still well worth a read. Weir’s story about a man stuck on Mars is both dramatic and funny.
  • The Necessary Death of Lewis Winter by Malcolm Mackay. The choppy style of this book can get on my nerves, but it’s a fantastic and smart crime novel that somehow gets you rooting for a professional hitman.
  • One Flew over the Cuckoo’s Nest by Ken Kesey. A tragic but moving and at times inspiring dive into the oppressive and cruel world of psychiatric care in the 1960s.
  • Pnin by Vladimir Nabokov. A series of vignettes about an exiled Russian professor told through the eyes of an unreliable narrator.
  • The Heretic Queen by Michelle Moran. Although she takes great liberties in the realm of historical accuracy, Moran’s Ancient Egypt is nevertheless a compelling and exciting world.
  • Raising Steam by Terry Pratchett. I could’ve listed any Discworld book on here because I have yet to read one I dislike, but I did particularly enjoy Raising Steam’s dip into steampunk and the Industrial Revolution, and its relationship with the fantasy life of Discworld
  • Station Eleven by Emily St. John Mandel. A story about a Shakespeare troupe in a post-apocalyptic world, so I was basically destined to love this. It follows the story of several different characters before, during, and after a near-extinction level plague, tying together the different narratives.
  • The Tragedy of Arthur by Arthur Phillips. Written as if it were an autobiography, this is the story of a man whose father, imprisoned as a con man, leaves him what seems to be a lost Shakespeare play when he dies.
  • Uglies by Scott Westerfeld. I read this as a young teenager and I still love it; it’s a good combination of an adventurous YA sci-fi novel and a reflection on the societal fixation on beauty
  • The View from the Cheap Seats by Neil Gaiman. A collection of speeches, essays, introductions, and more.
  • The Wise Man’s Fear by Patrick Rothfuss. The sequel to The Name of the Wind, Wise Man’s Fear keeps me just as captivated and invested in its main character as the first one did.
  • Xenocide by Orson Scott Card. In all honesty it’s been years since I read any of the Ender’s Game books and this was just one of very, very few books I could come up with that had an X in the title, but I remember it being really good sci-fi and social commentary.
  • The Year of Lear: Shakespeare in 1606 by James Shapiro. An incredible book on the social and political context of Macbeth, Anthony and Cleopatra, and King Lear.
  • The Thousand Autumns of Jacob de Zoet by David Mitchell. An amazing book set on Dejima at the turn of the 19th century, about the clash and exchange of culture between the West (primarily the Dutch) and the Japanese.

anonymous asked:

Do you have a favorite character? Do you have a favorite non-pov character?

Thanks for the question!

Favorite POV character: Sansa Stark. No contest. I love her characterization, her genre archetype, her chapters’ themes, her inner monologue and her fascinating journey throughout the books. 

I love her characterization and, hell, I even appreciate it in A Game of Thrones. Yes, she was a snob and a brat who wanted things to be nice, the knights to be chivalrous, the queens to be graceful and the princes to be sweet, but she’s eleven at that time and all that idealism and naivety only made Ned’s execution all the more heartbreaking, opening the trapdoor underneath Sansa and causing her to fall into that horrific reality of King’s Landing.

Also, it’s really nice to have a classic princess that still has substance. In fact, I think Sansa was my first of the archetype to be given a rich density of character. I know, by now, Sansa’s genre archetype is old hat and has been done time and time again, given a more deconstruction-conscious fantasy market, but Sansa still calls to an inherent part of me that I’ll get to later on below.

Her chapters’ themes? Internal resistance, idealism, abuse, survival, story-and-song thinking, lies, knighthood, femininity, navigating the rules of high society and patriarchy, empathy, romanticism, the eventual disillusionment from reality and kindness-under-pressure… they’re universal (and even relevant to this day) and I can always return to them whenever I reread a book.

Her internal monologue is super crucial to the heart of Sansa’s characterization because A Clash of Kings and A Storm of Swords constantly play in her head. Passages and pages can turn as her mind whirls and the gears in her mind start to work. Anyone who tells you that Sansa is just a passive pawn clearly doesn’t read hard enough because she’s making active resistance in her mind against the Lannisters and thinking over the political implications of letters sent to her, trying to figure out if they can be trusted and which one she can take up while being safe.

She has an amazing character arc that takes her from a naive, head-in-the-clouds girl to an abused political prisoner actively resisting her captors in her mind to a woman taking control of a castle’s household under the guise of being bastard-born, all while trying to hold onto her humanity and retain a measure of kindness when she’s exposed to more and more horrors in the upper class of society.

Also, I personally think she has one of the best supporting casts in the story, all of the characters in her story pertaining to and enriching her narrative going from Cersei, Loras, Jeyne, Margaery, Olenna, Tyrion, Dontos, Littlefinger, Lysa, Myranda, Mya and Sandor, all of them challenging, adding, compounding upon her worldview, complicating her ideals and turning into her a fascinating person who’s increasingly seeing the strings of political theater and is going to start utilizing them with purpose.

Lastly, her want for there to be true knights? Breaks my heart because I constantly struggle with my ideals like that too. There are good values worth standing up for, but not everyone’s going to live up to them… but that doesn’t make the effort itself worthless. If the world fails us, then we should endeavor to live up to those ideals ourselves. There are monsters, abusers and indifferent people in the world, but the best we can do is hope to outlive them, hope to do it while being better than them.

In short, I will always be here for “He was no true knight.” and “If I am ever a queen, I’ll make them love me.”

Favorite non-POV character: Stannis Baratheon. Let’s see, grumpy, pragmatic, bitter, deadpan, grim, strict, yet fair, meritocratic-leaning with an inferiority complex towards his older brother who he thinks outdoes him everywhere that matters? GEEZ, STANNIS, I DIDN’T KNOW YOU WERE PRETTY MUCH ME IN ASOIAF. 

But yeah, I love Stannis’ characterization so much. It’s such a multi-faceted portrait ranging from his strength (meritocratic ideology, drive towards justice, willingness to commit to good kingship) to his weaknesses (pettiness, willingness to commit to past grudges, bitterness and tactless manner of speech) and it’s such a rush to see him when his weaknesses outweigh his strengths in A Clash of Kings to later have the pendulum turned around nearing the end of A Storm of Swords.

And his character archetype is actually what I’d consider some of GRRM’s most subversive genre work. On the surface, he looks the Evil Overlord, complete with living at a grim island full of gargoyles, housing pirates, sellswords and a mysterious sorceress. He looks like the Evil Uncle because he’s rebelling against his “nephew’s rightful crown.” But the truth is far more complex, Stannis himself actually being the Cape, the man who wants to right the wrongs of Westeros, who wants to deal justice against the Lannister’s incestuous reign, who only came upon Dragonstone because he was doing his duty to his older brother.

His chapters’ themes… oh boy, they hit at me. Justice, duty, wounded pride, bitterness, past grudges, mockery from empathy, choosing from lawful or good, meritocracy, good kingship, the choice between valuing the individual or the many and complicated relationships with religion and gods… Stannis just hurts to read.

It is legitimately fist-pumping to read his character arc because it’s a rush. From a bitter, resentful, petty lord sitting at a dreary rock to a man who’s lost one of his central battles as claimant and who is torn between careening further into the abyss or committing to rising above the loss to a savior protecting the realm in truth rather than in title to a truly fascinating and worthy king who’s learning from the past, willing to take advice from all wells of knowledge and take charge to fight against the “only enemy that matters.”

And I tend to love Stannis’ supporting cast. I know we all love Davos, but I even love Melisandre because she brings an interesting facet to the philosophical/theological dialogue between the Dragonstone trio. Davos and Melisandre are constantly in conflict, externalizing the duality raging in Stannis’ heart and how he wants to conduct himself as king. And Stannis’ court also helps, being a bunch of (mostly) unlikeable, fanatic, squabbling lords and knights… who nevertheless help protect the Wall, ordered by their king, from the Free Folk attacking it.

There’s a lot of Stannis I keep coming back to, to be honest. It’s just inspiring that, amid all the destruction, death, rot and chaos of Westeros… there’s one man who’ll stand steadfast and fight for Westeros’ best interests because he’s the man you want against the Others when they come to bring the night that never ends. My One True King.

In short, I’ll always be here for "Stannis! Stannis! STANNIS!“ and "Then we will make new lords.”

Hope this satisfies!

anonymous asked:

I'd also like to point out that that snow thingy happened right after that chapter where jon decided to keep his Snow name. Idk it might be nothing but my shipper heart just found it so beautiful i cried lol!!

Yes it is something Anony.

And I was about to answer a comment from cruyffsbeckenbauer (I love Jonsa and I will go to Jonsa hell for saying this but…Ramsay was also a snow.) To explain more about the snow symbolism. So here you go:

@cruyffsbeckenbauer​ YES, Ramsay WAS also a Snow. He was a Snow before he was legitimazed as Ramsay Bolton by King Tommen Baratheon as a reward for betraying House Stark.

Ramsay Bolton is a minor character and has zero links to Sansa herself in the books (I HATE D&D for what they did to Sansa in the TV series) and Ramsay has zero links to actual snow more than his former surname. 

On the contrary, Jon is not only a Snow, he is the bastard of House Stark, The Wardens of The North. The Starks motto is “Winter is coming”. Jon is always associated with snow (his surname, his white as snow direwolf Ghost), ice (The Wall), winter (Starks motto) and The North (Winterfell, home):

The boy absorbed that all in silence. He had the Stark face if not the name: long, solemn, guarded, a face that gave nothing away. Whoever his mother had been, she had left little of herself in her son. 

A Game of Thrones - Tyrion II

She might have overlooked a dozen bastards for Ned’s sake, so long as they were out of sight. Jon was never out of sight, and as he grew, he looked more like Ned than any of the trueborn sons she bore him.

A Game of Thrones - Catelyn II

“A shade more exhausting than needlework,” Jon observed.
“A shade more fun than needlework,” Arya gave back at him. Jon grinned, reached over, and messed up her hair. Arya flushed. They had always been close. Jon had their father’s face, as she did

A Game of Thrones - Arya I

Sansa could never understand how two sisters, born only two years apart, could be so different. It would have been easier if Arya had been a bastard, like their half brother Jon. She even looked like Jon, with the long face and brown hair of the Starks, and nothing of their lady mother in her face or her coloring. 

A Game of Thrones - Sansa I

“Who’s this one now?“ Craster said before Jon could go. “He has the look of a Stark.”

“My steward and squire, Jon Snow.”

—A Clash of Kings - Jon III

His northern features are the perfect disguise to hide his true parentage. He is acknowledged as a Stark just by looking at his face. He looks like a younger version of Ned.

And to talk about what the Anony said, the association that Sansa made between the lover’s kisses and snowflakes happened right after the chapter where Jon decided to keep his Snow name (Stannis offered him to be legitimazed as Jon Stark and become the Lord of Winterfell). I wrote a really long post about it, you can read it here. So I’m going to repeat some important points that I mentioned on that post:

  • (…) the seventh Sansa’s chapter of A Storm of Swords (the one where Sansa builds a Snow Castle {Winterfell}) comes immediately after the twelfth Jon’s chapter, the chapter where he found his answer to Stannis offer of Winterfell. And what it was that helped John to find his answer? His beloved direwolf, Ghost.
  • (…) instead of Tyrion, Willas or even Robert, who pursue Sansa’s claim over her, there is a man that has been offered Winterfell and choose her over it: By right Winterfell should go to my sister Sansa.“ “Winterfell belongs to my sister Sansa.” Among all the high lords interested in becoming the Lord of Winterfell by marrying Sansa Stark, the bastard Jon Snow refused to despoil his sister Sansa of her rights, even if her claim is the one thing he has wanted as much as he had ever wanted anything. Don’t you find this very romantic? I mean, when Sansa thinks: “No one will ever marry me for love” (Because everyone only wants her claim to Winterfell), at the other part of the world is Jon Snow saying more than once: By right Winterfell should go to my sister Sansa.“ “Winterfell belongs to my sister Sansa.” This for me is one of the most romantic passages of the books. 
  • (…) at the same time, Jon and Sansa had an important realization concerning to their lost and broken home, Winterfell. And what that helped them to reach that realization was the snow. Literally snow in Sansa’s case and Ghost, the direwolf as white as snow, in Jon’s case.

And finally, I just wanted to point out that Jon and Sansa both loved Robb very much and both of them remember the last time they saw him at Winterfell describing him with snowflakes in his hair:

Outside the flakes drifted down as soft and silent as memory. Was this what woke me? Already the snowfall lay thick upon the garden below, blanketing the grass, dusting the shrubs and statues with white and weighing down the branches of the trees. The sight took Sansa back to cold nights long ago, in the long summer of her childhood.

She had last seen snow the day she’d left Winterfell. That was a lighter fall than this, she remembered. Robb had melting flakes in his hair when he hugged me, and the snowball Arya tried to make kept coming apart in her hands. It hurt to remember how happy she had been that morning. Hullen had helped her mount, and she’d ridden out with the snowflakes swirling around her, off to see the great wide world. I thought my song was beginning that day, but it was almost done.

—A Storm of Swords - Sansa VII

“She has more courage than she knows,” said Sam.

“So do you, Sam. Have a swift, safe voyage, and take care of her and Aemon and the child.” The cold trickles on his face reminded Jon of the day he’d bid farewell to Robb at Winterfell, never knowing that it was for the last time. “And pull your hood up. The snowflakes are melting in your hair.”

—A Dance with Dragons - Jon II

Jon flexed the fingers of his sword hand. The Night’s Watch takes no part. He closed his fist and opened it again. What you propose is nothing less than treason. He thought of Robb, with snowflakes melting in his hair. Kill the boy and let the man be born. (…)

—A Dance with Dragons - Jon XIII

So, the snowflakes always appear as a symbol of love, happiness and home.

anonymous asked:

How did Ned's execution influence the relationship between Sansa, Myrcella and Tommen? I was trying to read between the lines and it was hard to figure out how Sansa felt about them.

I find it hard to say how the execution itself affected Sansa’s opinions of Myrcella and Tommen given the relative lack of interaction they have before that point, but it seems to me that she recognises that they have nothing to with what happened and is happening to her. Which is true.

In Sansa I, ACoK, she reflects that Tommen “reminded her of her own little brother,” and is effortlessly courteous when he tells her excitedly that he plans to joust at the tourney - in sharp contrast to how forced her courtesies to Joffrey are. When Tommen runs off to get ready, she calls out “Luck” without reservations, and cheers his efforts. When he falls, we get this:

Sansa found herself possessed of a queer giddy courage. “You should go with [Myrcella, to check on Tommen],” she told the king. “Your brother might be hurt.”

Joffrey shrugged. “What if he is?”

“You should help him up and tell him how well he rode.” Sansa could not seem to stop herself.

When Myrcella leaves for Dorne, Sansa once again risks Joffrey’s ire on Tommen’s behalf.

Prince Tommen sobbed. “You mew like a suckling babe,” his brother hissed at him. “Princes aren’t supposed to cry.”

“Prince Aemon the Dragonknight cried the day Priness Naerys wed his brother Aegon,” Sansa Stark said, “and the twins Ser Arryk and Ser Erryk died with tears on their cheeks after each had given the other a mortal wound.”

“Be quiet, or I’ll have Ser Meryn give you a mortal wound,” Joffrey told his betrothed.

- Tyrion IX, ACoK

I think saying that Sansa genuinely likes Tommen is a safe call. There’s far less about how she gets along with Myrcella.

anonymous asked:

Okay this might be a bit difficult question, but i would like to know who your favourite Stark is and why.

 I’m sorry it took me so long to respond to this! It’s because I’m crazy busy and yes, this is a very very difficult question.

When I read this the first face that popped up in my head was grey-eyed. Jon of course! But, since I decided to write this when I had the time, I thought about it, and then came to realize, that perhaps, Jon is my favorite character because I love reading his chapters (thoughts) and his storyline (I like the mystery that surrounds him and all, the fact that he’s not who people think he is) the most. But… perhaps he’s not necessarily my favorite Stark. 

Your question made me realize my favorite Stark is Sansa.

Keep reading

on soukoku and their relationship with each other

so i feel like i should start this off by saying that i do not ship soukoku—not for any particular reason, i just don’t—so i’m not at all looking at their relationship through shipping goggles or whatever. these are just my thoughts from what we know of their characters and their interactions with each other.

i’ve also never written anything resembling meta before so this is probably a mess of a post but whatever!! let’s get on with it.

my number one reason for writing this post is trying to figure out the answer to why exactly dazai and chuuya dislike each other so much, and when exactly this mutual hatred came to be. after thinking it over, there are three prominent possibilities that i’ve decided on: clashing personalities, some sort of intense betrayal, or a petty argument blown out of proportion. they all seem pretty reasonable, so let’s go over them one by one.

Keep reading

HELLO IT’S ME AGAIN 😂

Due to the success of the readalong for the first book in the series and due to popular demand, we’re continuing with A Clash of Kings! (I’m so proud of you guys, I legit didn’t think anyone would want to keep going #bless)

Sooooooo, starting April 24th, we’re diving into A Clash of Kings and let me tell you, it’s going to be a doozy 😉 I’m allowing 2 weeks for this, because a lot of people have finished AGOT really quickly, so it might be a good idea to speed things along, if we want to be finished with these by the time Christmas rolls around, so the readalong would take place like this: 

April 24th - May 7th

Remember, we’re still using the tag #asoiafreadalong, so make sure you tag your posts, okay? And share your thoughts, photos, quotes, I absolutely love seeing people’s reactions to reading this series 😊

It’s okay for anyone to join - first time readers or people who are rereading, people who have a book blog, or people who have different kinds of blogs 😊 

Happy reading, loves ❤️

P.S. Pretty please reblog this, to spread the word! Thank youuuuuu!❤️

anonymous asked:

Love your blog! What made you love Stannis? Was it all S. Dillane's fault?

Thank you so much!  It was partly Stephen Dillane’s fault because he’s just so incredibly amazing, but I actually finished reading A Clash of Kings before I knew who was going to play Stannis.  I have always been one to root for the underdog and to me, Stannis represents the hard working person who does everything right and truly cares about doing a great job, but since he isn’t flashy or self-promoting, he isn’t appreciated.  I have always valued substance over image, so Stannis appealed to me for that reason.  Stannis values education and has that wonderful dry, snarky humor.  Of course, Cressen’s prologue made me love Stannis right away “Yes, loved you, better than Robert even, or Renly, for you were the one unloved, the one who needed me most.” Stannis has that vulnerable side that he hides from the world and I love him for that.  And let us not forget two of the most compelling reasons to love Stannis, Proudwing and Davos!  How can anyone read the story of Proudwing and not love Stannis?  He’s a champion of wounded animals!  Also, even though Stannis isn’t perfect by any means, Davos holds him in the highest regard, so much so that he once argued Stannis was ‘his god’.  Stannis is a Lord who thought that a smuggler had as much right as anyone to be a knight, and not only did he think it, he made Davos a knight.  For all those reasons when they chanted “Stannis! Stannis! Stannis!” at the end of ASOS, I was shouting it along with them!

Thank you for the question!

anonymous asked:

Why was freeing Jaime a disastrous political move? Was it because Catelyn did it in secret?

Jaime is an incredibly valuable prisoner. He’s one of only a few possible hostages Tywin Lannister actually cares about, and holding him stands a chance of somewhat constraining Tywin’s behaviour. Cersei’s too, for that matter.

I can’t write it up any better than @racefortheironthrone did in his analysis of Catelyn VII, ACoK (go read the whole thing! or at least scroll down to the end for his take on Catelyn’s decision!), but I’ll quote a bit for reference.

By sending Jaime back without an explicit commitment from Cersei and Tywin, Catelyn has no way of knowing whether Jaime and Tyrion can actually speak for the whole of House Lannister. By sending Jaime back before Sansa and Arya are sent, the Lannisters have every incentive to renege on the deal once they get what they want. And worst of all, by not getting buy-in from the Lannister bannermen and Robb and his bannermen, Catelyn makes it impossible for this exchange to end the war as she wants.

Basically, it doesn’t get any Stark anything. It just gets Jaime freed.

targbowl tinfoil

I agree with @occupyvenus that Dany won’t be a true villain. After all, she has done a lot of good in the world. However, I think she will be an antagonist to the Stark family, the North and their goals. 

Here’s my addition to said theories:

Some of the clearest R+L=J foreshadowing was the story of Bael the Bard. Ygritte told it to Jon in A Clash of Kings. Now, I’m in the middle of re-reading ACOK, so I was thinking about this yesterday when I was reading it. Let me refresh the tale:

Bael the Bard sneaks into Winterfell and steals the only heir to the North, a Stark girl, symbolized by a blue rose. They find the girl later, with a baby in her bed.

“Bael had brought her back?”

“No. They had been in Winterfell all the time, hiding with the dead beneath the castle. The maid loved Bael so dearly she bore him a son, the song says […] what’s certain is that Bael left the child in payment for the rose that he’d plucked unasked, and that the boy grew up to be the next Lord Stark. So there it is – you have Bael’s blood in you, same as me.”

This clearly infers discovering R+L=J. Rhaegar stole Lyanna from Lord Stark and her intended, Bobby B. And this bigger truth has been there the whole time, literally in the crypts. The maid, being Lyanna, did indeed bear Rhaegar’s son, Jon. Jon has become the next King in the North, essentially Lord Stark. This is the end of the fairytale part, and the song:

“The song ends when they find the babe, but there is a darker end to the story. Thirty yeads later, when Bael was King-beyond-the-Wall and led the free folk south, it was young Lord Stark who met him at the Frozen Ford… and killed him, for Bael would not harm his own son when they met sword to sword.”

“And so the son slew the father instead,” said Jon. 

So there is something darker that’s going to happen, not something of songs, not something that is romantic and dreamy. Kinslaying. Jon beleives all of this until Ygritte tells him the rest of the darker truth, the kinslayer’s fate. Kinslaying led to the young Lord Stark’s mother dying and Lord Stark himself dying – betrayed by one of his lords and skinned (a Bolton, probably, because of the skinning). “Your Bael was a liar,” he told her, certain now. And Ygritte replies: “No, but a bard’s truth is different than yours or mine.” Which is also true in the story so far, in a way. 

After all, Jon’s mother is dead. And a young Lord Stark DID die, and his body was mutilated. Grey Wind’s head was sewn onto Robb Stark’s body, deeply humiliating. He was betrayed by a Bolton, too. So this end of it has come true in a way. And ‘in a way’ is all that matters in this theory. After all, “a bard’s truth is different than yours or mine.”

It’s also interesting to note that neither Bael the Bard (Rhaegar, but in this theory could be his sister Daenerys now that Rhaegar is dead, just as Robb fulfulled part of the young Lord Stark’s role) or Jon (the young Lord Stark) have bad aims. Neither are evil, they are just antagonists towards each other. The Starks saw themselves as defending their territory against the wildling invaders. The wildlings have been trying to get south of the wall to escape extremely dangerous conditions and for a better life. They were each other’s enemies, though, and kin. 

Jet Wolf and Act 20

The manga and I are repeatedly clashing, and so instead of full liveblogs, I’m reading each manga act (mostly) silently, and then writing up summaries at the end. I’ll be very candid, which could well include criticism and snark about the manga either wholesale or in details. If that isn’t a thing you feel like reading, please skip this post!


“Papa!” Chibi-Usa cries, as her hands slide through the hologram. With a sigh, she adds, “Well, that’s another thousand years of therapy.” King Endymion doesn’t even try to instinctively hug her back. King Endymion is a fucking douche.

He doesn’t do emotions or leadership or fashion choices well, but god damn, this boy can drop some mad plot, and he wastes no time in getting to what’s really important: TWENTY-ONE STRAIGHT PAGES OF EXCRUCIATING EXPOSITION I AM NOT EVEN KIDDING I JUST FUCKING COUNTED THEM

We all know the basic story here, and thank god for that, because I can skip a literal third of this issue without having to reread it. If you’re familiar with the anime over the manga, what you basically need to know is even in the future, the Senshi are denied literally any modicum of agency and effectiveness. They don’t get to be the ones who used their powers to protect NQS from the Black Moon, it’s just a thing the ginzuishou does. The ginzuishou is more proactive and useful than Usagi’s four guardians and best friends. AS ALWAYS I APPLAUD THE BEST AND MOST INTERESTING CHOICES

And remember the cool shit where the Crystal Tokyo Inners combined their powers to shield the palace from the unrelenting attack of like six million UFOs, but were trapped and unable to do anything else or risk the shield dropping and everyone dying?

Nope! Just unconscious. In one hit. They don’t even get to be plot holograms (plolograms?) like Mamoru.

AWESOME THE MANGA IS DEFINITELY THE EXPRESSION OF FRIENDSHIP AND FEMALE EMPOWERMENT I WAS HOPING FOR

We also get a more manga Crystal Tokyo backstory, about how Usagi became Neo Queen Serenity at 22. I CAN ONLY ASSUME TAKEUCHI NEVER ACTUALLY MET A 22 YEAR OLD. I’m also not super convinced that Takeuchi didn’t settle on 22 years old because she thought that was when you were the most smoking hot. Seriously, this could just be a translation thing, but my copy puts huge emphasis on how everyone looks so young, even going so far as to say that Usagi’s “figure has remained the same”. Given the flashes of extreme physical shallowness we’ve seen from Takeuchi in the manga so far, I’m just not unconvinced Usagi became queen at 22 because OH MY GOD COULD YOU IMAGINE HER IN HER THIRTIES OR FORTIES OR EVEN FIFTIES FOREVER DEATH WOULD BE PREFERABLE.

(At fifty currently, I assume she’s gotten a bit better about that now, but yeah.)

Anyway, I ignore all this and encourage you to do the same. BUT WAIT ENDYMION STILL HAS SEVERAL HUNDRED PAGES OF SHIT TO TELL US. He goes on to say stuff that got me all pissed off, and you can see my rant here.

So we get backstory on Planet Nemesis, ABOUT WHICH I TAKE SOME ISSUE. More talking, more talking, Minako drifts in and out and begins imagining she is the star of her own telenovella. “Minarita, Duchess of Loooove.” She has thrilling adventures and many lovers, and the Senshi are there, and every week she’s a favoured guest on Sabado Gigante.

Usagi ruins it all by doing her best Marty McFly impression.

Endymion explains that “you can’t exist in two places in two forms at the same time”. When asked why he didn’t bring this up three hours ago before starting his lecture, he shrugs and says “I’m a douche.”

ATTENTION PLEASE. NOW IS THE TIME WHEN JET WOLF IS GOING TO MENTION SOMETHING THAT IT WOULD HAVE BEEN NICE FOR LITERALLY ANYONE ELSE INVOLVED IN THIS STORY TO HAVE GIVEN TWO SHITS ABOUT. ATTENTION PLEASE.

Nobody asks if Rei, Ami, and Mako might be protected against this. Nobody asks if they should maybe get a move on with the rescuing if this is a risk they’re facing. Nobody shows concern about how Usagi going Sue Storm within twenty minutes might mean Rei – kidnapped now for the past six issues – is already dead.

SORRY SORRY I KEEP STUBBORNLY CARING ABOUT THEM I KNOW MY BAD

Mamoru pledges to protect Chibi-Usa because Endymion is a hologram and also a douche. But Endymion went three entire seconds without explaining something, and so now has to tell everyone all about Sailor Pluto. I bet Endymion has a Reddit account. If he’s technically a computer program, can’t we just switch him off? “Sorry, bud, already tried,” Minako informs me with a sad shake of her head.

I just noticed Endymion The Hologram somehow takes a Time Key from Pluto and hands it to Usagi. SO HE CAN HAVE CORPOREAL FORM HE JUST FUCKING PHASED OUT SO CHIBS COULDN’T HUG HIM AND HE CHOSE TO NOT HUG HER IS HE SEASON SEVEN GILES WHAT THE FUCK WHY ARE YOU SUCH A FUCKING DOUCHE DO YOU NEED TO SEND NIGHTMARES BACK INTO THE PAST IS THAT YOUR OUTLET WHAT

They pop back to their time, and Mamoru says he’ll take Chibs home, and as you’d expect, Usagi handles this is a completely mature and reasonable way, having learned from her hasty accusations and ensuing make-out session last issue.

BUT WHERE WOULD BE THE DRAMA IN THAT I ASK YOU

YES I CAN’T IMAGINE WHY HE WOULD PREFER THE COMPANY OF THE TRAUMATIZED EIGHT YEAR OLD MANAGING SOMEHOW TO THROW LESS TANTRUMS POINT MADE USAGI

That night, Minako looks out of her window, wonders where her friends are, and renews her vow to rescue them. “You can’t leave me to deal with this shit by myself for the next thousand years, fuck THAT.”

Morning comes, and Chibs has disappeared. Turns out she ran off to the Gate of Time. Pluto longs for the days when she could read her trashy romance novels without getting interrupted every other century. Chibs wants to stay and hang out with Pluto, but then somehow wanders into Crystal Tokyo and the palace. YOU HAVE ONE FUCKING JOB PLUTO AND I HAVE  TO SAY YOU ARE REALLY KIND OF SHIT AT IT

Chibs wanders around the palace and finally comes to The Creepy Dead Body Room (WHY DO YOU HAVE THAT ROOM) complete with body display slabs and–

NO OKAY REALLY WHY DO YOU HAVE THIS ROOM AND WHY IS IT SET UP WHY WAS IT READY TO GO AT ANY TIME IF YOU ALL LIVE FOR A THOUSAND YEARS

And perhaps my larger question of all: WHO THE FUCK PUT YOU ALL THERE

IF ONLY TINY KITTEN AND SMALL LADY SURVIVED THE ATTACK WHO PUT YOU ALL THERE

Over to the Black Moon, where Rubeus is all “peace, baby, mellow out and be groovy”. But Esmeraude doesn’t want to be groovy, Esmeraude wants to KILL.

Specifically she wants to kill Chibi-Usa, and honest to god at this point if I were to make a list of characters I’d like to see killed, Chibs wouldn’t even rank. Usagi, Minako, and Mamoru show up (somewhere, Pluto flips her book open again with a VERY aggrieved sigh), and once again, Usagi’s attack fails to work. Guess whose does, though! GO ON GUESS YOU NEVER EVER EVER WILL.

So Mamoru kills Esmeraude, and while she did rank above Chibi-Usa on my kill list, I still feel empty inside. Excited at the opportunity to explain YET MORE SHIT, Endymion vomits some words about the ginzuishou and how it can only work in the past and that’s why Usagi’s power isn’t working. Something like that. I’m really just so beyond caring at this point, whatever.

Dimande shows up, captures Usagi, and oh good, it’s THAT time again.

Just One Word January BPC
Day 30: Recap

Not shown what I read on my e-reader: Shadow and Bone, Siege and Storm, The Grisha novellas, Frostblood, Zeroes, A Clash of Kings (finally finished-started this in December), A Thousand Nights, Anna and the French Kiss, Paranormalcy, One Past Midnight (also goes by Between the Lives), & The Bird and the Sword.

i’m reading a clash of kings and i’m having gendrya feels. but this part was so funny :’)

”.. You’re still a girl.”
“I am not!”
“Then pull out your cock and take a piss, go on.”
“I don’t need to take a piss. If I wanted to I could.”
“Liar. You can’t take out your cock because you don’t have one. […] If you’re not a girl, you must be some eunuch.”
”You’re the eunuch.”
“You know I’m not.” Gendry smiled. “You want me to take out my cock and prove it? I don’t have anything to hide.”
“Yes you do,” Arya blurted, desperate to escape the subject of the cock she didn’t have.”

like omg gendry.

anonymous asked:

You know I've always wondered after finding all these faults on my own and reading other's in depth criticisms of GoT, what makes that show so popular, both commercially and critically? Maybe this isn't a question that can be completely answered or perhaps it's too vague. What do you think makes GoT such a popular tv show?

I can’t speak for others, but I personally think the first few seasons are good. Oh, the cracks are definitely there, both in terms of adaptation and in sound storytelling more generally, but I think they’re pretty successful in telling a story a lot like A Game of Thrones in season one, and a bit less like A Clash of Kings in season two, and more or less like the first half of A Storm of Swords in season three. They might not be the best adaptations at any point, but those seasons are still entirely serviceable stories in their own right.

The big problems arise in season four onwards because the writers were building less carefully on a foundation with cracks in.

All throughout, though, the showrunners have attracted talent to the project. There’s been minimal bad acting. Mediocre acting, sure, but there’s also been a lot of good acting. Better than the writing deserved in several cases.

Production values are mostly high, and again, in those early seasons they made good use of their more limited budget. There’s been the odd special effects failure, but more often special effects have been used well. Most of the directing has been good, in some places excellent. The soundtrack’s good quality.

As hard as I am on the show for its bad writing, most of the people involved in its production are doing good and professional work. I can understand why people enjoy watching the end result, if they’re not picking at the writing.

Good morning all! My current read is still Neil Gaiman’s American Gods. I feel like I’m taking too long to read it because I keep getting sidetracked by other things but I’m determined to finish it soon! In the mean time, here’s the #secondbooksinaseries tag tagged by @jozi_bibliophile, @paperfury and @whatsername_reads, thank you lovelies! These are some sequels of series I really enjoyed, and I arranged them in a rainbow too! 😊❤️📚