ideal themes


Life is a series of closing doors, isn’t it?

anonymous asked:

why is everyone complaining that Mass Effect Andromeda is "big"? how is that a problem when there's more game to play?

The size is not a problem in itself. The problem is that bioware doesn’t know how to work with “Big”. Hear me out.

So bioware obviously tries to move into the open world direction, with DAI and now comparing MEA to DAI in terms of “BIGGER!!!1”, and I think it’s such a shame, because bioware sucks at open world\sandboxes. I don’t even mean it as an insult, it’s just a plain fact - bioware are it’s best at contained, story-driven, linear structure. Their best games have distinctly different locations each with a gimmick and with a linear plotline that starts at the entry point, motivates your exploration of the location so you can pick up the side quests, ideally has a theme and involves one of your companions and culminates in the final decision. After that, the location is finished. You report the side quests and that’s it, you’ve exhausted all your options, you leave the location and never look back. Well, maybe you return once for plot reasons for 5 minutes, but you don’t engage with it meaningfully. And it’s not a bad thing! This is “40 min TV show episode” kind of structure that can work great and it does in the entire Mass Effect series. The story is simple, usually with one or two twists, but it keeps you engaged because it’s tightly knit and clearly presented, the involvement of your crew members gives you emotional stakes, the distinctly ~weird~ location and NPCs there make you feel like you’re actually seeing different places and seeing different cultures. It’s *fun* and that’s what matters.

But if you take out the location-based plotline and add a lot of empty space\padding to the mix, it all starts falling apart. Because bioware only writes superficial weirdness, this weirdness becomes bland real quick, the gimmick wears off and becomes annoying, NPCs blend in into the endless background, and you go “oh thank GOD it’s over” when you leave the location. Imagine if in ME3 Tuchanka had the size and structure of Hinterlands. The hardcore severe planet would turn into a boring wasteland, instead of epic badasses that represent the spirit of a planet Thresher Maws would turn into a boss fight grind (like dragons in DAI), without your friendship with Wrex the stakes are low, without the linear plot creating AND keeping up dramatic tension, you’d just wander around and randomly stumble onto the cut-scenes.

Bioware thinks that you can just make locations big and take out linear structure and boom, you’ve got yourself a sandbox. But it’s wrong. You can’t just take away the scripted plot-line and NOT replace it with anything. Good open world RPG requires you to make locations not just distinct, but layered, interesting to explore, it adds ties between locations that are meaningful, the quests start in one location and run through multiple of others organically, so you have to travel back and forth and when you revisit them, it doesn’t feel like backtracking. Not everything is played out at the moment you enter the location, some NPCs only become important when you get new quests in other places, so the exploration is dynamic, layered in time. You keep re-discovering things, adding new layers to the context. Bioware just cannot write things like that. They can’t make differences between locations subtle, but meaningful, which is why I literally cannot tell any forest locations in DAI apart, they don’t know how to make quest-lines span between places and be layered in time, they don’t know how to keep players’ attention without a strict narrative tunnel. The only distinct thing between locations is visual design, but even that can’t take you far. There’s a location in DAI that is very visually striking - white snow, red lyrium, black rocks. Beautiful, unusual, interesting. But I wouldn’t be able to remember what happened there with a gun to my head. What was my quest? Idk. There was a dragon I think? And for other locations that don’t have such striking visuals, the situation is even worse.

Take the location with Civil War in DAI (I think it’s Dales? But not sure) I literally cannot remember what were the differences between the sides there. Hell, I can barely remember the sides! It’s the Orlesians and… other Orlesians? But they are called “Free”-something. Why, idk. And there are also the Dalish clan hanging out nearby, but they don’t have anything to do with the Orlesians. Why was I in this location in the first place? I have no idea. To be clear, it’s not because I have shit memory. I have great memory, I can remember meaningful details from the games I played once ten years ago. It’s just DAI didn’t give me anything meaningful to remember. The conflict is not set up, they just let you wander around aimlessly, the sides are both boring and bland, the location is just kind of an open field littered with undead and wolves. When you let players discover different factions just by stumbling onto them without a straightforward narrative, you better fucking make sure they are a) very distinct b)very clear about what their deal is. Show me anyone who can mix up the Legion, NCR and House in FN:V.

Imagine the same location done in a traditional for bioware linear structure. You enter the location and immediately see two groups arguing. Each side has a charismatic leader and these guys are yelling at each other, which gives you exposition. One of them is, like, a well-groomed Orlesian noble and the other one is a rude peasant Robin Hood. You enter a conversation and get more exposition, what their deal is and how they are in conflict. One of your companions support one faction and the other one - another. (idk, Vivienne and Dorian vs Blackwall and Sera, frex) Then both of them invite you to their camps and leave. You have a narrative already. You visit their camps, get to know them. Get some sidequests from both sides. While exploring you meet the Dalish, who are bitter because the Dales were THEIR land and now shems are fighting over it. You do some quests for Dalish. At the mid-point the game makes you choose a side and the last plot-arc is about breaking the resistance of the other side and deciding what to do with them. If you do some side quest for Dalish and pass a Paragon speech check, you can find some holy scripture that Andraste made about Dalish owning the land and you can grant the place to Dalish. That’s it. Yeah, it’s cliched and yeah, it’s cheesy, but it’s clear and it has narrative and stakes. It gives you basic framework for roleplay. Bioware never could write complicated plots, but they don’t need to. The plot doesn’t need to be complicated, it needs to function in the chosen form. If it doesn’t function, then big locations turn into empty spaces with fetch-quests.

Also, being “BIG” was never Mass Effect’s appeal in the first place. People loved it for the tight Star Trek-episode structure with a new planet every hour, weird gimmicky aliens and meaningful interactions with the crew. Not for LotR-style of “3 hours of walking through an empty field”.

lemonysnickit  asked:

jonsa wedding planner au if ya feel it

“…and Mason jars are very in right now, especially in these cute rustic weddings, and you can use them for tealights or flowers and all sorts of things,” the wedding planner babbled, looking excited at the prospect.

Val’s phone went off and, with an apologetic look, she stepped outside to take it.

“There’s a minor emergency at the office,” Jon said. “But then, there always is.”

Sansa smiled at him. “No worries,” she said. “You’re both very busy people–which is why I’m here to take care of everything.”

Jon nodded. “Right,” he agreed. “How, erm, did you get into this? Planning weddings?”

Sansa sat back in her chair. “I’ve just always liked it,” she said. “I was one of those girls who had her whole wedding ready to go whenever someone popped the question. I had different types of weddings planned, too, depending on my partner’s personality. I made collages, and then when Pinterest became a thing I made all these boards. I planned my brother’s wedding and my friend’s wedding and another friend, and finally someone suggested I get paid for it.”

Jon glanced at her ring finger. “You’re not married?”

She shook her head. “Nope. Got close one time, but. You know. Things happen.”

Jon nodded. “Would you plan our own wedding or would you go to another wedding planner?”

“I think it would kill me if I didn’t plan my own wedding,” she admitted with a smile. “It’s second nature to me now.”

“Does your ideal wedding have a theme?”

She considered the question. “Not…really,” she said. “But I don’t really know what my ideal wedding would be because I don’t have a person. Weddings–well, the good ones, anyway–are a blend of the two people. So many weddings today are generic and boring–you go to one, you’ve gone to them all. A wedding should feel like it has personality.” She blushed. “Sorry, I know I sound crazy going on about this.”

“No, you don’t,” he said. “It’s cute.” Then it was his turn to blush, because he was pretty sure men who were about to get married shouldn’t call other women cute, especially when they were planning his wedding.

“Sorry,” Val said breathlessly, plopping down in her seat. “Minor emergency. Where were we? Mason jars?”

Sansa leaped right back into her Mason jar spiel as if there hadn’t been an entire conversation in between. Jon could not help thinking that she really was very cute.


Mark your calendars! The event dates for General Danvers Week 2017 have been chosen:

 July 3rd - July 9th

With the prompts scheduled to be revealed on June 17th, that gives you two weeks to work on your creations. Thank you to everyone who signal-boosted the last post and voted!

What’s next? Before we can suggest and vote on our prompts, we’ll need to determine the main theme of our week! The submission box is now officially open to begin submitting your theme suggestions. Theme suggestions will be accepted between now and May 21st (8:00 PM EST).  

We are looking for themes (e.g., “time travel,” “alternate universes,” “tropes & clichés,” etc.) that could overarch throughout the entire week. Ideally, our theme should be something that would be able to hold several prompts. The more general the themes you provide, the easier it will be for everyone to give prompt suggestions. If you still have doubts about what qualifies as a theme, here is a longer and more detailed explanation.

Anyone is allowed to suggest themes, and you may either drop your suggestion in the submission box (if you have a longer list, a link, or a long explanation, this is recommended), or in the ask box (anon is on, so if you don’t have a Tumblr account you can still participate!).

If you are really unsure about the theme you’d like to submit, feel free to add a note after your submission, and we can contact you to discuss it if need be. While you are free to submit anything you like, no harmful/offensive/discriminatory suggestions will be accepted. If you are unsure if your suggestion is appropriate, please feel free to ask.

Please like/share this post to signal boost and spread the word! We’re looking forward to seeing what you come up with!

Music & Band Questions
  • <p> <b></b> A. What is your main instrument?<p/><b></b> B. What are all the instruments you play?<p/><b></b> C. What is an instrument you would love to learn?<p/><b></b> D. What do you think is the most difficult instrument to learn / play?<p/><b></b> E. Which instrument do you think is the easiest to learn?<p/><b></b> F. What's the weirdest instrument in your opinion?<p/><b></b> G. Which instrument sounds the nicest to you?<p/><b></b> H. What is your favorite key to play in?<p/><b></b> I. What is your least favorite key to play in?<p/><b></b> J. On a scale of one to ten how well do you sight read?<p/><b></b> K. What is your favorite note to play?<p/><b></b> L. What is the nicest sounding note to listen to in your opinion?<p/><b></b> M. Favorite DCI group?<p/><b></b> N. What is your favorite concert piece you have personally played?<p/><b></b> O. What is your favorite marching band piece you have personally played?<p/><b></b> P. What is your favorite jazz piece you have personally played?<p/><b></b> Q. Funniest band story?<p/><b></b> R. Hardest music you've ever played?<p/><b></b> S. What is your favorite marching band show theme you have been apart of / seen?<p/><b></b> T. Describe your ideal marching band show theme.<p/><b></b> U. How long have you played an instrument?<p/><b></b> V. Do you transpose / write music?<p/><b></b> W. Do you like your band director? What is your favorite thing about them?<p/><b></b> X. Who is your favorite composer?<p/><b></b> Y. What is your favorite band pun / joke?<p/><b></b> Z. What is your favorite genre of music?<p/></p>

indianaj2098  asked:

So I noticed that Gary has only had brief mentions lately. Is he building a force of diabolical cuteness while everyone is focusing on everyone else? and in the Final Effect universe, does Shepard and Liara's (If they're a thing) kid become a Gary fan?

Gary is still around in Final Effect. Gary the Gregarious Gorgonopsid and its various spinoffs have been running since the Age of Heroes. In fact, more astute historians have been using the cultural references made in earlier episodes to try to get a better grasp of culture during previous eras.

Gary is still the most popular cartoon for children. Somewhat hilariously, its popularity with various historical figures (e.g., Diana) has led to countless researchers attempting to understand its underlying themes and ideals. Pretty much all of their work is over analysis since the storyline for Gary is the same as it has always been: a bunch of fluorescent animals using the power of friendship to save the day.

Over the years, other animals have been added since civilisation has encountered more species. One particularly popular character is Eric the Enthusiastic Eranthem. 

The eranthem are a species of highly intelligent insectoids who were created by an ancient species to serve as workers (their creators were eventually wiped out by the Grimm). They were found on a battered Ark ship by one of Diana’s descendants who thought it would be cool to have an alien ant farm (they initially resembled ants in size and appearance). However, as the hive grew and matured, it became evident that the eranthem are more than just ant-like creatures. They range in size from creatures comparable to ants to creatures comparable to starships, and they can do all kinds of things related to construction (e.g., they can follow blueprints and plans to construct buildings, starships, vehicles, etc.) using their own unique biological methods.

The eranthem are quite popular in the Empire since they only wish to work and be useful. Their creators made them that way and since all of their creators are gone and the Empire found them, they serve the Empire now. Indeed, their treatment and the constant supply of satisfying work they receive means that even if their creators were to be found, they would still stay with the Empire.

Anyway, they’re intelligent enough to appreciate media, and the person who found them introduced them to Gary. As their popularity grew, the Gary cartoon added Eric the Enthusiastic Eranthem as a character. Naturally, the eranthem love Eric, and his inclusion has only made them happier to be part of the Empire.

Dating Sim Tropes

name: Rabbit “Gears” Walter
their profession: Singing musical automaton! street busking, concerts etc.
where they can be found (e.g. park, café, gym etc): Walter Manor (more specifically feeding ducks by the pond probably), concert venues, the local park
favourite food type (breakfast, junk food, veggies, etc): ice cream, much to his engineer’s dismay.
favourite alcoholic drink: anything with pretty colors tbh. he shouldn’t drink much but water and tea but once again- he’s a pain in the ass.
favourite trait (romance, passion, sexuality, talent, flirtation, sentiment, joy): flirtation, sexuality
where they would go on a date: a walk in the park, maybe a trashy nightclub just for fun and dancing, if the relationship were to get very serious he might take them to see his Pappy’s grave and just sit there and talk for awhile 
ideal gift: duck-themed items, belts, lingerie

tagged by: @titanium-alloy-automaton

tagging: anyone who wants to idk

ti-84  asked:

[br for @peepstudies] my current fave book is "I'll give you the sun" because the language is so beautiful!! :)

Oh hey, that book is on my reading list!  Here’s your blog rate!

Outstanding | Exceeds Expectations | Acceptable | Poor | Dreadful | Troll

Outstanding | Exceeds Expectations | Acceptable | Poor | Dreadful | Troll

Desktop Theme:
Outstanding | Exceeds Expectations | Acceptable | Poor | Dreadful | Troll

Outstanding | Exceeds Expectations | Acceptable | Poor | Dreadful | Troll

No, sorry (I still love you!) | just followed | already following | ALWAYS ♡

I got lucky searching for your posts just by typing /tagged/mine.  You may want to look into other blog themes, since Tumblr’s default theme is not ideal for navigation.  @theme-hunter is a great place to start.  Find a theme you like, copy and paste the code, and customize it to your liking.  You can also add other pages to your blog (e.g. navigation, ask/faq, and ‘about’).  A nice theme can bring more visitors to your blog.  Okay, moving on to your posts.  I love your posts, despite the fact that you only have five.  And I love your adorable dog in this post!  I can’t wait to see more of your posts on my dash!

*** LAST DAY for blog rates and lettering!!! ***

Realism vs Idealism in Assassin's Creed 3

One of the themes I’ve noticed during my replay, is the theme of Realism and Idealism in Assassin’s Creed 3.

Connor is usually seen as the idealist for his naivety and his ideals for a bright future. However, as I have analyzed the game, he is not always so. At times, he acts as the realist, particularly jabbing at hypocrisies of the Founding Fathers. 

This analysis will try to debunk said assumptions and show the development of the theme throughout the game. 

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#1 Cover by Francesco Francavilla

Finally revealed at WonderCon today! :)
Here’s IDW’s PR:

Press Release

San Diego, CA (April 4, 2015) – IDW Publishing, CBS Consumer Products and DC Entertainment announced today that they will boldly go where no one has gone before…in brightest day, in blackest night. Two iconic franchises will meet this summer in a legendary crossover event with the release of a six-part comic book miniseries, STAR TREK/GREEN LANTERN: THE SPECTRUM WAR. Both Star Trek and Green Lantern are known for their strong cast of interstellar characters and when they come together for the first time this July, fans new and old are sure to experience a galaxy-sized thrill.

STAR TREK/GREEN LANTERN: THE SPECTRUM WAR is six-part monthly mini-series and will be written by veteran Star Trek comic writer Mike Johnson with interior art by Angel Hernandez (INFINITE CRISIS: FIGHT FOR THE MULTIVERSE, ARROW). STAR TREK/GREEN LANTERN: THE SPECTRUM WAR #1 will be available in stores and online in July, boasting covers from Gabriel Rodriguez,Francesco Francavilla,Elsa Charretier, and Garry Brown. Following issues will feature covers from an amazing lineup that includes Declan Shalvey, Marc Laming, and more!

“We’ve looked forward to bringing these two iconic universes together for a long time,” said Greg Goldstein, IDW President and COO. “Star Trek and Green Lantern both share so many of the same science-fiction adventure themes and ideals, that a galaxy-spanning crossover like this is simply…logical.”

“Green Lantern is one of the most popular, storied characters in the history of comic books and a modern DC Comics icon.

An entire universe of Green Lanterns and other supporting characters have grown out from his original adventures in the 1940’s, and this series really showcases the intergalactic scope of the franchise,” said Bob Harras, Editor-in-Chief of DC Comics.

A pop culture mainstay for almost 50 years, Star Trek’s fan base continues to grow exponentially with the new feature films in 2009 and 2013. Now all Star Trek fans can watch their favorite U.S.S. Enterprise crew members meet Hal Jordan and the entire Green Lantern Corps in an adventure that spans space, time and all the colors of the spectrum. Set in Star Trek’s 23rd Century, the balance of the universe will be tested when the Green Lantern Corps’ Power Rings come into the possession of certain Star Trek characters while a dark and powerful evil looms around every corner. Only the combined power of the Green Lantern Corp and the Federation stand any chance of stopping those who worship evil’s might.

So I’m so excited for DAI I want to vomit. In celebration of this, I figured I’d make an image of Possession Theory for the funsies!

Dragon Age Theory: Player characters are possessed. The player is a spirit/demon.


  • Makes a person more powerful than others (all PCs are)
  • Sees abstract ideals and themes over reality, does not connect with world in the same way other people do
  • Has an obsession with and dedication to ideals, at the cost of practicality, reason, and lives
  • Willing to kill hundreds of people for a cause, for power, etc.


  • Described as watchers of  the world
  • Attracted to intense emotions and situations
  • Want to act out and retell the battles,dramas, and emotions they witness.
  • More powerful spirits desire to reshape the world to fit their own ideals.

…..sound like fans you know?


So. What kind of spirit are you?

Life as an INFJ

Introverted Intuition (Ni): 

While I’ve gone through a few stages of confusion over what I what to do with my life, once I found my passion (writing) I clung to that idea and immediately started visualizing a future where I was the author of a bestselling series with a fandom and everything.  Once I find a goal, that becomes my focus over everything else.

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Previously on Hannibal: #hot darkness, localized as well as general absurdity, Gillian Anderson

This week on Hannibal: I don’t want to go overboard, but, THE SORT OF INDULGENT ID-RIDDLED GIFT THAT I LIVE & BLEED FOR, you might say.

Season 3, Episode 7: “Digestivo”

We begin, with some hilariously trill-y organ music as the unscrupulous Italian detective arrives at Professor Sogliato’s building. He & his goons bust on in to the Horrible Scene We Will Henceforth Ignore, and quickly knock Hannibal out with a blow to the back of the head. Jack’s like, “thank u,” but then it’s revealed that Mason will pay double for both Hannibal AND Will. Oh come on. They pull a black bag over Will’s woozy bleeding head and promptly drag him off, because if Will Graham were to ever catch a damn break none of us would know what to do with ourselves, probably.

There’s no price on Signor Crawford’s head, so the unscrupulous detective leaves him to….have his unpriced head sawed open, as the last victim of IL MOSTRO, Dread Pirate Roberts of Florence. WOW THAT’S NOT COOL, BRO.

Luckily, Chiyoh straight-up SNIPES THEM THROUGH THE WINDOW, then comes over to say hi.

I love your shiny buttons. Also how you keep sniping people.

I laugh a lot watching Hannibal. It’s various sorts of laughter — WTF, ~Innuendos~, I Have No Other Recourse For My Emotions Right Now, etc. In this scene I started experiencing a particular fave: the Delighted Laugh.

“Did you do…this.” / “Of course.” - Delighted Laugh

“They are identically different, Hannibal and Will.” - Delighted Laugh


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Jon Snow and Making Dad Proud

What is honor compared to a woman’s love? What is duty against the feel of a newborn son in your arms… or the memory of a brother’s smile? Wind and words. Wind and words. We are only human, and the gods have fashioned us for love. That is our great glory, and our great tragedy.

Ultimately, you fight for your people, not your country, and fighting is one of the ways in which you learn the difference. You start your character arc all fired up and first-time-drunk on ideals and themes and the big picture and then suddenly, you realize that you’ve lost the subtext and all you care about is the people with you, the people you have left, an infinite cascade of loved ones lost and replaced, a god with many faces. Jon Snow doesn’t fight for the Watch, nor the realm, with quite the same ragged passion with which he fights for his father, and everyone who has filled the hole he left behind.

He does so at the cost of any other way of life, all the more desperately as they keep dying on him, just like Ned, as if it’s something wrong with him…his plot is driven forward and highlighted throughout by their deaths, and how he redirects and represses his rage and despair and crippling guilt. He thinks he’s found an easier father than Ned, if not quite the same, with Benjen, only to learn that he must earn affection within the hierarchy of the Watch. After Benjen vanishes, Jon applies this lesson with Jeor Mormont, saving him from the ultimate symbol of the old guard’s failure to remember their true calling, and the need (shared by Jeor’s fellow been-here-forever brothers Qhorin Halfhand, Aemon Targaryen, and Donal Noye) to pass on to the next generation what little they can before it’s too late. Jeor’s last words, of course, echo Ned’s overwhelming longing to join his “son” at the Wall.

As with Ned, Jon is far away and helpless when his Lord Commander is betrayed and murdered; when it comes to Qhorin, Jon has to strike the killing blow himself. That he still thinks of himself as immature following this moment, enough that he has to “kill the boy” in A Dance with Dragons, is a sign that this death, traumatic as it is, actually wasn’t destabliizing to Jon’s identity. He killed Qhorin for no reason other than Qhorin told him to, because that was the One Thing that would make Qhorin proud of him, a recurring trope in Jon’s arc. What makes this not sappy is that the One Thing isn’t triumphing over evil, but stuff like breaking his vows to go poach his siblings’ birthright and burn the godswood therein (as Stannis wants) or forcing a mother to abandon her child and take on another in his place (as Aemon is so proud of him for), or yeah, killing your mentor to join your enemies…as they are, until he enters the king’s tent.

Jon is not only humbled and awed in Mance Rayder’s presence; he trusts the wildling king with Arya’s life, and risks political suicide (and therefore literal homicide) in freeing him to a degree that really can’t be overstated. The discourse around Jon’s assassination tends to center on Jon’s wild promise to abandon his Watch in order to fight Ramsay (understandably, more below), but imagine the thoughts of your average Watchman, maybe even a Jon supporter, when they learn from the Pink Letter that Mance is alive and Jon sent him a secret mission. Some of them may be warily getting used to the wildlings in general, but how many were not glad when Mance Rayder “died,” even if the pyre itself horrified them? Jon took that away from them, because it was Arya and Arya was home and Arya was the father they both looked like (and only them), and so Jon was so perfectly positioned to allow a father figure returned from the dead (the only one to do so for him) to rescue his little sister, no matter how his brothers would react. I’m not saying I approve of their bloodlust at all, but that it’s a factor Jon simply refuses to consider.

It’s a blunt, explicit, practically ecstatic spirit of denial that courses through Jon Snow’s final paragraphs in A Dance with Dragons, a refusal to acknowledge what’s coming that is, oddly enough, his most authentic act of self-expression in the whole story. As with Dany’s own final chapter in Dance, GRRM unveils with primal clarity who Jon Snow is, really really is. Ramsay is sitting in his dad’s chair. Ramsay has killed one of his other dads (or so he says). Ramsay has a third dad of Jon’s locked in a cage covered in the skins of women…and wants Arya back now that he’s done with that side project. When Jon roars,

This creature who makes cloaks from the skins of women has sworn to cut my heart out, and I mean to make him answer for those words…

He is not thinking about the spearwives so much as Arya; I’d even go so far as to say he’s thinking about Joffrey (and therefore Ned) as much as Ramsay. They have killed my father, again and again; they have already cut my heart out.

He’s also, of course, thinking about Stannis, and when I say denial:

It is not for us to oppose the Bastard of Bolton, to avenge Stannis Baratheon, to defend his widow and his daughter.

I mean heavy damn denial.

But I’ve already said stuff about Stannis and Jon’s relationship, so I’ll say instead that just as Jon doesn’t give voice to his deepest feelings, so too is his true audience nowhere to be found in the Shield Hall. It’s not the wildlings, nor the Watch. It’s not any of his dads.

It’s Catelyn.

Because her nightmare came true: her trueborn children are dead or fled, and a Snow is despoiling their inheritance. But it’s not Jon, and he has this gloriously unambiguous chance: to prove Catelyn wrong, to fight for Winterfell without conquering it, to show that he could be trusted to be Ned Stark’s son and not heir. And he takes it, and immediately suffers for it, and we’re left knowing that when he learns he’s not Ned’s son after all, it’ll just mean another dead man (Rhaegar) for him to die for.