rich narrative

Mercury Signs

Scorpio, Aquarius, and Sagittarius: What’s Beneath the Surface

These mercury signs share a commonality of finding interest in peculiar things, or things that otherwise seem strange and even scary to other people. They enjoy discussing/watching conspiracy theory videos, developing theories of their own and going against traditional knowledge. They may even have been geniuses growing up in school because of how rigid and talented they are in taking different approaches to problem solving and application. They are also talented in reading other people. These signs know how people work and can read deep into other people’s body language. They also crave a solution and holding onto beliefs. Sagittarius is mutable so they are able to bulge a little, but they define themselves based on their beliefs. Scorpio and Aquarius are both fixed so they have such strong will its hard to win against these people in arguments. Underpinning quality of these signs is their penetrative mind.

Leo, Gemini, and Aries: The Joy of Talking

These mercury signs share a commonality of great communicative skills that the simple act of talking to someone comes across as an interest. Gemini is ruled by Mercury so it adheres to more of the external qualities of the planet. These people have a natural talent when it comes to words and they also tend to be over gesticulative, such as relying on their hands. Leo and Aries, both fire signs are also naturally predisposed to an enthusiastic mind and way of communication. The Sun gives Leo the glowing presence to attract people in conversation whereas Mars gives Aries the strength and harshness needed to move people into action. These signs are also quite popular among others because of how charming and enthusiastic they exude in conversation.

Libra and Capricorn: Status

These mercury signs share a commonality of exuding an authority or leadership. Libra may be more flirtatious and calming than the rigid Capricorn; although, both seem to share a relationship of using communication as a form of increasing status. Libra being ruled by Venus, is naturally predisposed to wanting a lavish and luxurious lifestyle so riches is almost destined whereas Capricorn’s main goal is to achieve the rags to riches narrative; there is always gain wtih these two signs which is why they can be rather calculating. Also, Libra being exalted by Saturn can indicate a stern Saturn presence and can be firm in aligning their ideals of equality and justice.

Virgo and Taurus: The Practical and Non-Abstract

Virgo and Taurus being both earth signs shows a similarity of practicality and adopting less intiutive forms of thinking and speaking. It is rather hard for these two signs to look deep into things. In fact, they usually agree with what’s in front of them. Also, they are grounded given the fact they are earth signs so they tend to adopt a realistic approach to things. Virgo, being ruled by Mercury harbors more of its internal properties such as organization and due to their mutable nature, they can apply different forms of approaches when it comes to thinking and problem solving whereas taurus, given they are fixed, its hard to adopt new thinking approaches–in fact, it takes a bit of practice. They can come across harsh because of how well they are with detail since they are used to seeing what’s in front of them. This can be a little daunting and even mean for other people. Because of this, they tend to be great at collecting information on others and collecting, what we would call, “receipts.”

Pisces and Cancer: Idealists and Abstract

Pisces and Cancer are whimsical and figurative. They are enriched with creativity that they can adopt really abstract forms of thinking. They are not excellent when it comes to logical reasoning and critical thinking. Especially for Pisces, a sign that denotes an almost fantasy like state its hard for people with this mercury sign to confide in traditional knowledge and also, adopt the easiest way of doing things. Both signs are entrapped with idealism, conveying hopefulness. The way they speak can almost be reassuring and nurturing, like no matter what they say it provides almost a blanket or safety net. They can also be soothing, relaxing and very intuitive. They share a similar nature with aquarius, scorpio, and sagittarius in the way they can look deep into things (especially pisces!). But what is most underpinning between cancer and pisces is how chaotic and fertile their minds are in terms of romance and poetry. Cancer, especially has a great reservoir of memories and feel attached to the past. They also have great memory storage, which is not exactly congruent with pisces. Both are great listeners and can provide you with an emotional sentimentality not found in other signs.

to quote the inimitable chira:

(via chirart)

captive prince is a fantasy-historical romance novel trilogy by australian author c. s. pacat! i actually think it’s a little cheaper on the play store than amazon; i only paid $20 aud for it in total. there are also 4 short stories set in the universe, 3 of which have currently been released: green but for a season (a midquel), the summer palace, and the adventures of charls (both sequels).

i’ve always described it as a thoughtful, sweet political romance with a trashy gay porno aesthetic; you have to like one of these things, and at minimum tolerate the other, in order to enjoy it. i personally love it very much but it’s not the sort of thing i would recommend to everyone; there’s a dearth of female characters, some disturbing content, and the premise can definitely be alienating, especially to usa audiences.

some big content and trigger warnings: slavery, rape, abuse, CSA, corporal punishment, animal death, and just general corruption and treachery. it’s not gratuitous; for a point of reference, if you made it through the game of thrones TV show, i reckon you’ll be fine here. but bad things do happen, ceaselessly, throughout book 1, though nothing is fetishized, things improve immediately in book 2, and the series does a good job of resolving all that conflict and drama in a believable way so when the characters finally fall in love, you are right there with them.

i can’t lie, it does take a lot of Dealing With Things to get through the series – i only barely made it through book 1. but i do really think it’s worth it! it’s a very rich, dense narrative, but the writing is clever and unadorned enough to lead you through without it becoming frustrating or boring. the series is a mess of trauma and betrayal, but the ending is wholly and unambiguously happy. it’s written by a queer australian, like me! and the romance is. oh my god, it is so good. it is so good. the happy ending is so bone-deep satisfying, because you come to admire the characters so much, and their joy is just utterly gratifying to see.

if anyone needs more detailed content warnings, could you please send me an ask off anon, or PM me! and be safe; if you’re not sure you’ll be able to enjoy the series, just skip it. the only important info you need to retain is that damen and laurent are in love.


suis-je amoureux? - oui, puisque j'attends

it’s literally a plot point of phantom of the opera that Raoul is an active member of the French navy but that doesn’t fit the rich pampered boy narrative people try to shove on him so it seems like 80% of people who talk about him utterly disregard that

anonymous asked:

Hi, i'm sorry to bother you about this, but as I like your writing very much and didn't find any rec lists with fics i liked, i was wondering if you knew other HP authors who write like you ? (ie : Dramione/Tomione pairings, nice narratives and no bashing ? It's getting increasingly hard to find new fanfics who don't shamelessly bash a canon ship/relationship...) I've already read most of ibuzoo work too and i was browsing your fav page on ff, but there's just to many! Much love to you ! :3

Why are you apologizing when you say such lovely things to me?  So… I’m  not sure anyone writes quite like anyone else, and because bashing doesn’t really bother me (unless someone bashes my dear sweet Draco because back off) I can’t be sure I’d notice it, but I’ll send you to a couple of people whose work you probably know but who I enjoy reccing anyway.

Delancey654 Very dark.  So dark I had to stop reading her work, but an exquisite dramione writer with complex narratives.  ( @delancey654 )

Galfoy  Queen of dramione.  Holy shit, is she amazing.  It’s all incredible.

BonaFake She’s so good.  SO good.  Just gems of stories.  Dramione and tomione. ( @bonafake)

Savva Dramione, theomione, Sevimione. She does it all, and does it all brilliantly. ( @savvyshka)

damnedscribblingwoman So good.  Through the Looking Glass made me cry.  
disillusionist9 I can only read her in spurts because she makes me wallow in inadequacy.  The queen of rare pairs. She’ll shred your heart and make you ask for more. ( @disillusionist9) If you want dark, complex tomione stories, she’s your writer.  Persephone is so complicated she has a multi-colored chart.  ( @dulce-de-leche-go)

Riptey  beautiful dramione.  Everyone recs Friend Number Three, and with reason, but Queen of Heaven is my favorite.

shayalonnie It seems ridiculous to rec her, since you surely know her, but if you want long dramione with rich narrative and cathartic delights, you can’t go wrong with Presque Toujours Pur. ( @shayalonnie)

Rizzle Just read her. You’ll be glad you have.  ( @andgladly)

danaigurira: ‘All Eyez On Me’ is the untold story of the late, prolifically talented and seminal hip hop artist, Tupac Shakur. The film also profiles Tupac’s mother, Afeni Shakur, who I had the honor of portraying. As active as she was as a Black Panther and an advocate for equal rights in her time, she was pivotal in teaching her son to have an agile mind that questioned the status quo and a revolutionary’s spirit. It was an honor to delve into the crucial moments in history she gave her all to, including the largely under known Panther21 trial. A trial she was on while pregnant with Tupac. It was an honor to embody her rich, complex narrative in support of bringing her son’s life to the screen. As someone who has been a serious Tupac fan for as long as I can remember I was so thankful to be a part of this. I hope you all have a chance to see the film when it opens in theaters this Friday, June 16. #alleyezonme



The Holy Tranfiguration Monastery is a Serbian Orthodox monastery in Milton, Ontario. The impressive, vibrant and colourful frescos in the interior were painted in multiple phases by an artist from Belgrade, Dragan Marunich. Though on the outside the building is one solid colour, once inside, amidst the kaleidoscope of rich, narrative driven colours, heady scent of incense, and echoing chants of monks, it is difficult to tear oneself away from this mesmerizing space. 

The grounds around the monastery boast sprawling acres of greenery, a donated water fountain considered sacred and holy by Orthodox communities and picnic areas frequented by Serbian and Ethiopian Orthodox families in Canada.

© Mariam Magsi, 2017
Pathfinder: Kingmaker
Pathfinder: Kingmaker is an isometric single-player RPG based on the Pathfinder Roleplaying Game Kingmaker Adventure Path.

Short Description

Whether you’re new to the Pathfinder® universe or you’re a seasoned veteran, Pathfinder: Kingmaker® is the CRPG you’ve been waiting for.

Here at Owlcat Games, we love and are inspired by classic isometric computer RPGs like Baldur’s Gate, Fallout and Arcanum.  Our dream is to rekindle the thrill of playing those games for the first time.  Building your hero, exploring the unknown, getting to know your companions, experiencing the adrenaline rush of your first battle (and your last), delving into mysterious dungeons, and — most importantly — seeing your protagonist and your world change through your actions.

We’ve always been big fans of the Pathfinder Roleplaying Game® from Paizo, Inc®, so we thought: How cool would it be to do this in the beloved Pathfinder setting?  Paizo agreed, and with your support, we hope to bring a brand-new fantasy saga to life.

The Game World

Pathfinder: Kingmaker is the first single-player computer RPG based on the acclaimed Pathfinder Roleplaying Game.  The game invites players to Golarion, a world rich with history, mystery, and conflict, and gives players the chance to claim part of this world as their own.

Pathfinder has considerable depth, not only in its lore, but also in its game mechanics, and in the freedom it offers you to develop your own unique character.  You can customize your character with a wide range of classes and powers including specialized archetypes, powerful arcane and divine spells, choosing from a multitude of class abilities, skills and feats.  Pathfinder allows players to create heroes (or villains) that fit both their individual gameplay styles and their personalities.

The Story

In the north lies the Stolen Lands, a region that has been contested territory for centuries.  Hundreds of kingdoms have risen and fallen in these lands, and now it is time for you to make your mark — by building your own kingdom!  To do so, you’ll need to survive the harsh wilderness and the threat of rival nations… as well as threats within your own court.

Pathfinder: Kingmaker is based on Paizo’s award-winning Pathfinder Adventure Path of the same name.  You certainly don’t need to be familiar with the story, but if you are, you will encounter characters you know and love.  Either way, you will experience a host of brand-new events, companions, allies, and threats that expand and enhance the original Adventure Path.   With help from Paizo and their authors, the story and quests have been expanded by RPG writer Chris Avellone and the Owlcat team, allowing for even more adventure in the already rich narrative of the Stolen Lands.

While Pathfinder: Kingmaker is a single-player game, you won’t be adventuring alone.  Pathfinder: Kingmaker features a diverse cast of companions and NPCs, including iconic characters from the Pathfinder setting itself.  You’ll need to decide who to trust and who to watch carefully, as each companion has an agenda, alignment, and goals that may differ from yours.  Your journey will become their journey, and you’ll help shape their lives both in the moment and well into the future.

Your Kingdom

We chose to adapt the Kingmaker adventure path because it features a host of open-world mechanics, allowing players to experience the story at their own pace as they explore the Stolen Lands, which will challenge you as both an adventurer and a ruler.

Most importantly, the game allows you to claim these lands as your own, letting you carve your own kingdom from the wilderness.  While classic dungeon crawling and exploration lie at the heart of this adventure, diplomacy, politics, and the ability to lead troops in the field are also part of the challenge.  Choose your allies well, and keep them close while exploring ancient tombs and ruins — and while dealing with politics in your own court. 

As you’ll discover, building a kingdom goes beyond simply building a stronghold: Your kingdom is a reflection of your character and your choices throughout the game.  It is a living thing shaped by your alignment, your allies, and your ability to lead your people.  Not only can your kingdom expand, opening up new territories and allowing you to build new towns and communities, but your capital city will physically change based on your decisions, your policies, and even whom you choose to ally with.  As your kingdom grows, a number of factions and neighboring countries will come to you to seek favor — and to test your strength.

If you fail, your kingdom will be destroyed, but if you succeed, you’ll have made a nation where countless others have failed.

Your kingdom awaits!  Do you have the strength to rule it?

All or nothing.  This project will only be funded if it reaches its goal by Tue, July 11, 2017, 11:59 PM EDT.

Whether evoking the pain of first love or investigating the challenges of the contemporary immigrant experience, Tunisian-French filmmaker Abdellatif Kechiche depicts human behavior in all its unruly complexity. In 2007, his gift for infusing rich, classically structured narratives with documentary-like authenticity resulted in the four-time César Award–winning The Secret of the Grain, a roving, multigenerational drama that follows a French-Arab family thrown into discord when the patriarch decides to pursue his dream of opening a portside restaurant specializing in North African cuisine. With its intimate exploration of the central role that food plays in forging cultural identity and familial relationships, the film becomes something more than a mere “imitation of life—it’s the rumbling real thing,” as Wesley Morris writes in his liner notes for our release.

Constructing Reality in The Secret of the Grain

anonymous asked:

Do you know what happened to your friend who used to be Concentrationmoon on Deviantart? His comics were hilarious.

Their name is Iris Jay and they can still be found at the following very active places linked below! They’re my very best friend and also the longest friend I’ve known in my life so far. They’re an incredibly talented artist and cartoonist who’s writing, concepts, and storytelling mastery offers up INCREDIBLY rich worlds and narratives that still don’t feel overly complicated. Their stories are full of humor, action, wit, and diverse characters and representation. I would advise everyone here who follows me to please at least give their body of work a look if you haven’t before! (It’ll at least give you some quality work to read while I continue to get comics content together on my end!) [Tumblr page] [Twitter] [Independent Website] [Current Running Webcomic]

Their Deviantart might be gone but their web presence certainly is not! 

IMPORTANT HEADS UP: They’re fem-agender trans and use gender-neutral “they” pronouns now instead of him!

The Chitters

Kudos to Nancy Won for writing a gothic metaphor for the queer experience while actually including a queer couple in the text.  So often in fantasy and gothic narratives, the actual topic of the metaphor is kept in the subtext- we’ve seen that for eleven years on Supernatural.  And while that’s a perfectly acceptable and even compelling way of creating a rich narrative, it also means that what’s being discussed- queerness, abuse, trauma, etc- is left without textual representation in the text.

In The Chitters, however, the metaphor operates only because of the textual representation of queerness- ie Jesse’s anxiety about the closed-mindedness of the townspeople.  On the surface, he’s talking about the fact that he saw something that no one believed, and that even the sheriff shut him down despite seeing the exact same thing.  But because from the very first line in the episode, Jesse is established as queer in a small town in the middle of nowhere, his comments about the intolerance he faced as a child seem less about people believing him, and more about intolerance of another kind.

The dual meaning of Jesse’s words then lend the rest of the episode that same dual meaning, particularly considering the chitters themselves.  This MOTW is framed not by what we the audience sees, but what individual characters witness, from the cold open all the way through the investigation.  We don’t see the victims being turned into these creatures, but rather we see the survivors recounting what they saw and being dismissed by everyone around them.  The girl at the beginning was told that she’d been high, so it couldn’t have been what she thought.  Jesse was told it was a sexual predator and he was just making up stories.  Etta deflected and pretended she didn’t know anything until pressed, and even while she told her grandmother’s version of the myth, she stuck to her own story of a cheating husband.  The old sheriff was so sure that no one would believe him that he cut his daughter out of his life, both literally and metaphorically, told traumatized people that he didn’t know anything, and shut himself away from the rest of the world.

Compare all of this to Dean’s reaction on meeting Jesse and Cesar.  He called them brothers, and when Cesar corrected him, it still took him a moment to realize exactly what was going on.  Look at Jesse’s discomfort as soon as Dean says “You fight like brothers.”  This is the insidious, well-meaning form of homophobia.  The kind where you’re told that you can’t really be gay, you just haven’t met the right person yet, that it’s sexual perversion and you’re not a pervert, that you’re just making it up for the attention.  (Interestingly, most of those comments are things people say not to gay men, but to people who identify as bisexual/asexual/trans/pansexual/lesbian/etc.  Not that it’s relevant to this discussion, but it might be relevant to a certain character who may or may not swing both ways).

The chitters therefore become the reflection of a compulsory heterosexuality, where those who might feel differently are herded back into line.  The affliction is a dark and disturbing sexuality that consumes the host in the name of reproduction.*  Anyone who sees them for what they are- death of the self- are firmly told that they’re crazy, that the missing people just left the town and are happily living somewhere else.  Even those with the evidence right in front of their eyes dismiss it- most notably the sheriff, who killed his own daughter and then pretended that nothing ever happened.

Of all of the people involved in this, the only ones who were able to defeat the problem where the ones who ignored what others were saying, and stuck to what they knew was the truth.  Despite everything that happened to him, Jesse remained firm in his belief that he didn’t imagine what took his brother, that he could one day hunt it down and kill it.  He fought back against the intolerance that he faced, and came out the other side of it- not because he got his revenge, but because he was able to see past the lies and self-deceptions, and end up with the one person who understood him and supported him through it all.  His happy ending was not revenge on the dark mirror to a homophobic town, but getting past it, settling down with the man that he loves.

It’s hard, if not impossible, to not see this as a continuation of the destruction of Dean’s performed masculinity and heterosexuality.  While Sam was the one who was paralleled with Jesse on the basis of their devotion to their older brothers, Dean is paralleled with Jesse by occupying the negative space Jesse would normally fill in his relationship with Cesar.  In the conversation about Jesse’s revenge, Dean represents what happens after the revenge, but as yet without the happy ending.  After all, it’s been years since Dean shot Yellow Eyes, years since John died and passed on the mantel of obsessive hunting on to his sons.  The revenge that Sam and Dean sought left them without closure, but rather just more problems to solve, more battles to fight.  They both lacked the steady support of a partner like Cesar, who was willing to fight to the end for the man he loves, and also pull him away from that next battle so that they can go home and live their lives in freedom.

You can see where I’m going with this, I’m sure.

*Not to say anything against heterosexuality as a whole.  This is referring specifically to compulsory heterosexuality, where one is forced into a role without taking their own preferences into account.

anonymous asked:

What was the plot of The Drowned Man?

Oh hey you asked about my favorite topic.

The Drowned Man was set in 1962 Hollywood. Its narrative was a mash-up of Woyzeck (a 1836 play by Georg Büchner about a mistreated soldier who murders his lover) and The Day of the Locust (a 1939 novel by Nathaniel West about the dark side of Hollywood). Other prominent influences included Sunset Blvd & the works of David Lynch (especially Mulholland Drive and Twin Peaks).

The space was twice the size of Sleep No More NYC, with 32 characters. It had two main stories, mirror image versions of Woyzeck, one “inside the gates” of the film studio, in which starlet Wendy murders her cheating husband Marshall, and one “outside the gates,” in which lowly janitor William murders his cheating wife, Mary.

As it took place both on and off a film set, with lead characters who were descending into insanity, it played with questions of what was “real,” or part of a film that was being filmed, or a delusion or dream of a character. 

The space was huge and the narrative complex; you could spend forever exploring and still discover new surprises. Several of the 1:1s were epic, including one which took a single audience member into an immense darkness that seemed to go on forever (actually about a third of the basement level reserved just for this 1:1).

It had rich layers of narrative and a significant amount of dialogue, with nearly all of its characters fully fleshed out with stories that you could spend an entire loop on. So many of the characters were brilliant… Faye and Frankie, desperate to be “stars”; Andy and Andrea, struggling to save their best friends; Dolores Grey, the fading star; Dwayne, the drugstore cowboy; the Fool, a sad clown lurking among the outskirts of the studio; Romola Martin, trapped in a Mememto-style attempt to discover who she is and what was done to her; Conrad, a Scientologist actor with a secret; Miguel, a trickster summoned by the mysterious Dust Witch; the Grocer, trapped in a role he didn’t want to play; Lila, the foley artist for the film; several studio characters (Alice, Claude, the PA) who may have been demons; and of course Mr Stanford, the studio boss controlling it all. See the complete character list at @templestudios​ fan tumblr.

Recurring motifs included drowning, foreshadowing the ending; the red moon & the fire raging in the sky; Rorschach blots representing the dual narrative; eyes & blindness; stars; the horse as symbol of the studio; “we live inside a dream”; and of course the Grandmothers’s tale from Woyzeck, which is in every Punchdrunk show, with its theme of dreams turned to disillusionment - it was part of a 1:1 and there were individual rooms inspired by the withered sunflowers, the moon of rotten wood, and the stars as little golden flies stuck among a blackthorn tree.

It was my favorite show I’ve ever seen and probably my favorite place I’ve ever been.

If you go to the “highlights” page of my blog you’ll find links to some of what I wrote about it, and to some of my favorite things by other fans.

Here are links to photos from the show:  1, 2, 3, 4

In addition to the recently released Drowned Man walk through, you can still visit the Temple Studios website, which has some details about the show and Hollywood-style headshots of the performers (many of whom you’ll recognize from Sleep No More NYC & Shanghai). Also check out videos on YouTube, the blogs of @templestudios and @throwtherose, etc.

One of the most brilliant and insidious tricks the wealthy and powerful ever pulled on the world was this gradual, diffuse rebranding. We don’t have “nobility” or “aristocracy” anymore (barring a few exceptions), just an unaffiliated assortment of tremendously wealthy and powerful people, with influence and privilege almost immeasurably beyond that of the “common people”, who pass their wealth and privilege on to their families from one generation to the next. It’s a lot harder for the masses to complain when, according to the pervasive cultural narrative, the rich and powerful are just like everyone else, apart from their inherited wealth and power. The rich and powerful still stomp all over the world with nearly the same impunity as in previous centuries or millennia, but it’s framed in a way that makes it much harder for a contemporary “commoner” to object to it.


Artist Fuses Vintage Photographs with Present-Day Paris to Make History Come Alive

These historical composites layered over modern day scenes showcase the timeless postcard perfection and rich narratives that flow through the streets of Paris. By combining past and present portraits of the famous French capital, art director Julien Knez showcases just how many changes the City of Lights has seen over the past 100 years.

Personality types and microgenres: the ESxxs

ESFJ: The uptight one with a heart of gold; equally at home in character-based sitcoms (Schmidt in New Girl, Leslie in Parks and Rec) and action/sci-fi with a solid dose of comedy (Joe in The Flash, Alison in Orphan Black). Their wild theories and thought-spirals usually make great comic relief but they’re also probably responsible for some of the most touching moments; surprisingly willing to do crazy shit because tert Ne is WEIRD, Y’ALL.

ESFP: The unconventionally smart, larger than life character with the wacky ideas and a deeply insecure core in sitcoms (Gina in Brooklyn Nine-Nine, Tom in Parks and Rec, Titus in Unbreakable Kimmy Schmidt). Their usual “everybody wants to be me or do me” attitude is occasionally stripped away to reveal their fears. It’s usually a great quiet beat in a wacky sitcom world.

ESTJ: The one in an epic struggle of good vs. evil who keeps the chosen one (often ISFP but not always) on task usually through tough love and also telling them to think about things for one fucking second. Often a a peer but occasionally a mentor (Hermione in Harry Potter, Leia in Star Wars, Lin Beifong in Korra). Turns out the real mom friends were the ESTJs we met along the way.

ESTP: weirdly this one seems to be very common for “complex female heroines with a rich, non-exploitative trauma narrative in sci fi or fantasy that is still relatively grounded/has plenty of mundane plots.” (Sarah in Orphan Black, Jessica in Jessica Jones*, Korra in Legend of Korra). It’s…weird how specific that is but it also kind of works in that they make great viewpoint characters in terms of hyperawareness and adaptability but also lower Fe messiness.

anonymous asked:

Do you think JonCon has to (thematically speaking) find out about Aegon not actually being Rhaegar's son?

Thanks for the question, Anon.

Was talking about this with @poorquentyn, and he put something into great perspective for me. JonCon learning or not learning about Aegon being a fake depends entirely on what we, the audience, know (or heavily suspect) to be true regarding Aegon’s true parentage. Emmett and I may disagree on how explicit the reveal of Aegon will be, but at the very least, I think it has to be more heavily implied in TWOW that Aegon is no true Targaryen. In order to appreciate the full characterization of JonCon, I think we the readers have to see him while ourselves knowing that he’s serving a lie - that he’s thrown the better part of two decades toward chasing some sort of personal redemption via a false dragon.

After all, if we’re still largely in doubt about Aegon’s true parentage (and based on the limited, unscientific data I gather from the fandom, a good number still think he could be the real McCoy), then what will it mean to watch JonCon in TWOW? If he dies never knowing, and we don’t really know, then he might in his own way seem almost noble - the man who so loved the Prince of Dragonstone he sacrificed everything and was willing to do anything in order to see that Rhaegar’s (supposed) son would sit the throne his father never did.

By contrast, if we know, even if JonCon never knows, we’ll get a thematically rich patheticness to the story that fits JonCon’s own selfish arc. JonCon prides himself on devoting himself to Aegon precisely because Aegon is of course Prince Rhaegar’s son, and if he manages to succeed with Aegon he will, in some strange retroactive way, have succeeded with Rhaegar. He resents at Varys’ involvement in the plot, dreams of the day when Aegon is sitting the Iron Throne and Varys will be “soon forgotten” … oh but JonCon, you couldn’t possibly know how deep Varys’ involvement in this conspiracy goes. You’re still duped. You haven’t outwitted the Spider, you’re in the sham as much as poor Aegon is. You’ve spent years in exile, lamented your past, landed a crew of foreign mercenaries in your homeland, murdered innocents, done all of this .. for nothing. All you think you’ll get is meaningless, because Aegon can’t give it to you. Rhaegar’s heart bled out in the ruby ford, and his son is on the wrong side of the continent.

Now, I go back and forth on whether JonCon himself ever learns. On the one hand, it would be an utterly painful - and therefore probably narratively rich - moment for all of JonCon’s dreams to come crashing down around him, probably shortly before he dies. On the other hand, there is a delicious irony in him never learning - that he lived and die for a lie, never perceiving all around him the signs that Aegon was not the vehicle he wanted to win dead Rhaegar’s love. Insofar as I don’t think it will ever be totally confirmed (I think it’s too narratively fertile for Daenerys, to kill Aegon while never quite knowing if she slew her brother’s son or merely some false pretender), I tend to side with the latter, but I can see the arguments for the former.

The Queen Regent (NFriel)

ok, so i have been following the story of the fires. i give no cares about the people in mcmansions with insurance losing their homes. otoh, there’s many communities nobody ever hears about caught up in these fires where people who you never hear about because they aren’t rich are suffering. and there’s NOTHING about them. i’m seeing stories and photos about the well off and their losses.

please take your tragedies of the rich narratives elsewhere. i don’t care.

I was telling you a story of love
how even in war it goes on speaking is own language

Yes you said but the larynx is bloodied
the knife was well aimed into the throat

Well I said love is hated   it has no price

No you said    you are talking about feelings
Have you ever felt nothing?   that it what war is now

—  Adrienne Rich, Excerpt of Six Narratives from Later Poems: Selected and New 1971-2012

kopaka777  asked:

How is it impossible for Tyrion to bump into Catelyn at the Crossroads Inn? Also, while GRRM is a brilliant storyteller, what do you think are his biggest flaws? And finally-what makes ASOIAF not a blanket anti-war statement?

1. Given when Tyrion leaves the Wall and Catelyn leaves King’s Landing, they should’ve intersected considerably farther north.

2. The Dead Ladies Club; ask @joannalannister for more.

3. One of my favorite topics. *cracks knuckles*

So, all I have to do is find one exception and by definition it’s no longer a “blanket” anti-war statement, right? And there’s way more than one. The FeastDance in particular is rife with false peaces that demand disruption, from White Harbor to Slaver’s Bay. Tyranny is not peace. Subjugation is not peace. The status quo in, say, Davos III ADWD is not a worthy peace, which is why GRRM has Davos and Wylla Manderly stand so stirringly against it. Why would he write it like that, why would he have our heroes stand against the “peace” and the villainous Freys for it, if a simplistic anti-war message is what he meant for us to take away? It’s just not that black-and-white. 

This is true in ACOK as well. Robb tries to make peace with the Lannisters…and they throw it in his face. What is he to do then but try and beat them in the field until they are willing to come to the table? It takes two to tango. If the other side is not interested in peace, then peace is impossible. (Same logic applies to the Others, by the way.) Or look at Stannis in that same book: is he really supposed to bend the knee to usurping tyrants who put a sadist on his throne? He’s thoroughly justified in rising up against Joffrey, and against Renly as well, given the nightmarish society-wide consequences if the latter triumphs. (Why should any younger son follow the rules if the King didn’t?)

Now, is anything Robb and Stannis do in the name of their just causes automatically good? Not at all! ASOIAF is in large part about the costs of war…but that’s just not the same thing, at all, as making a “blanket anti-war statement.” As these examples demonstrate, GRRM simply did not construct the story that way. Moreover, I think GRRM’s critique of war has less to do with the real world and more to do with the genre in question. He’s telling us we need to be more critical and informed readers of medieval fantasy, that we shouldn’t blindly swallow depictions of medieval war as dashing and romantic, more than he is telling us to protest outside the Pentagon. (Not that there’s anything wrong with the latter.) 

Finally, and perhaps most importantly: GRRM’s personal anti-war leanings inform the text, but they don’t overwhelm it, because he’s a better writer than that. Very, very few authors can deliver an outright polemic-as-narrative that holds together as a story (Orwell comes immediately to mind). GRRM knows better than to reduce his rich narrative to a screed. Again, it just isn’t that simple, and shouldn’t be.