"IF THAT'S NOT CLEAR THIS IS ANOTHER EXAMPLE OF HOW GRRM'S WRITING IS INITIALLY BIASED AGAINST SANSA" do you think GRRM changed his mind/plans about Sansa?
Yes, like he did with many things in the series. I think the story Martin initially conceived was much simpler, less trope-challenging, with characters in more neatly identifiable roles and more linear storytelling; but his gardener approach allowed these characters to grow organically out of the boxes they were originally confined, and come to life in ways that I’m sure surprised the author himself in the first place. I think as soon as Martin figured out what he wanted to do with this story in terms of trope deconstruction, he realized he had an enormous potential in Sansa, who represents the classic princess in the tower fantasy trope, with a bit of the queen bee type from nerd culture and young adult narratives: there was a lot to deconstruct about her. And I bet he realized it soon enough: the first book still has lingering traces of first draft!Sansa, but she’s already much more than that (her pov for example is one of the finest attempts to delve into the psychology of a preteen girl I’ve seen from a male author).
Sansa is also one of the characters that benefit from the story being longer and richer than the original 3 books plan. A longer story that doesn’t have to be squeezed in a trilogy and can afford to shift gears into a slower, more analytical pace when required made it possible for Sansa’s mostly inward journey and subtle development to happen on page, allowing the reader to know and appreciate her even if she’s not an action-oriented character.
I think one of the things that makes this show so haunting is that we never get to see how Wirt reacts to his time in the Unknown after the fact. Even the ongoing comic series that takes place after the show somehow manages to avoid this one. So because the question isn’t answered in an easy way, we’re stuck with it. We’re the ones who have to try to grapple with what we’ve been through here, not Wirt.
in short, i work at a book store and take great advantage of the ability to order whatever i want for the store without bearing the responsibility of paying for anything. i read a lot of books and texts about comics because i’m driven to make a graphic novel i’m proud of, these are just some of many i find noteworthy- b/c no one actually needs a bunch of courses or an art degree to obtain a broader upstanding of the illustrated narrative and subsequently grow as a comic artist.
binky brown meets the holy virgin mary - justin green (duh. essential for contextualizing early crumb/ spiegelman/ a lot of work in the comix scene & era as well as serving as the ultimate ideal model for the autobiographical comic narrative.)
graphic witness: four wordless graphic novels - masereel, ward, patri, and hyde (this and the former three are the best introduction to textless graphic novels/ expressionist woodcuts that i’ve come across. woodcut narratives have been so huge for me.)
AX volume 1: a collection of alternative manga - various authors (another personal favorite. but i think any comic artist can benefit from AX- it’s an amazing and diverse collection of highly stylized shorts that take really interesting and surreal narrative directions)
lynd ward: six novels in woodcuts - lynd ward (..,,there’s nothing i can say about ward that would do him justice really. he was the master of the craft and i just consider his work so intrinsically important.)
TO END ON A FUN NOTE ::: wampus, vol. 1- franco frescura & luciano bernasconi ((the stupidly fun dated as hell french comic book that’s supposedly a cult classic but i’ve never encountered anyone else who’s actually read it so like, help me out here)
Over the Garden Wall is about purgatory (or I guess limbo?)
The boys are dying of hypothermia inna river that’s why it gets colder towards the end. (It also makes sense why Greg “died” first cause like he’s tiny)
All the people were from different timelines because they all “died” during different points in history.
The Pumpkin guy represents an easy death. Having lived a full life. He’s the only one who the boys don’t help in some way. Except also the tavern but that’s where they got Fred.
(Side note, the tavern lady was totes right about the woodsman being the evil guy, woah, right?)
Everyone else had problems that had to be solved which, if it is a purgatory situation, kept it from being their perfect heaven.
The mansion, the school, and Auntie Whispers all showcased good people with a curse, something keeping them from a peaceful afterlife.
The only situations we didn’t see that were Adelaide’s (probably because she gave in to evil in order to achieve what she wanted like the woodsman, although, she was more aware it wasn’t on the up and up.), the Ferry, and Greg’s dream.
If the frog had stayed with the Ferry he would have died and been in his heaven. Greg’s dream was his heaven. These two were the only ones we saw who could be happy with no regrets. (An animal and a child). They were the only ones truly safe from the beast.
If we look at the individual problems we see guilt, loneliness, and despair. The Beast feeds on this, which I will come back to later.
1. Quincy has all this wealth and now one to share it with. He is wracked by guilt over his greed in life.
2. The school is probably the home of broken dreams (both creative and romantic)
3. And this is maybe a parallel maybe not? I think Beatrice killed her family on accident in life and Auntie Whisper did the same. I think Lorna died of illness and Auntie Whisper couldn’t save her and is indebted to her soul in the afterlife. Beatrice may have caused an accident in life which killed her family and/or tried to bargain her way out of the afterlife and feels indebted to them because of their state.
Greg, who represents innocence and joy, gives them hope but it’s Wirt who is the one who can actually turn their (after)life around. I think because he is the drive, the logical processes to compliment that blind joy. If you chase after joy without a plan, you’ll lose your way. It’s why it was significant that when when Wirt admitted he didn’t have a plan her fell into despair. When he had a goal again (save Greg) he could logically see through the Beast’s lies and ultimately overcome it.
The Beast feeds on the souls of the hopeless and the lost. So Wirt and Greg, who are there by accident, don’t have an established purgatory and are easier targets, but I believe that every soul in the woods would eventually succumb to the hopelessness of their situations. But Greg’s joy and Wirt’s clear sight allows them to really effect positive change everywhere they went. This is a direct threat to the Beast.
Which brings me to the lantern. The lantern is important to the beast, so very important, because the lantern is hope. If the lantern goes out and there is no hope, then there is no way for the Beast to feast on hopeless souls because you can’t prey on an absence if there is nothing to compare it to. It’s why the Beast’s eyes are as bright as the lantern, it’s why he set Greg on all those tasks. The hope must be there for you to see the dark.
The woodsman was clinging to hope of his daughter. Grinding down hopelessness to make way for more light which would be corrupted by the beast again. It was in itself a struggle that seems hopeless.
Greg and Wirt, who brought too much good to the woods, were able to not only escape their own untimely deaths but were also able to save the souls who were with them (probably due to the proximity to the graveyard). This includes freeing all the souls that the beast was made up of, i.e. Returning the woodsman’s daughter. Basically being awesome heroes.
Yeah please watch this show it is so incredible as a work of animated storytelling.