An analysis of the prospective Euron vs Redwyne Fleets in “The Winds of Winter”
The fan theorists have spoken; Euron is a diabolical magical third act villain and may be the greatest threat to Westeros. I must admit that when reading Asha’s, Damphair and Victarion’s A Feast for Crows and A Dance with Dragons chapters, I found Euron to merely be a manipulative politician with competent battlefield skills. As Euron sails out to meet the Redwyne fleet in “The Forsaken” I came to the realization that Euron was much more complex than my original conception of him — that Euron’s military strength may be metaphysical instead of conventional. While others have done excellent analysis of the Aeron’s dreams and the Lovecraftian themes that GRRM has tied to Euron; I believe that we can also look at the tactics Euron could use in his showdown with the Redwyne’s to anticipate that Euron is expecting more than a naval battle to occur on the Sunset Sea and that the rest of the Ironborn are in for a surprise.
Details of naval tactics in Planetos are scarce and if I had an opportunity to ask GRRM a question it would be “What are your sources and inspiration of naval warfare?” Naval tactics rely greatly on the ship (referred also as a platform) used and Planetos contains a variety of platforms that all must use specific tactics to guarantee victory. The dromonds of the Redwyne fleet and the longboats of the Iron Islands would use different tactics, and it’s my intent to discuss both the capabilities that these forces would bring to the battle and how the battle might play out.
“It is an easy thing for a prince to call the spears, but in the end the children pay the price. For their sake, the wise prince will wage no war without good cause, nor any war he cannot hope to win.” (ADWD, The Watcher)
From his vantage point overlooking the Water Gardens, Doran Martell looked at the children at play in the pool below. To his side lay a letter from King’s Landing informing the Prince of Dorne that his brother was dead at the hands of Gregor Clegane. All around him, overripe blood oranges ominously fell from trees, giving off a sickly-sweet odor as they split open upon impact. While Doran watched, Dorne was angry — angry at the recent death of Oberyn Martell, angry at the murders of Elia Martell and her children at the end of Robert’s Rebellion. Doran Martell knew all this, and yet from all appearances, he did nothing.
The reality, though, could not have been more different. Doran Martell was doing something to avenge his lost loved ones, but the prince could not seek the immediate vengeance that his family and countrymen wanted. The Prince knew that if Dorne went to war against the Iron Throne, they would lose, and if they lost, it would be the children who would suffer.
However, events had finally shaped up to the point where Doran Martell felt that he had his chance to truly strike a blow for vengeance all the while avoiding deaths like those of his sister and her children so many years before.
A year and a half ago, I wrote the complete Winds of Winter resource and updated occasionally since that time. My last update was back in September 2015 and since then, there’s been enough new information about the book for a brand new post.
So, welcome to the ultimate Winds of Winter resource! The intent is to create the most thorough and complete resource of everything that George RR Martin, his editors and those in the know have said or written about The Winds of Winter. Further, my intent is to have something that stands in contrast to the mountain of clickbait news articles about The Winds of Winter.
To better organize all of the information, I’ve categorized things as follows:
Released Sample Chapters (and where to find them)
Winds of Winter chapters that GRRM has read at conventions/appearances
Winds of Winter chapters that are known to exist but have not been released or read at conventions
Unconfirmed but probable POV characters
Plot Points that GRRM or his editors have confirmed
So, buckle in, this is going to be a lot of information!
Spoiler Warning: Everything past this point will contain spoilers for The Winds of Winter.
Recently, I attended Balticon, where George R.R. Martin dropped a completely new chapter from The Winds of Winter on us: the long-awaited Damphair chapter. George actually offered the convention a choice: he could read the “Sons of the Dragon” (the extended cut of Aenys I and Maegor the Cruel’s history intended for Fire and Blood), the previously seen Mercy chapter, or the never-before-heard Aeron chapter (which had previously been offered at WorldCon 2011, but rejected in favor of Arianne II). By overwhelming applause, the assembly voted for Aeron, to which he warned us: “This is similar in character to Ramsay Bolton. You are some sick motherfuckers.” The attendees seemed to freely acknowledge the claim, and what followed was probably one of the most thrilling chapters I’ve had ever had the fortune of listening from any novel, easily as engrossing (albeit in a morbid sense) as the high climaxes of A Storm of Swords. George admitted that there might be some revisions, even substantive ones, between the reading we received and the final version that comes in the published book. However, even on its own, the chapter was spectacular. Many were in attendance, but I didn’t see a bored face in the room. This chapter was a while in the making, but every bit was as savory as it could possibly be.
As a note, this isn’t in perfect chronological order. I suggest going to this piece to read the notes from the con. This is organized by greater themes, not strict progression.
This is a piece I’ve had in the back of my mind for sometime now, like at least a year and a bit, and I’ve finally found the time to get around to actually doing it.
I’ve heard a lot of comments about how the character of Ramsay Snow comes across as being a one dimensional horror movie villain. In this piece I want to counter this position and really dig into the character of Ramsay Bolton. I will argue that Ramsay is more than a one note B villain. Instead, Ramsay is a well developed and multifaceted character in his own right.
Greetings readers, I know that it has been a while since I’ve published on the blog but hopefully this essay, and the ones to follow, are the end of my writer’s block. This essay is the first in a brand new series that I’ve been working on for a little while and is something that I’m very excited to share with you all. It’s not as dense, extensive, or as layered as our Three Heads of the Dragon series but I hope it will be a fun read regardless.
The series, titled “Rags to Riches; How to Make it Big In Westeros”, will examine characters who have proven to be especially socially mobile in the rather rigid feudal system of Westeros. The series will explore the dynamics of social mobility within Westeros, the themes of Lord Varys’ famous riddle, and how the traditional power structures of Westeros are being unravelled in the face of rising socioeconomic changes.
My first entry in this series will cover fan favourite, Bronn.
Today, we are joined by a very special guest glass_table_girl for an analysis of Sansa Stark and how she has used courtesy to survive so far, and how she’s weaponizing it for the future. – BryndenBFish
Every fan can recite the trademark phrases from Sansa’s storyline, such as “courtesy is a lady’s armor” or “women’s weapons.”
Despite these metaphors, Sansa’s storyline through the lens of fighting and warfare goes unexplored, and ignores motifs that contrast with other characters to highlight the themes in both Sansa’s storyline and the progression of her character.
tl;dr: Sansa’s storyline is defined in language that equates her learning to warfare. Throughout her story, she accumulates an arsenal while playing defense, pivoting to an offensive position in her first TWOW chapter with the act of “dancing,” which the books establish to be a metaphor for violence or fighting. By framing Sansa’s education in martial language, the story establishes her learning as becoming a warrior—in a different sense.