Are you able to elaborate on the whole Euron is Bloodravens former protege theory. I know there is the dream where Euron mentions of a crow, and it’s clear that Euron has magical ability, but it’s also clear that Euron has been bat-shit insane from the get go. Even someone like Brynden Rivers who firmly believes in ‘achieving the goal at any cost’ would have seen Euron never had any interest in saving the world. So why is there such a popular opinion that Bran is Anakin to Euron’s Count Dooku?

poorquentyn:

racefortheironthrone:

Discussed here, here, and here

Here’s my thinking, which is somewhat different from @poorquentyn​‘s theory. I don’t think Euron was contacted by Bloodraven as an adult, any more than Bloodraven waited for Bran to become an adult before he contacted him.

I think Euron had some sort of health crisis/near-death experience at a young age – a drowning, an illness, etc. – that acted as a shamanic calling. Bloodraven contacted him in that moment, and showed him this:

And he looked past the Wall, past endless forests cloaked in snow, past the frozen shore and the great blue-white rivers of ice and the dead plains where nothing grew or lived. North and north and north he looked, to the curtain of light at the end of the world, and then beyond that curtain. He looked deep into the heart of winter, and then he cried out, afraid, and the heat of his tears burned on his cheeks…

Bran looked at the crow on his shoulder, and the crow looked back. It had three eyes, and the third eye was full of a terrible knowledge. Bran looked down. There was nothing below him now but snow and cold and death, a frozen wasteland where jagged blue-white spires of ice waited to embrace him. They flew up at him like spears. He saw the bones of a thousand other dreamers impaled upon their points. He was desperately afraid.

Whereas Bran’s vision has compelled him to seek out the three-eyed crow and try to cancel the apocalypse, Euron became a metaphysical nihilist – because in the face of the truth of the heart of winter, all gods are lies – and confirmed the non-existence of divine judgement from an early age

Agreed! I don’t think we actually do differ on this count; I don’t recall suggesting that Euron had been visited as an adult. It’s “when I was a boy, I dreamt that I could fly,” after all. 

Fair enough. To me, though, that changes the tenor of Bloodraven’s interactions with him – it’s not that he saw someone who was evil and decided to use him anyway, it’s more of a “the Master staring into the Time Vortex” thing. 

RFTIT Tumblr Weekly Roundup!

RFTIT Tumblr Weekly Roundup!

Hey folks! It’s that time of the week again. I’ve got an outline and quotes for Jon II, and work is underway on Politics of the Stormlands as well, but in the meantime, I’ve got some good stuff on the Tumblr to keep your appetite whetted: ASOIAF: How fertile is the Vale? “Kings have no friends, only subjects and enemies.” On the Crownlands and our modern conception of progress. Why didn’t the…

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Are you able to elaborate on the whole Euron is Bloodravens former protege theory. I know there is the dream where Euron mentions of a crow, and it’s clear that Euron has magical ability, but it’s also clear that Euron has been bat-shit insane from the get go. Even someone like Brynden Rivers who firmly believes in ‘achieving the goal at any cost’ would have seen Euron never had any interest in saving the world. So why is there such a popular opinion that Bran is Anakin to Euron’s Count Dooku?

Discussed here, here, and here

Here’s my thinking, which is somewhat different from @poorquentyn​‘s theory. I don’t think Euron was contacted by Bloodraven as an adult, any more than Bloodraven waited for Bran to become an adult before he contacted him.

I think Euron had some sort of health crisis/near-death experience at a young age – a drowning, an illness, etc. – that acted as a shamanic calling. Bloodraven contacted him in that moment, and showed him this:

And he looked past the Wall, past endless forests cloaked in snow, past the frozen shore and the great blue-white rivers of ice and the dead plains where nothing grew or lived. North and north and north he looked, to the curtain of light at the end of the world, and then beyond that curtain. He looked deep into the heart of winter, and then he cried out, afraid, and the heat of his tears burned on his cheeks…

Bran looked at the crow on his shoulder, and the crow looked back. It had three eyes, and the third eye was full of a terrible knowledge. Bran looked down. There was nothing below him now but snow and cold and death, a frozen wasteland where jagged blue-white spires of ice waited to embrace him. They flew up at him like spears. He saw the bones of a thousand other dreamers impaled upon their points. He was desperately afraid.

Whereas Bran’s vision has compelled him to seek out the three-eyed crow and try to cancel the apocalypse, Euron became a metaphysical nihilist – because in the face of the truth of the heart of winter, all gods are lies – and confirmed the non-existence of divine judgement from an early age

How much were various medieval taxes like the scutage on a knights fee? Like in terms of percentages (or were taxes fixed amounts not percentages?)?

Some taxes were “fixed” by tradition – so for example, at various times scutage was one mark (2/3 of a pound), one pound, or two marks. King John got himself into trouble by demanding first two and then three marks. On the other hand, starting in 1166, there was a tax on moveable property and income which was known as the “tenth” that was a percentage tax (10%, natch).

Generally speaking, over time, there was a movement by monarchs away from fixed taxes – which didn’t keep up with inflation or economic growth – and towards percentage taxes, which did. 

If Aegon’s marriage scheme goes off as planned (Duncan decides against Jenny of Oldstones or never meets her and Aegon’s other children marry who they are supposed to), and subsequently Aegon V makes his reforms stick and it looks like his heir Prince Duncan will continue them, would nobles opposed to the reforms support the Blackfyres when they come knocking in 260 or his the Blackfyre cause too toxic in Westeros by this point?

Some would, certainly. There are still Blackfyre loyalists in Westeros to this day, but if there’s wider discontent then they might have seen Maelys as a more viable option instead of keeping their head down. 

In what fashion would a royally chartered city be punished for not upholding it’s feudal obligations (say by refusing, in times of war, entrance too and use of the city by forces loyal to the crown)? – Thank You, RSAFan.

Well, it depends who won and how they wanted to proceed. The City of London, for example, was known for its Yorkist sympathies, but Henry Tudor understood his need for the capitol (and its capital) outweighed any desire for revenge. But losing your charter might be a potential punishment – indeed, the Intolerable Acts passed by the British Parliament to punish Boston for the Tea Party are an 18th century example. 

Worst-case scenario?

Münster

in 1534-5, which was put under siege by its own bishop (the chartered city in this case was part of a prince-bishopric), starved out, and then sacked. 

What was the process for the creation of portraits (like the one of Margarey that Renly shows Net in AGOT) in the middle ages? Would Margary have to sit as a model? Were there court-employed official painters or would the portraits have to be requested with a free-working artist? Given that many european rulers patronised the arts greatly, what was the purpose of commissioning a portrait, or a painting in general? And why do we see so little of them in ASOIAF?

  • In the absence of photos to reference, yes Margaery would absolutely have to sit for a portrait. 
  • Westeros doesn’t seem to have official court positions for artists; instead, it seems that they’re more court-adjacent specialized labor, similar to the high-end smiths of King’s Landing, who are patronized by the nobility of the court. 
  • There could be many reasons to commission a portrait or painting: as with Margaery, miniatures and portraits were frequently used in the process of arranging marriages (although one did have to be wary of the artist slanting their work for side payments or for personal safety, see Hans Holbein and Anne of Cleves). Larger portraits or paintings could be given as a sign of royal favor, or as gifts for far-flung relatives, or displayed by the monarch themselves as a sign of their magnificence. 
  • As to why we don’t see more portraits, they haven’t really been plot-relevant since Margaery’s in AGOT.