Hi! I’ve been reading your laboratory of politics series (which, btw, is excellent thank you for providing content of such quality) and you say that “This suggests that the history of Braavos starts with the Founding, then the raising of the Titan, then the Unmasking.” But why would the braavosi have such a huge, and therefore noticeable, statue when they are still trying to hide from the world?

The Titan(s) was/were key defensive structure(s) to protect Braavos against a naval assault so having them in place before anyone knows that Braavos can be attacked would be very important. 

Given the size and wealth of Volantis (its satellite cities are each larger than King’s Landing) and the size and wealth of Braavos, which would you say is the stronger? In a protracted war, which would hold the advantage?

I think they’re about the same, but Volantis is the waning and Braavos the waxing power. In a protracted war, I’d give Braavos the advantage because they’re better able to finance their war effort and to recover from naval losses thanks to their highly efficient Arsenal. 

RFTIT Tumblr Weeklyish Roundup (Part I)

RFTIT Tumblr Weeklyish Roundup (Part I)

So Dany III took up a bit of time, but now I can tackle the mountain of books for signatures.

In the mean-time, I have a TON of Tumblr stuff, so I’m breaking this post in two so it’s not a crazy-long list.

ASOIAF:

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Ive seen images of bow sheathes, were these used to carry bows? I always thought they were carried unstrung and then strung for battle or in a pack/on the shoulder (maybe this last one is a hollywood trope) rather than having a specialized sheath attached to the waist like with swords. I dont imagine longbows would work well with a sheath but maybe composite bows, so if there were bow sheathes for smaller bows, did longbows also have some large one carried on one’s back or were they unstrung?

  • Yes, they were used, although probably a bit more often with horse archers who needed to have hands free for reins and the like. I’m pretty sure they evolved from an earlier practice of storing the bow in the quiver, as we can see here in the upper-right:
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  • You’re right about the stringing and unstringing, since keeping a bow strung all the time is bad for the string and thus the power of the bow. However, if you were expecting a battle or an ambush or the like, you don’t want to be in a position of having to stop and string your bow, so you’d string your bow in advance and then you’d need a way to carry it around, hence a sheathe.
  • Carrying them on the shoulder is a really bad idea, because moving around with them that way is very awkward and it’s super-easy to catch the bow or the string on something or someone around you. 
  • Longbows are a bit unusual, because they were long enough to be carried like staves, albeit with a cloth cover over them. But you couldn’t really do that with other kinds of bows. 

How do you feel about the varying power levels of characters in the MCU between films, and indeed within films? Justified by the Rule of Drama?

It’s not just fine, it’s absolutely necessary. I’m a firm believer that variation is at the heart of all great storytelling, and I think that applies to superpowers as much as anything else. 

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Take the airport fight sequence in CA: CW, for example. 

Part of what makes the fight so much fun is that you have all kinds of different power levels going on – non-powered spies like Hawkeye and Black Widow, supersoldierish folks like Cap and Bucky, tech-suited guys like Iron Man, War Machine, and Falcon (to a lesser extent), Black Panther is somewhere in the middle of those last two categories, then you’ve got Vision and Ant/Giant-Man and Scarlet Witch doing all kinds of crazy shit, and then you’ve got Spiderman somewhere in between those last two categories. 

Thus, as the various fighters pair off in different combinations, you can show all kinds of different power dynaimcs: Ant-Man crawling inside of Iron Man’s suit or suddenly turning giant and grabbing War Machine and then getting ESB’d by Spider-Man, or Cap and Spider-Man having a shield vs. webs battle, or Scarlet Witch throwing a parking garage’s worth of cars at Iron Man, etc. 

Now imagine that same sequence if everyone had Superman’s power set. Imagine how boring and repetitive it would get, with all of these flying bricks punching each other through buildings over and over again. 

What are your thoughts on Iron Man 3, especially in the context of the wider MCU? I just watched it again and feel it’s really underrated. Maybe not Winter Soldier or IM1 good but not as bad as I see some people say

I discussed it here

In terms of stuff I didn’t think of at the time, I do feel like more could have been done with AIdritch Killian – he doesn’t really interact much with Tony in a meaningful way, and him being all firey at the end is a bit dull – and especially more could have been done to put AIM up there with HYDRA as a recurring low-level threat/plot hook for MCU films. 

Aside from the super-obvious, like Asshai & Valyria, what are other locales you think might be, or definitely are, thin places like you call Harrenhal? What evidence or signs would definitively indicate such? Would that weird black stone be one, meaning maybe Pyke & Oldtown are? What about places with possible magic defenses, like Winterfell, the Wall or Storm’s End? Does their long-term magic make a thin place, or does being a thin place make the magic possible?

There’ a lot of places which could qualify: Asshai; maybe High Heart; Chroyane definitely is one, given what’s going on with time and space in that vicinity; the Night Fort is a good contender; the Twins might become one although I think it might need to marinade a bit longer.

However, I think other places don’t fall into that category. We have other terms, like “hinge of the world” for places of power – thin places would be a subset which are places that are concentrations of human suffering as well. Winterfell doesn’t count – it’s clearly a place where human life is protected – and I think Storm’s End, etc. are in that same category, although less important to the narrative.