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@zachysoup
me: i want to feel something
emotions: okay here you go
me: Put It Back
Remember the time when Prince was the subject of one of the dirtiest jokes in a children’s cartoon to ever get past the censors?
HEHEHEHEHEHE :}
armor details game of thrones season 2.
Stannis Baratheon
Robb Stark
Joffrey Baratheon
Theon Greyjoy
Tyrion and Tywin Lannister
Source: http://www.makinggameofthrones.com/production-diary/50-things-season-2-pt-2
Since I was just looking through your blog and saw that you'd written about it, headcanons about Baratheon!Jon :)
(I usually write Baratheon!Jon in modern AUs, but here’s a canon one!)
(also this is barely what you asked for, I’m so sorry)
i.
Lyanna does not go with the Silver Prince, in the Riverlands, because it occurs to her that such a thing might disappoint Ned, and what disappoints Ned would have disappointed their lady mother. Lyanna courts her father’s disapproval in all things, but could never bear to disappoint her mother in even the smallest things, and so she remains.
She regrets it, for the freedom he promises her is everything she ever wanted, but Mother would have expected her to square her shoulders and grit her teeth and do her duty, as the she-wolf hunts for her pack even in deepest winter, and so, that is what Lyanna does.
ii.
Robert is not so bad as she feared - she knows that he beds half a dozen maids within two months of their wedding, but he is so pleasing in their bed that she supposes there is something to be said for all that practice.
He delights in her, and spoils her as Father forbade Brandon and Ned from doing, when they were home, and she relishes being respected as Lady of Storm’s End, in a way she never was as lady of Winterfell. She tried to help Father run the castle, but Mother’s ghost always lingered too strongly in the corners, in the second chair by the fire in Father’s solar, and so Lyanna had never been enough.
She is enough for Robert, though, and for his brothers, and his castellan and all the servants. There is a sort of freedom to be found in the running of a castle as great as Storm’s End, and Lyanna finds herself satisfied, at least for now.
iii.
Missing her moon blood frightens her, especially when it happens three times in a row, and she runs to the maester to confirm her fears.
So many women die in childbed that she cannot understand how not to be frightened, when kind Maester Cressen gently assures her that all signs indicate that both she and the babe are perfectly healthy, and that Robert will be thrilled.
Lyanna knows well that Robert will be thrilled, for he loves her so and wants a whole army of children with her, boys who she knows he hopes will be like Ned in manner and look, so much so that she sometimes wonders if he wed her simply because he couldn’t have Ned.
iv.
Little Renly is first enthused and then bored at the thought of a little nephew, which surprises Lyanna as little as Robert’s desperate happiness, but Stannis’ reaction does surprise her.
He becomes her shadow, quiet and stern for his age, her age, more or less, and it amuses her to see him sitting uncomfortably in the corner of her solar while she entertains the ladies of the Stormlands. He sits there, though, when even Robert’s strident protectiveness is countered by boredom, when there is no threat at all to her, as though offering her the support she knows he feels Robert does not give her.
v.
When their son is born, he is bald and red-faced, with the pale eyes of a newborn and the tiniest hands. Lyanna is half afraid to hold him, feeling clumsy when she nurses him, but Robert has no such fears, toting little Jon about like a prize.
In truth, Lyanna had not wanted to call her son Jon - she could not expect Robert to give his heir a Stark name, but surely a Baratheon name would be better than that of Robert’s stepfather? She does not argue, though, because for all Robert seems to adore her yet, she does wonder what he will do when he no longer finds her disagreement amusing, and she fears it.
She says as much to Stannis, one day, when he has come to visit her and is holding Jon as though he is made of glass, over by the window of her solar which looks out over Shipbreaker Bay. Stannis’ mouth goes thin, as it does when he is grinding his teeth, and promises that he will never allow Robert to hurt her or Jon.
vi.
“Did he ever truly see me, do you think?” she asks Stannis one day, when Jon is a man grown with a sister and a brother, warring with his father over Robert’s treatment of her. She had supported Jon when he sought to court Margaery Tyrell, and Robert had not wanted it, had wanted to send Jon to the Vale or the North for a wife. He had taken her disagreement ill, and she bears the mark of it on her cheek.
“I do not think Robert has ever truly seen anyone,” Stannis says irritably, and she rests her hand over his for just a moment, not daring more, and while it is not much, Lyanna finds herself satisfied, at least for now.
“Oh, my sad sullen boy… My poor lonely son…”
I’ve been re-reading ASOIAF, and have been screaming about the One True King (Stannis) to all who will listen, and I’m still super raw about his and Cressen’s relationship, so I drew this in between commissions, and also wrote something that you’ll find under the cut.
Keep reading
As GRRM has demonstrated over and over again, names matter, for the same reasons all language matters. Names are microcosms, synecdoches, symbols of values and identities and entire inner worlds. As many have noted, that Theon’s last Dance chapter is, in fact, titled “Theon” represents an existential triumph for him: the author-as-god intervening to grant him what his tormentor took away, to emphasize that it’s Theon who rescues Jeyne, rather than “Reek” rescuing “Arya.” The restoration of Theon Greyjoy continues in his released Winds chapter, wherein both Stannis and Bran-via-raven call Theon by his true name, affirming his freedom from the dehumanizing title Ramsay forced on him.
That chapter also finds Stannis stubbornly refusing to recognize Tommen’s legitimization of Ramsay, insisting on referring to the latter as “Snow” no matter how desperately Theon begs him to stop. Theon knows that calling Ramsay a bastard gives him an excuse to hurt you. Of course, Ramsay needs no such excuse, but he understands that enforcing semi-consistent rules on his victims grants him a distinct and memorable identity beyond that of The Bastard. (Ramsay has to know that an occasional woman will escape his vile hunts; he accepts that because they will spread his fearsome reputation far and wide.) Stannis’ blunt repudiation of Ramsay’s rules, even when facing the living proof of the consequences in Theon, is oddly liberating. Stannis is simply not the least bit afraid of Ramsay Snow, and thereby gives us (if not poor Theon) the freedom to not fear him as well.
Of course, the power of names can distort as well as clarify. Whenever I see or hear “Robb Stark,” I see blood pooling beneath dinner tables, I hear horrific screams echoing off the Green Fork’s reddening waters, I feel a Frey knife at my throat. I cannot be the only one for whom this is so. There was so much more to Robb Stark than his death, but the Red Wedding obliterates all that came before it…and I have no doubt that Roose Bolton had that in mind when he plunged his sword into his king’s heart. Yes, Tywin authorized the slaughter, Lord Walder hosted it, and Lame Lothar helped out with the details, but (as with Ramsay’s torture methods) the ritualistic nature of the Red Wedding, the unmistakable way it both enacts and symbolizes the downfall of the Stark regime, just feels like Roose. It’s a snapshot of his soul, a full unveiling of the gruesome ecstasy at his core, so much so that his appearances in Dance have a sated, drowsy, practically post-coital feel to them. (He’s all but smoking a celebratory cigarette during his conversation with Theon in Barrowton.) Part of me thinks that’s why he’s so curiously blasé about his own death and the question of who rules the North afterwards: he honestly doesn’t care. He’s done what he set out to do, which was make it so that anytime anyone hears the name “Robb Stark,” images of the Red Wedding will flash behind their eyelids. That legacy will long outlive Roose, and he knows it, so he’s hideously content.
But the name of Stannis Baratheon will not face the same fate, not from either Bolton. Now, Stannis has burned multiple people alive, among the most horrible ways to die I can imagine. They did not suffer any less because they were traitors or cannibals, or because Stannis is himself not an unabashed monster like Ramsay, or because he was killing them in the name of a righteous cause. Yet I don’t first think of his victims when I hear his name. I hear that name repeated, again and again, louder each time, by his knights as they save the day at the Wall. (Again, I cannot be the only one.)
When my eyes first fell upon “Stannis! Stannis! STANNIS!” I felt a roar bubbling up from inside me, a torrent of righteous joy and relief and catharsis, and above all revelation: so this is who Stannis Baratheon is, a sour savior, “a king who still cared.” That feeling has yet to fade; it rushes back every time I see his name. Is that fair to the men he has burned at the stake? Absolutely fucking not! But “a good act does not wash out the bad, nor the bad the good. Each should have its own reward.” Stannis’ willingness to set humans aflame will eventually lead him to the soul-shattering “reward” of Shireen’s death (albeit in a very different manner than the show). Yet when we hear the name “Stannis Baratheon,” I firmly believe GRRM intends for us to think, first and foremost, of a king giving up his self-centered campaign for the throne in order to fulfill his duty to his people. As viscerally unpleasant as it was to watch show!Stannis fail miserably against the Boltons, D&D cannot change what the king’s name awakens in me, and neither can Ramsay. Of course, “he is welcome to try. Whatever name he goes by.”
There were tables and chairs, but only Edmure sat, and he rose again when he realized that the others had remained standing.
A Storm of Swords
I always felt like this sentence was Edmure Tully in a nutshell.
(via themiddleliddle)
“I’m really silly. That’s the thing that people don’t get.”
Godess!
/mic drop
OMG!
favorite trope: the very important hand touch in period dramas
my crackship my crackship!!
Who needs Max Steel when you have Stannis “Pure Iron” Baratheon?, who needs Barbie when you have Cersei with a bottle of Wine?
OMG OMG!!!!! OMG OMG OMG OMG OMG OMG OMG!!! I CANT BREATHEEEE!!!!! where is this from? where??!! OOOHHHH MMMYYYYYY GOOOOOOD!!!!!!
"He's not a movie star, he's not a film star, he's a fucking actor and he's absolutely magnificent to work with and I shall hugely, hugely miss the scenes that I've had with him because he's a master of the truth."
- Liam Cunningham about Stephen Dillane
Orphaned Baby Kangaroo thinks a cop is it’s mom [video]
[Magnus Carlsen]
Correction: “ Orphaned Baby Kangaroo thinks a HOT cop is it’s mom”
Tremors (Ron Underwood | 1990)