ravenous reader

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About ravenous reader

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    The Poetess of the Nennymoans

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  1. I like your theory. It's significant that GRRM defines 'valonqar' as 'little' rather than 'younger' brother, so he can indulge the full gamut of wordplay options -- accordingly, someone such as Tyrion or Littlefinger may be included as valonqar candidates on account of their 'little' physical and seemingly unassuming social stature, the latter also on account of his name! Sometimes, the 'reason' is as simple as GRRM's wish to ratchet up the suspense, remain elusive, and keep his options open! He is a crafty one, a bit of a 'Robert Frost'...forever putting up walls against the reader whilst simultaneously threatening to tear them down... From this perspective, the 'valonqar' is a wall deliberately erected to keep us in the dark. There is a curious correlation to this configuration in the Prologue, with Will being killed (strangled) by wighted Waymar, as Will reaches for the magicked-up, lightning-struck longsword which is compared to a shattered tree...THE PLOT THICKENS Together with other posters, most notably @Unchained (see his wordpress page: https://asoiafunchained.wordpress.com/essays/story-within-the-story-the-beginning/), we have discovered a two-step ritualized duel which GRRM repeats ad nauseum (the secret to 'solving' GRRM is to answer the question, not as to 'what' he is repeating, but 'why' he is repeating it -- thus far, I have no convincing answer, besides being able to recognise that he's doing it): 1. In 'round one' of the duel, the 'storm god' archetype 'drowns' his rival (often a 'brother' of one kind or another) in a deluge via a kind of 'hammer of the waters'. Unchained has referred to these competitors as the 'big brother' and 'little brother,' respectively. 2. In 'round two' of the duel, the defeated 'little brother,' despite his apparently mortal wounds, inexplicably rises against all odds, to fight again, and gets his revenge by strangling the 'big brother'. The magically transformed 'little brother' is 'the drowned god' who rises 'harder and stronger'. Some people call him 'Azor Ahai Reborn' (the 'big brother' would be 'Azor Ahai' and the sword for which he reached in his hubris is 'Lightbringer'). In terms of Brandon, I believe Littlefinger spread the malicious rumor which ended up getting Brandon killed -- an assertion for which I have ABSOLUTELY NO SOLID EVIDENCE WHATSOEVER, only 'symbolic intuition,' ha ha! See the intriguing discussion around these speculations on @Angel Eyes' thread 'Teen Littlefinger's Uriah Gambit'. The 'beauty' of the Tyroshi strangulation device is that it kills indirectly, i.e. by the actions of the victim induced into strangling himself by his very constitution. Analogously, Littlefinger frequently kills people indirectly by manipulating their weaknesses (and their strengths, for that matter, which he turns into weaknesses) -- very sadistic. The Tyroshi torture device ought to be viewed as a disembodied hand -- representing the manipulation (which comes from the Latin word 'manus' = 'hand') of an unseen player. Interestingly, Jaime was tethered to Cersei's foot by his right (dominant) hand, I'm presuming, on emerging from the womb -- might be significant! Perhaps 'valonqar' is the Valyrian word for the younger twin, i.e. 'twin B'. Perhaps Jaime and/or Cersei are 'secret Targs', hence the Valyrian... Even more outrageous -- perhaps Bran is the valonqar (the 'angry cripple' whom Cersei arguably crippled, albeit using Jaime as her swordhand). By this analogy, in 'round one' of the duel Cersei is the 'storm god' who vanquished Bran, who subsequently 'rises from the dead' (= 'the drowned god') to take revenge on those who have wronged him. According to @evita mgfs's superb find, Jaime's prescient instruction to Bran in that critical threshold moment at the windowsill, 'TAKE MY HAND', ended up backfiring on him in a weird karmic retribution or GRRM's poetic justice, whatever you may call it. So now, the tables are turned and Jaime is Bran's instrument or swordhand, with Bran having figuratively 'taken his hand' as per ironic instruction. Lending credence to this theory, shortly before Jaime loses his hand he is taken captive in the 'whispering wood' ... (this screams -- sorry, 'whispers' Bran )... and moreover has been 'framed by the trees' (a double meaning) in that beautiful passage in which Cat glimpses Jaime undergoing what I've termed an 'Otherization'. The 'red' of his coat turns to 'black' and the 'gold' of his hair turns to 'silver' -- these are the colors of the weirwood at night, or more specifically in the moonlight, so, in short, Jaime is an inverse weirwood and has been co-opted as one of the trees. Thereafter, he becomes more receptive to the calling of the old gods, e.g. weirwood dream as case in point. In that same passage I referenced, sneaky GRRM even inserts the line about Jaime, 'Others followed [him]...' which might allude to the Others with Jaime as an emerging leader in the ultimate war for the Dawn. In any case, Jaime's trajectory after having his hand severed entails a concomitant severance from Cersei's influence, with a gravitation towards the side of her enemies. I predict this 'redemption arc' will involve making reparations on some level with Bran, the boy he once harmed out of love for Cersei -- 'the things I do for love' -- an act he carried out with 'loathing': Consider that Cat has another 'little brother' besides Edmure: Had Cat married Brandon, to whom she was betrothed, Brandon would have been Littlefinger's 'brother-in-law,' or as @Crowfood's Daughter has pointed out a 'goodbrother' (which is sometimes a 'bad brother'!) from a certain point of view. In the two-step duel, as outlined by @Unchained, the 'first round' is a drowning (Petyr was defeated by Brandon at the water stair, after Brandon 'rained down' steel blows on him, almost 'drowning' him in his own blood -- it's an example of your 'wolf/flow' wordplay with Brandon and Petyr representing the 'wolf' and 'flow,' respectively): That last line almost sounds like a reckoning -- Cat is 'brought before him' for judgment. Indeed, the 'second round' of the duel involves Petyr strangling (vicariously and by proxy) the life out of those he perceives have wronged him. Fittingly, both Cat and Ned are decapitated, arguably as a consequence of Littlefinger's malice (to add to your thread, there is no difference between decapitation and strangling symbolically-speaking -- they are both head-neck wounds which target the brain and tongue, effectively silencing someone forever. The aim is to snuff out someone else's words and replace them with ones own -- this is the 'little brother's' game). Nice association. I agree. Essentially, I'd expect a recapitulation of the 'Lightbringer ritual' -- Azor Ahai was first and foremost a smith. At least he got Brienne's armor measurements right (he took a good look in the bathtub)! Have you seen this Oscar Wilde poem? He did not wear his scarlet coat, For blood and wine are red, And blood and wine were on his hands When they found him with the dead, The poor dead woman whom he loved, And murdered in her bed. He walked amongst the Trial Men In a suit of shabby grey; A cricket cap was on his head, And his step seemed light and gay; But I never saw a man who looked So wistfully at the day. I never saw a man who looked With such a wistful eye Upon that little tent of blue Which prisoners call the sky, And at every drifting cloud that went With sails of silver by. I walked, with other souls in pain, Within another ring, And was wondering if the man had done A great or little thing, When a voice behind me whispered low, "That fellow’s got to swing." Dear Christ! the very prison walls Suddenly seemed to reel, And the sky above my head became Like a casque of scorching steel; And, though I was a soul in pain, My pain I could not feel. I only knew what hunted thought Quickened his step, and why He looked upon the garish day With such a wistful eye; The man had killed the thing he loved And so he had to die. Yet each man kills the thing he loves By each let this be heard, Some do it with a bitter look, Some with a flattering word, The coward does it with a kiss, The brave man with a sword! Some kill their love when they are young, And some when they are old; Some strangle with the hands of Lust, Some with the hands of Gold
  2. Yes, well, I'd rather wax lyrical on Little Fingers and Giants of Lannister than revisit the Renly vs Stannis bro-on-bro debacle! Let's stick to cleaner topics than 'mashed potato and gravy'...
  3. Are you at it again... (you 'really need Winds,' don't you?) Given your puerile tendencies (sophisticated though they may be...), have you seen my musings (April Fool's, of course) on Petyr Baelish is Varys's Little Finger...(I have even delved into unpacking the slippery aspects of Lann's lubrication, as he sought to infiltrate 'the cleft' where no man would dare to go, for your enjoyment ).
  4. Ciao Cara, thank you for your message! There is not really one thread on the aquatic symbolism -- but in my opinion the most iconic one is @hiemal's Nennymoans and merlings more Patchface tinfoil, which won the first prize at the end of last year for the best symbolism thread. I also have a particular fondness for that thread (so perhaps I'm biased...), because not only did it bring me into @LmL's orbit, but in it I developed some of my most original contributions on this forum -- namely, my identification of, and ongoing delight in the cardinal 'GREEN SEA' = 'GREEN SEE' pun with which GRRM is playing. It's a very long post, so if you're interested, perhaps read the sections (purple headings) on 'The Wedding,' 'Drowning as a metaphor for greeenseeing', 'Bran's phenomenology of greenseeing,' and 'A note on the sunless sea,' in which I elaborate on GRRM's blatant reference to Coleridge's poem 'Kubla Khan' (we've already discussed some of these themes before, when you and I shared our ideas around the 'Rime of the Ancient Mariner'!) Basically, the idea is that all of the aquatic symbolism refers to the weirnet, in which the one-eyed 'ancient mariners', as it were, having undergone a 'sea change,' are the greenseers! As @sweetsunray has underscored in her classic 'Chthonic Cycle' conception, the 'underworld' includes the subaquatic together with the subterranean realms: @Crowfood's Daughter has written a lot about the aquatic mythology and has given much thought to what the Ironborn may signify in the novels, with a special emphasis on piecing together their history: I recommend Ironborn Mythos pt 2: the Little Mermaid and Ironborn Mythos pt 3: the Monomyth. Apropos, I love the strikingly original discussion between @Crowfood's Daughter and @Seams speculating about Littlefinger's plan to drown Brandon Stark in the duel on the water stair! (I think symbolically that Littlefinger, with his 'grey-green' amphibian eyes that don't match his smile, is a 'lizard-lion,' not a bird -- a 'lizard-lion' is a crocodile, and they kill their prey by hiding underwater, then striking when the prey least suspects it, and then dragging them into and drowning them in the water; it's a trap, and a nasty death!) Fittingly, Sansa is disquieted by the idea of what may be lurking beneath the water, lying in wait for her: Littlefinger fantasizes at various times about decapitating, interring, melting, and notably drowning Ned: However, my favourite essay in the aquatic vein would have to be @LmL's The Grey King and the Sea Dragon, because he elegantly succeeded in unifying the elements of fire and water (or ice, since ice is the solid phase of water). He put the fire in the sea to give a 'sea dragon' -- which is really, according to my green sea/see-pun, a 'see dragon' or greenseer, symbolically! That's why we have Bloodraven, a dragon whose one eye 'burns like the last coal in a dead fire' lurking in the subterranean cavern 'under the sea' (he is tethered to the weirwood like the worm-riddled, eroded figurehead of a shipwrecked boat lying on the sea bottom); or Bran 'kissed-by-fire' (Bran has red hair and multiple fire associations, despite being associated with the north) the Summer child with Summer wolf submerged along with Bloodraven in the cavern fed by the 'sunless sea'. Having lost the use of his legs on land as a consequence of his paralysis, and being half-Tully anyway, Bran can be thought of as a merman or -maid; but actually, they are both dragons, in my book. Yes, you heard me right -- Bran is a dragon of sorts, a 'sea dragon'! 'Waking the dragon,' therefore, has a further meaning, besides Dany hatching the dragon eggs in a literal sense: namely, kindling a greenseer's power in a figurative sense. I also believe he will skinchange an ice dragon, as I suggested to @40 Thousand Skeletons above, so perhaps Bran's dragon associations are foreshadowing of this nature. As for 'dark-seeing,' try @Macgregor of the North's thread: Bran the Darkness and a return to thoughts on that Jon Ghost Bran weirwood dream from ACOK. I wrote some thoughts over there on the 'River of Time' and what it means to go 'upriver,' inspired by the reference to the Joseph Conrad novel 'Heart of Darkness', as highlighted for us by @Black Crow: “Going up that river was like travelling back to the earliest beginnings of the world, when vegetation rioted on the earth and the big trees were kings. An empty stream, a great silence, an impenetrable forest. The air was warm, thick, heavy, sluggish. There was no joy in the brilliance of sunshine. The long stretches of the waterway ran on, deserted, into the gloom of overshadowed distances. On silvery sandbanks hippos and alligators sunned themselves side by side. The broadening waters flowed through a mob of wooded islands; you lost your way on that river as you would in a desert, and butted all day long against shoals, trying to find the channel, till you thought yourself bewitched and cut off forever from everything you had known once -somewhere- far away in another existence perhaps. There were moments when one's past came back to one, as it will sometimes when you have not a moment to spare to yourself; but it came in the shape of an unrestful and noisy dream, remembered with wonder amongst the overwhelming realities of this strange world of plants, and water, and silence. And this stillness of life did not in the least resemble a peace. It was the stillness of an implacable force brooding over an inscrutable intention. It looked at you with a vengeful aspect.” ― Joseph Conrad, Heart of Darkness Finally -- I couldn't leave you without a poem, could I?! -- Here is an elegy by Wheelwright reflecting on the occasion of the death of a fellow poet, Hart Crane, who committed suicide by jumping off a ship and drowning in the Gulf of Mexico, after an ill-fated love affair and being persecuted on account of his homosexuality; he also struggled with alcoholism chronically (so he can be said to have 'drowned in the drink,' on so many levels). His body was never found. Interestingly, Hart Crane himself used the trope of the sea as a means to explore identity and plumb the depths of the psyche, particularly its more forbidding (and 'forbidden') aspects at the extremes of human experience (e.g. in the poem inspired by his lover, 'Voyages'), both moments of agony and ecstasy. It's sad that in his case, that 'sea exploration' proved too painful in the 'seeing' and overwhelmed him, leaving us with exquisite fragments of poetry like carved driftwood remnants (or indeed 'revenants') of his intimate anguish, washed up after the flood. 'Seeing' -- by which I mean in broad terms 'higher consciousness' -- is a risky business; and the price of this (self-)knowledge is high. But Crane's a very difficult poet -- so that's for another day! In the last line of the poem dedicated to him, the writer poignantly seeks to reassure his deceased friend (and/or himself and the reader), 'you saw or heard no evil', which is a nice sentiment; however, what has once been seen or heard cannot be unseen nor unheard: The reiteration of the reference to 'falling', as the poet imagines his friend drowning, is also evocative of Bran's fall. I was reminded of the poem in question while re-reading your post about the sea voyage as a plunge into the emotional depths which always threatens to inundate, engulf, and even annihilate the self. As you so eloquently put it upthread in our previous discussion (by the way, where can I read your 'brief thesis' on the journey symbolism? That would interest me): FISH FOOD An Obituary to Hart Crane As you drank deep as Thor, did you think of milk or wine? Did you drink blood, while you drank the salt deep? Or see through the film of light, that sharpened your rage with its stare, a shark, dolphin, turtle? Did you not see the Cat who, when Thor lifted her, unbased the cubic ground? You would drain fathomless flagons to be slaked with vacuum-- The sea's teats have suckled you, and you are sunk far in bubble-dreams, under swaying translucent vines of thundering interior wonder. Eagles can never now carry parts of your body, over cupped mountains as emblems of their anger, embers to fire self-hate to other wonders, unfolding white, flaming vistas. Fishes now look upon you, with eyes which do not gossip. Fishes are never shocked. Fishes will kiss you, each fish tweak you; every kiss take bits of you away, till your bones alone will roll, with the Gulf Stream's swell. So has it been already, so have the carpers and puffers nibbled your carcass of fame, each to his liking. Now in tides of noon, the bones of your thought-suspended structures gleam as you intended. Noon pulled your eyes with small magnetic headaches; the will seeped from your blood. Seeds of meaning popped from the pods of thought. And you fall. And the unseen churn of Time changes the pearl-hued ocean; like a pearl-shaped drop, in a huge water-clock falling; from came to go, from come to went. And you fell. Waters received you. Waters of our Birth in Death dissolve you. Now you have willed it, may the Great Wash take you. As the Mother-Lover takes your woe away, and cleansing grief and you away, you sleep, you do not snore. Lie still. Your rage is gone on a bright flood away; as, when a bad friend held out his hand you said, 'Do not talk any more. I know you meant no harm.' What was the soil whence your anger sprang, who are deaf as the stones to the whispering flight of the Mississippi's rivers? What did you see as you fell? What did you hear as you sank? Did it make you drunken with hearing? I will not ask any more. You saw or heard no evil. John Brooks Wheelwright
  5. "Did I ever tell you I used to think the sea was called the see... ...because it was nothing but water as far as the eye could see? -- I don’t think so.Sea, see. They’re spelled different, but they sound the same!" maggie and milly and molly and may maggie and milly and molly and may went down to the beach(to play one day) and maggie discovered a shell that sang so sweetly she couldn't remember her troubles,and milly befriended a stranded star whose rays five languid fingers were; and molly was chased by a horrible thing which raced sideways while blowing bubbles:and may came home with a smooth round stone as small as a world and as large as alone. For whatever we lose(like a you or a me) it's always ourselves we find in the sea E. E. Cummings Hello friends (and enemies...) -- I'm pleased to see , although I don't frequent these parts as much as I used to (never fear, I do 'lurk,' as ravens do...), that Gilly and I -- in our fascination with the semantic subtleties of the sea -- have become canon. 0:33-0:56: For those of you unfamiliar with the concept, the following is quite a good summary: This is a clip from the movie to which Durran Durrandon was alluding; it's rather evocative (there's even some 'silver seaweed' evolving into magical tree roots as underworld portal at 2:46) : The Lyrics of the song: "Song Of The Sea" [Gaelic:] Idir ann is idir as Idir thuaidh is idir theas Idir thiar is idir thoir Idir am is idir áit Casann sí dhom Amhrán na farraige Suaimhneach nó ciúin Ag cuardú go damanta Mo ghrá Idir gaoth is idir tonn Idir tuilleadh is idir gann Casann sí dhom Amhrán na Farraige Suaimhneach nó ciúin Ag cuardú go damanta Idir cósta, idir cléibh Idir mé is idir mé féin Tá mé i dtiúin [English:] Between the here, between the now Between the north, between the south Between the west, between the east Between the time, between the place From the shell The song of the sea Neither quiet nor calm Searching for love again Mo ghrá (My love) Between the winds, between the waves Between the sands, between the shore From the shell The song of the sea Neither quiet nor calm Searching for love again Between the stones, between the storm Between belief, between the sea Tá mé i dtiúin (I am in tune) Finally, this is a very beautiful tune I happened upon (you can find a copy of the translation on you tube). It's about a woman attempting to extricate herself -- using the power of song, or 'killing word' -- from the clutches of the 'Each-uisge' -- the Gaelic mythic equivalent of ''the deep ones' or 'squishers' capturing unwitting victims via a kind of 'bodysnatching,' one might even call it 'skinchanging,' whereby the rider of the magical 'sea-horse' becomes irretrievably stuck or fused to the back of the horse, who plunges under the sea, drowning the hapless rider in that deep (green) sea: P.S. The 'deep ones,' 'squishers,' or 'Drowned God' are all synonyms for none other than the weirwood collective (as I've discussed before, 'drowning' is a fundamental metaphor for greenseeing): Irony. The sunless sea, dark-seeing, you see?
  6. Me too. There would be a pleasing ironic symmetry if Jaime saved Bran! Jaime thinks a lot about the debt unfulfilled to Rhaegar, particularly the responsibility he bears for what happened to Rhaegar's children. What he notably fails to consider, however -- and what is just as important -- is the debt Jaime owes Ned Stark, considering Ned put himself and his family at risk for the sake of Jaime's children (when he went to Cersei warning her to secure the safety of the children), in addition of course to the reparation he personally owes Bran for throwing him from the tower. Instead of doing something reprehensible 'for love' as is his wont, Jaime needs to choose doing something honorable out of a sense of 'duty'; for Bran it is the reverse: instead of acting out of 'duty' to punish his enemies, he needs to offer Jaime forgiveness out of a sense of compassion and love.
  7. Hi Tigs! Nice interview -- Isaac is so thoughtful and articulate about his character. The bit about the Jaime reunion interests me particularly. It reminds me of the following quote, which is one of my favourites: on the surface it's about Jaime, but dig deeper and you can find Bran. When Jaime offered Bran his hand in bad faith with the fateful words, 'Take my hand', Jaime bound himself irrevocably to Bran; in fact, I'd say that symbolically, considering that Jaime's hand was then indeed literally taken from him in an act of 'karmic justice', he is Bran's sworn sword(hand)! I'll predict that Bran will forgive Jaime, since GRRM surely believes in redemption -- for both of them:
  8. Generally, it goes against book canon to have him breathing fire instead of an icy exhalation, so I've also been puzzled by this choice. That said, there is the precedent in the books, e.g. in the Prologue, of the White Walkers and their icy swords of pale blue flame 'alive with light' (for which the wighted white dragon with blue eyes is a symbolic analogue) being associated with lightning. Following contact with them, Ser Waymar Royce's sword is described as a lightning-struck tree. @Voice also has this really interesting theory about how the Wall and not Melisandre, as is is commonly assumed, was responsible for 'zapping' Varamyr's skinchanged eagle while flying over the Wall, transgressing on the magical boundary, resulting in the eagle bursting into flames. Thus, we have the paradoxical scenario of an ice-being (the Wall) generating an electrical charge which translates as 'fire'. Alternatively, I'd like to see Bran 'mind-wrestle' the Night's King for control over the dragon (via skinchanging), and then have Bran turn the dragon on the wights. D&D's choice of blue fire instead of ice for Viserion means that he can potentially be turned against his creators, and used for good.
  9. 'Who told the lie..' that got a lot of people killed? In the absence of evidence -- if I had to bet, I'd bet on a liar, a man who duels with words and trades in whispers and whose prime motive is burning malice, although it's often misunderstood to be cold ambition. Read about our speculations, here: Teen Littlefinger's Uriah Gambit
  10. (By the reference bolded above, you're referring to D&D of course... ) After your scintillating explanation, I now understand Dany's prophecy in the books, when Rhaegar looks straight at her, saying 'there must be one more... [Aegon]'!
  11. In the end, he's going to have to skinchange something a little bigger than a raven... Luckily, Bran's already had some practice skinchanging an 'ice giant': The producers of the show get all the symbolism wrong -- Viserion should have lost one eye, just like wighted Waymar in the Prologue literally, and Hodor figuratively in the passage I quoted above.
  12. 'Too Late...'
  13. You mean Bran? I'm not sure anymore what show-Bran's motivation is! 'Fire dragons' and 'wight/ice dragons' are probably killed with different weapons, white/ice and black/fire projectiles respectively. He was Torrhen Stark's (the king who knelt's) bastard brother. He wanted to kill Aegon's dragons at the Trident, instead of submitting to Aegon Targaryen and surrendering the north. His brother, however, persuaded him to relent and treat with Aegon to forge a peace, upon which the Targaryen dominion over the seven kingdoms was based -- a peace which Aegon's ancestor Aerys broke by burning Rickard and strangling Brandon when he summoned them to King's Landing.
  14. Have any of you seen the promotional photos for the finale..? I note with interest they've put Sansa in her 'Grim Reaper' hood (the same 'Lady Stoneheart' look she used to wear when traipsing after Ramsay on the Winterfell battlements, grabbing corkscrews, foreshadowing his end at her hands) -- which bodes well for my theory... The surprise twist is going to be that the 'Wolf' in the titular 'The Dragon and the Wolf' refers to Sansa 'getting her bite back,' as I've expressed it, and not Jon, Arya, or Bran necessarily (although I would also like 'dragon and wolf' to refer to Bran the fated 'winged wolf' making contact via greensight with wighted Viserion). She sent Brienne away, anticipating that she and Arya are about to wolfishly break some rules -- the law of guest right to be exact! No one will be the wiser, because 'Littlefinger' will soon reappear in King's Landing... (I would love it if she released Ghost from his kennel to help with the 'clean-up' after Arya has completed the, ehm..., 'harvesting', but perhaps that's too much to ask for...It would be such a great visual, with Ghost stalking beside Sansa through the godswood, jointly symbolizing the liberated wolf, a bit like in my latest profile pic, as the snow gently, ominously, falls. But, alas, I fear the D's are not as wildly imaginative as I am, and direwolf CGI is so onerous, so poor Ghost, truly a ghost of his former self, starved of screentime and morsels alike, will not even be treated to a little finger of a Littlefinger ).
  15. First off, let me admit I hate the theory that Bran is the Night's King, as well as the theory that Jon has to kill Bran -- so I may be biased! The fact that the NK is able to sense, recognize and interact with Bran on the 'third-eye' plane/dimension doesn't necessarily imply they are the same person -- what it does suggest, however, is that they are both greenseers (for example, the last 3ER and Bran were able to see each other and communicate while walking around on their greenseeing 'trips' together). I do think the NK is a Stark and Bran's ancestor, also named 'Brandon Stark.' Our Bran's task is to 'mind-duel' him on the 'third-eye' plane, the virtual realm where greenseer wars take place -- aka 'the weirnet' -- in order to take possession of the wighted Viserion and the army of the dead (foreshadowed by the Night's King disrupting Bran's skinchanging bond with the flock of ravens). This will involve Bran sacrificing himself in the process. Bran is our Lightbringer.