protar

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About protar

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    Queen of the Draenei, The Rhoynar and The First Men
  • Birthday 08/14/1995

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  1. Strong powerful women

    Because god forbid women have positive interactions with one another. They always have to be rivals. It literally makes no sense in the setting. Aren't Faceless (wo)men supposed to be objective and emotionless. But here we have Jaqen promising the Waif that she'll get to kill Arya for no reason other than that...I don't even know? Arya annoys her? What has she done that makes the Waif hate her?
  2. Really nothing has happened in Kings Landing yet. This was the first episode with even a hint of anything happening. The same is true of Arya's story. She's just been getting beaten up for 5 straight episodes. Each episode is just a promise of what is going to happen next episode, but it keeps getting pushed off and off and off.
  3. So this has probably been mentioned before, but it occurs to me that Hodor's very public fit back in the past creates a pretty big plot hole. The source of his disability should be pretty common knowledge. Ned was present (unless he'd just left?) Nan was present, Rodrik was working at Winterfell. Everyone should know what happened and that story is interesting enough to have been passed down to the kids.
  4. [Poll] How would you rate episode 605?

    I gave it a 5 just because it was exciting to watch at the end and season 6 hasn't been quite so bad as Season 5. But still a lot that didn't make sense. The Kingsmoot made very little sense. Why can Euron just confess to killing Balon and then announce his intentions to kill Yara and Theon and no one gives a damn? Does kinslaying mean nothing? It's the same "no one liked this guy anyway" excuse they used for Doran's death. The revelation regarding the origins of the White Walkers was given very little weight. Hodor's origin story was given more screen time and importance! And don't get me wrong that was a cool scene and I was genuinely sad to see Hodor (and Summer) go. But I feel like they really undersold a reveal we've been waiting for for so long. The play scene was a little long for my liking. I'm always aware of how strapped this show is for time. So it felt like D+D self-indulging in being "meta".
  5. Strong powerful women

    No she wasn't. She was sidelined. Has been sidelined since the beginning. They prioritised Robb's campaign over Catelyn watching her family crumble around her. It's been said over and over again but Cat just did not get enough screen time. It's a metric fact that she got less screen time than minor characters and no amount of wiggle room excuses that. You can only do so much with so little.
  6. Strong powerful women

    That's true to an extent, but you can only do so much with a character if you don't have much time spent on them. Catelyn in S3 had less screen time than relatively minor characters like Shae and Gendry. Even given that screen time doesn't directly translate into character depth, that's still far too little time to develop Cat, who honestly should have been one of the main characters of S3.
  7. Strong powerful women

    This is a pretty ironic post to make given that D+D blatantly play favourites at the expense of the narrative, Shae being a huge example of that.
  8. Strong powerful women

    Yes but they chose to make Shae as big a part of the show as she was. They didn't have to do that. And it's not like her character was so brilliant anyway, and whatever depth there was to her was counteracted by the whitewashing of Tyrion that resulted from putting him in a loving healthy relationship.
  9. Strong powerful women

    Maybe that's shocking to hear if you have no experience writing, but yes...one dimensional characters are not necessarily bad things. But you have fun writing your book where we get the backstory of every shopkeeper and bartender the protagonist meets. And yes, that's an extreme example, Shae is more important to the narrative than that. But the point is that different characters will be more fleshed out than others, and a lot of characters in a story need not be fleshed out a huge amount. If your protagonist is one dimensional that's a cardinal sin. But a smaller character being...well smaller, is not a bad thing and can even be a good thing because it tightens the narrative. The simpler book Shae makes Tyrion (the character we actually want to be fleshed out) a more complex character, because she highlights his flaws and misogyny. Though I'd argue strongly against Shae in the show being a complex character. She is on screen more. That doesn't mean she's more complex. She's a pretty pedestrian character archetype: the hooker with a heart of gold. What more to her is there? And yes, book Shae isn't very complex either. She's the gold digger archetype. But the difference is that Martin doesn't present her as much more than that. He gives us a simple but effective character archetype which helps make the characters which matter more complex. D+D take their cliched hooker with a heart of gold and present it as this great love story, front and centre.
  10. Strong powerful women

    First of all, why the assumption that D+D fleshing out Martin's more one-dimensional characters is a good thing? Each character has a role in the narrative and some characters are simply designed to be one dimensional. That's not a failing on Martin's part as you seem to imply, it's a deliberate choice. If you adapt someone's work and then expand on those bit parts, you throw off the balance of the narrative just like you would adding an extra clove of garlic to a recipe. That happens with nearly every invented or expanded character in the show. From the focus on Ramsay pushing the show into gratuitous horror, to Shae causing a romantic plot tumour. Show Shae is more present than book Shae. That does not equal better. They took an unhealthy relationship which highlighted many of Tyrion's flaws, and transformed it into a conventional love story with a hackneyed "woman scorned" ending. In what way is that better? Quality over quantity my friend. Martin's opportunistic prostitute version of Shae is effective in her simplicity and adds far more to the narrative than D+D's overwrought, cliched love interest ever did.
  11. Strong powerful women

    It could have been done with a bit more action I agree. They weren't my favourite chapters. But there is a lot to dissect in those chapters if you care to. She has an arc even if you didn't find it interesting. Compare this to the show and it's nothing but a gratuitous horror show where her characterisation jumps from place to place with every scene.
  12. Strong powerful women

    Which is completely unearned. In the books it will be earned because we're seeing her learn how to become a political mastermind, slowly but surely gaining agency in the vale. In the show this new, "strong" Sansa is not even consistent with the past couple of episodes. There was no mention of her wanting to take back Winterfell, for the first three episodes she only talked about getting to safety. Now suddenly she's the driving force behind the anti-bolton alliance? Makes no sansa.
  13. Strong powerful women

    If I remember correctly Cat had less lines in Season 3 than Shae. Season 3! Her final season where she should have been a focal character. Essentially in the books Cat is the POV character of Robb's campaign. The story is about a mother losing her family and crumbling into grief. The show focuses more on Robb which was not necessarily a bad thing but it ended up being at the expense of Catelyn's character. Sansa had very little to do throughout season's 2, 3 and 4. And in Season 5, well she was treated as an interchangeable unit for the writers to put in gruesome, gratuitous abuse scenarios. Remains to be seen where they're taking her in Season 6, but so far it's fitting with what I'm saying. She's being forwarded, but only now that they can turn her into a badass queen of the north. They have no time for quieter more introspective female characters. Shae was definitely more of a character in the show, but that doesn't mean she was a good one. Why did they feel the need to take a simple sex worker with a pretty uncomplicated backstory and make her into this exotic badass with a mysterious (and irrelevant) past? Same with Jeyne being transformed into Talisa. A nice, but ordinary noblewoman wasn't good enough for D+D. She needed to be a sassy, foreign badass. In striving to avoid "weak" female characters they reveal their own sexism - where only a narrow category of women are considered strong in their eyes. They have no time for women whose strength does not rely in martial combat, or in their sex appeal.
  14. [Spoilers] Criticize Without Repercussion

    This season so far has just been really really slow. I feel like a lot of things that happened in this episode could easily have happened in episode 2 or even the season premiere. Like what has actually happened in Kings Landing this season? It's really just been a succession of High Sparrow monologues. The decision to finally take the fight to the Sparrows could have happened in the first episode. Same with Arya's story, and the Iron Isles, and Sam. Next week we'll be halfway through the season and the Wall plot line is pretty much the only one which has moved at a decent pace.
  15. Strong powerful women

    The show has a wide variety of female characters because the books do. It deserves no praise for that when it's been reducing the female characters to just a select few archetypes since season 2. D+D have always played favourites with characters and for the female characters this results in most of the forefronted female characters being pushed into similar sassy/badass archetypes. Look at how they completely transform characters like Shae and Jeyne/Talisa into sassy backtalkers. Or how female characters who don't fit into their vision like Cat and Sansa are sidelined. Why not look at the show (and the books) through a feminist lense? Female representation in the media is a big topic, and ASOIAF specifically addresses sexism and patriarchy throughout the series. There's a lot to dissect from a feminist perspective.