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About LmL

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    ∆ Lucifer means Lightbringer ∆
  • Birthday 03/11/1980

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    in a grove of ash

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  1. Good observations here. This scene I tricky simply because there are so many symbols so close together. I think the reference to Bran wanting to be a knight and smiling makes him a smiling knight, perhaps, a moon character who wanted Arthur Dayne's sword, saying " it's that white sword of yours I want," with Arthur saying, "then you shall have it, sir." The smiling night was bleeding from a dozen wounds when Arthur gave him the 13th killing wound with Dawn, so perhaps there is Last Hero math happening here. As for Sansa and Arya being as different as the sun and moon, this has always been a line which has vexed me, because both of them are moon maidens. They follow different trajectories, to be certain, but neither one of them is a solar figure. Arya does do AA things like when she threw the blood orange and messed up Sansa's ivory silk moon dress, or when she beats hot pie with a stick, but she also has a lot of Nissa Nissa action as well. Sansa is all moon maiden all the time, but switches to an icy sort after arriving at the Vale. So I really am not sure about this line and what it means, which is obviously frustrating since it has "sun and moon' right in there. Taking it a different direction, the comet is called dragonsbreath twice, so maybe we are seeing the sun and moon kids inside the comet, depicting the comet as a reborn AA who is a merged sun and moon character. You kind of have the 3 main ingredients - sun, moon, comet. Or perhaps the dragonsbreath is blood and fire, and we are being shown a depiction of children being sacrificed, both to the dragon and the heart tree. Or maybe it's simpler, showing the dragonsbreath as dragonglass, roasting the heart tree and setting it ablaze like the thunderbolt myth. I just don't have clarity, which is why I haven't written about this scene yet.
  2. Oh and I agree there is probably some link between the dragonbond and greenseers magic, and I am hoping we get some more clues about how that works.
  3. (Hey look, the forum us actually up!) I make for a great workout buddy. I have a nice reading voice and I fit inside your earbud. Thays essentially why i started podcasting, becauze my essays got too long. I can help you clean your garage or dispose of your daily commute. Suddenly, my long-windedness becomes an asset!
  4. If I may elaborate on the idea of werewolves as the dead trees were half dead trees or under trees were zombie trees… I think the key principle may be the weirwoods as the crossing over point. They represent the door of death, as all the weirwood doors do, such as the weirwood door at the house of black and white, or the moon door in the Eyrie which leads to death. The black gate we are with door at the night fort also seems to symbolize crossing over between death and life. And as we know, all of the people inside to weirwood are dead, save Bloodraven who is half dead at this point, a talking corpse. That's really the thing George is driving home - the weirwoodnet is the realm of the dead. Theres a thing @ravenous reader pointed out about the Crone being thought of as peering through the door of death and having let the first raven into the world. That door of death is the weirwood "gate," and the ravens represent dead things coming back into the real world. I would say this refers to resurrected Nights Watch brothers - my green zombie theory - but the general concept is sufficient to mention here. I fully expect that greenseers can raise the dead and will, and of course the weirwoods also allow the dead to communicate with the living. That is why the weirwoods are wight trees and demon trees and why they look like burning corpses. They straddle the boundary of death and life in some sense. But I also think Martin is playing with the idea of a wight tree in the sense that the weirwoods are having their bodies taken over, and the whole "eat brains" thing.
  5. Thanks man! It's been a long time in the works How do you think I did condensing the basic ideas?
  6. Yeah, I've always found this one puzzling. Lot's of familiar language, but I cannot figure out what is going on exactly.
  7. Haha, yeah I understand not wanting to unveil the new idea until it's ready. I usually end up spilling the beans in these threads, but I find that trying to rephrase an idea often helps clarify it in my mind. I have to live with the ideas and symbols for a while before I really get the full picture. The other problem with writing something so massive and involved as your Marvel project or my project is that it really occupies all of your mental hard drive space, and sometimes you just can't read other people's really involved stuff because you just simply don't have anywhere to upload the new information. Right now I am neck deep in weirwood related ideas, but I have this whole body of notes and drafts on the others that I really want to get to also. And of course once I take it from notes to actual essay writing, I learn a lot in the process. I've definitely read enough of your Marvel stuff to be quite sure that Martin is correlating a lot of things to those characters. I frequently mention it to people when I'm talking about how Martin draws from a lot more than just Norse mythology, and that you really have to marvel in amazement at the skill with which he weaves together all of the ideas which ever influenced him, ever. And of course it seems like a lot of the stuff you found correlates to what I have found, which is always reassuring. The stuff about doctor strange and Euron and the Bloodstone Emperor was all really interesting ( there were a couple of other Marvel characters that went into that Matrix whose names I do not recall but you know what I'm talking about). Anyway, I feel like I'm starting to get a pretty good grasp on the weird wood trees, so if you have something that is stumping you in relation to them, let me know if you want to compare notes.
  8. Indeed. "As seen on History of Westeros!"
  9. That was the idea behind the "OOPS!!" I was looking for jus the right picture with just the right amount of innuendo... couldn't use actual copulation, so this seemed right.
  10. Yeah I remember when this came out - the inclusion of the two moons myth flipped my wig for sure, and the whole sequence - two moons myth, Dany waking the dragons, then the NW I am the sword in the darkness... they all go together. I have to think that wasn't an accident. Have you checked out Michael's Essos map? http://klaradox.de/en/galerie/essos/
  11. I love this quote, because they are talking about making unsullied, who I think stand in for the Others. Watering weirwoods with blood is how you make a tree soldier, something like that.
  12. Yes, it is indeed hard to rectify wife stabbing and hero-dom. This has always been my basic reaction to this fable, long before I ever started writing about the books. originally, Michael sent me an animation where she actually bared her breasts, but it was too much sexual violence and my wife threw the flag on it. So Michael went back and gave her a fur bra so my video doesn't get taken down, lol. But you know, the main thing is the moon breaking... tough to sell that as anything other than really bad news
  13. Hey @Pretty Pig, great to see you around! Awesome info here - what story are ypu talking about? It sounds delightful.
  14. It's more like a distillation of the main parts of the moon cracking theory, as well as an introduction to the general concept of Martin creating parallels between the ancient myths and the characters and actions in the main story. Certainly not a summary of all my ideas, no - that video would be ungodly long. What I will probably do with the videos, because they are a lot more work than the podcasts, is just make an occasional one to get people into the various lines of ideas that I have. Like, I might make a green zombies video to give people the gist of the green zombies series, and hopefully entice them to read it. Martin's use of symbolism and archetype is simply to sprawling and complex for me to analyze in any way other than long-form essay and podcast, so I am hoping these videos act as a bridge to get regular people into the super nerdy podcasts and essays that I do.
  15. Hey @sgtpimenta! I tend to think the death thing is more symbolic than literal, though i did entertain your idea also. As @Ser Leftwich says, we do have a couple of young weirwoods, and the older ones are the biggest, so they do grow and stuff. Nevertheless, I do think we are supposed to think about them as "wight trees." They are like zombies, eating brains as you say, but also having their skins slipped by others who control them, just like whatever force animates and controls the wights. They are like living dead trees, I would say, but again, figuratively. They are animated by dead spirits, and that's another angle on their being living dead trees. There's a quote I love about this which I am using in my next essay: "Queen’s men in studded jacks and halfhelms handed each passing man, woman, or child a piece of white weirwood: a stick, a splintered branch as pale as broken bone, a spray of blood-red leaves. A piece of the old gods to feed the new. Jon flexed the fingers of his sword hand." and "They came on, clutching their scraps of wood until the time came to feed them to the flames. R’hllor was a jealous deity, ever hungry. So the new god devoured the corpse of the old, and cast gigantic shadows of Stannis and Melisandre upon the Wall, black against the ruddy red reflections on the ice." That fire devouring the corpse is, in symbolic terms and according to me, the fiery spirits of the greenseers inside them which animate them, but that's a whole nother conversation. The way I see it, the trees eat the greenseer, and then the greenseer eats the tree out from the inside. I suspect there may not even be any tree consciousness left - only the minds of the parasite greenseers. The trees are like empty shells, perhaps, filled with the greenseer mind. I'm not sure about that, just a theory, but there you go.