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kimim

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About kimim

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  1. kimim

    [SPOILERS thru S7] Where did the show go wrong?

    It could have been explained. Sansa returned to WF, facing abuse and rape, in order to avenge her family's tragedy. That's how LF first sold the marriage to Sansa, and I bought it, as it all happened after the show started talking about the "new Sansa." The problem, as usual in the later seasons, was that the show didn't follow up on it. Sansa married Ramsay and did nothing against the Boltons other than escape them. This was the "new Sansa," acting exactly as the old Sansa might have done--passive, helpless victim whose only power is in getting others to take pity on her. Where was the "new Sansa" in all this? Where was her revenge? It's thanks to her helplessness and passivity that her entire experience of WF can be reduced to being raped, why the North thinks of her as a Bolton. Then, of course, Sansa finally did do something: hid the Vale, nearly getting her brother killed, causing massive casualties among the wildlings. Had Sansa been Olenna or Cersei or Tywin, the explanation would be obvious: she wanted Jon and the wildlings dead as she wanted the North for herself, so she acted. But no, as again the show failed to follow up. Sansa did this crazy thing, then season 7 excised the ending to season 6 from its history. Season 7 Jon trusted Sansa, for reasons I can not fathom. Arya never found out, never used Sansa's decision against her. It's crazy.
  2. kimim

    [SPOILERS thru S7] Where did the show go wrong?

    I don't know what happened. In my show head canon, she did it because she was, for the first time, acting like the "new Sansa": she wanted to destroy brother and wildlings, and nearly succeeded. But the show didn't follow through. They could have at least brought it in this season, as the reason for Arya to turn against Sansa. Nope. My other problem this season was Dany's decision to spare Cersei and ask for an armistice. She could have destroyed Cersei in an afternoon. Cersei was too unreliable and insane to be a decent ally. She was too weak to be useful against the Walkers. She was too unpopular and divisive to unite Westeros. Yet the season revolved around this decision, incomprehensible in itself.
  3. kimim

    [SPOILERS thru S7] Where did the show go wrong?

    I react knee-jerk to any theory on what a good fiction should be, lol. Anyhow, without coming up with a theory, I do agree that the problem with the show is that the characters are forced to act in false ways in order to achieve a plot point. Now...this is not making a judgment on whether character-centric fiction is superior to anything else. Problem here is grade school: If you're going to have Arya turn against Sansa, then provide a motivation. Just having Arya come up and attack Sansa, out of the blue, is ridiculous. Shittiest (in my opinion!) show will do that much. If you're going to have a character do something extreme--Sansa hides an entire army from her bro--then come up with a reason, and follow through. This is the kind of thing the the worst soap opera is capable of, but the show forgets all about it. If you're going to tout the "new Sansa," down to having her parade around in her black feathery outfit, then WRITE THAT SANSA. And if you can't write her into the script, do not tout the new Sansa. Basic stuff. Nothing deep. The show kept failing on the most basic level. It's frustrating.
  4. kimim

    [SPOILERS thru S7] Where did the show go wrong?

    I still find this an all-encompassing definition of fan fiction. If the author is dead, obviously she can't license the adaptation, which places every adaptation of a dead author potentially in the realm of fan fiction. Adapting from the written genre into visual involves huge changes and additions, casting actors who rarely resemble the characters in the original. Again, every such adaptation is potentially fan fiction.How much diversion qualifies as "wild" diversion? How to define "variation"? It's too uncertain and subjective, and erases fan fiction as a genre. Your definition of character driven fiction is also too broad in that I can think of no work of fiction, of any quality, that does not fit. Characters do things and x happens. X happens (this fits, as you include setting as a character) and characters do things, and that leads to other characters doing other things. Possibly what you mean is that you're less interested in characters "doing" things than in characters just being or developing. I find this a deeply subjective take on what makes for great fiction, but then I don't believe that there's a definition of great fiction. If you ask me what work will be remembered in the future, I'd say hope for an afterlife in which to find out. There's no way of telling right now.
  5. kimim

    [SPOILERS thru S7] Where did the show go wrong?

    Your definition is still much too wide. You must include some type of "license" there, as without it, every adaptation of a work without the involvement of the original creator is fan fiction. There is no such thing as a "pure adaptation." All adaptations change something, and trying to figure out how much "impurity" is allowed in order to point out what is "fanfic" and what is not is a fruitless exercise. Re characters driving the plot: There is no such rule that I'm aware of for "good fiction." Fan fiction, I agree, is intensely character driven, mostly because in my experience of the genre, the fan fiction author is writing in the first place because they are fascinated by a certain character/couple/group of characters in the original work. There's no need to move from there to a place where that becomes the definition of acceptable fiction. Asoiaf, at its best, is beautifully paced, plot driven, with character development and plot extraordinarily well linked. Where Feast and Dance fail for me is that GRRM loses the plot while introducing/developing too many characters. The show fails in the opposite way, forcing characters to act in ways that are false to them in order to achieve a certain plot point. Neither is an ideal for me.
  6. kimim

    [SPOILERS thru S7] Where did the show go wrong?

    I agree that the quality has gone down, but not because it deviated from the last two novels, which I feel were as bad as the show is today. Problem is the writing, which sucks. Character motivation is gone, leading to all manner of weirdness from Tyrion, Arya, Sansa, Dany. Tyrion the cunning, brilliant dwarf trusts the slavers to do the right thing (season 6) and then gives Dany advice which nearly leads to her defeat, season 7. This is clearly not the same Tyrion who defended King's Landing. Dany decides not to move against Cersei, a decision that is never really explained, but which determines everything for season 7. Sansa hides the Vale army from Jon, leading to his men's massacre at the end of season 6. No real reason is given, and everyone's forgotten about it, season 7. Arya turns against Sansa and pulls a dagger on her. Next scene, they've made up. No reason for either state is given. It's crazy bad writing no amount of production values could wipe away.
  7. kimim

    Least favourite POV character per book

    The fat pink mast was a thing of beauty. Maybe I should think of another awful pov in that book.
  8. kimim

    Least favourite POV character per book

    ita, that was lovely, as was Sam's conversation with Jon about the Others, the mysteriously vanished old books. Where his story is tied to the Wall, it works for me. His travels, though, are the worst of the bunch, again for me.
  9. kimim

    Least favourite POV character per book

    Game: This is hard as there really isn't one. Sansa? But she's supposed to be frustrating. Clash: Dany. This is the start of Dany as literary fingernails on chalkboard for me. Storm: Dany, again. Everyone else is incredibly strong while Dany withers away on Essos. Feast: Sam beats even the Dornish contingent. Most annoying part of his chapters, other than their utter pointlessness, is Gilly. All she does is sob, lactate, sob, lactate, sob, lactate, fuck Sam, lactate, fuck Sam, lactate, fuck Sam. Dance: Tie between Tyrion and Dany.
  10. kimim

    Would you prefer if Rhaegar won?

    I disagree with people who believe there wouldn't have been a story; it would just be a different story. It would be entertaining to watch a lovelorn, melancholic, singing lord deal with the Varyses, Littlefingers, Tywins of this world.
  11. That's what he DOES. In the novels, that's what he does. He does it so often that Roose has to tell him to keep his fetish hidden. What I found disturbing on the show was the endless Theon torture scenes last season (I think). That was gratuitous, is not shown in the novels.
  12. This is why I don't believe Jon is dead, either on show or in the books. If he's dead-dead, then, as you say, no one's left in the North to take up the slack. Sansa/Brienne are not strong enough to take over. Boltons are villains in both, and without a lot of layers; Roose is a bit more complex, but that's about it. Bran is a crippled little boy with godly powers, which means that he's perfect where he is, working the way Varys did, in the shadows, but he can't lead people or prepare a defense. Well, he can, but I can't see it. Others who could--Jaime, Dany, Tyrion--are far away. Littlefinger is also far away, and his motives are mysterious in both show/novels, but he's another villain, and he's not going to lead the North. That leaves Jon. If Jon's dead in the show, then he's dead in the novels. It's one thing to change Brienne's plot, it's another to kill one of three leading characters. If he's dead in either, I'll keep reading/watching, just to see how they carry on.
  13. 1-3, Battle was over quickly, as Stannis was outnumbered. Brienne found him after the battle. As to how, plot gift, the same one that sent Arya to the RW just in time to see it all happen. As for Brienne's oath, we don't know if she killed him. She may return to help Sansa. 4. She kissed her on the mouth. She had to take an antidote after. 5. I guess the same way they find her in the novels. It's so written. 6. I agree this is a huge hole. It makes no sense. 7. Davos says in previous episode that it would take him a couple of days to get to CB. He leaves the day before the battle. I think the implication is she gets there maybe a day after him, which works. 8. FM have no true identities. That man is neither the old guy nor Jaqen. He's no one. 9, 10 Given what he was into, screams from his room would be expected. As for why he didn't fight back, he wasn't expecting an attack, and Arya was fast. 11. For the same reason he doesn't in the novels. He's one of the sparrows now. He's atoned. She isn't and hasn't. 12. There's Lancel's evidence, which would include fornication and regicide. There are rumors of incest. 13. Theon and Jeyne make the same jump and survive in the novels. It seemed unbelievable there, and seems unbelievable here. 14. I agree that his failing to note the sellswords leaving was crazy ridiculous. He was, then, completely outmanned, outgunned, the works. 15. Sansa couldn't hope to take on the Boltons with a corkscrew.
  14. Since fewer people have returned from the dead on the show than on the books, his death seems more final, imo. He'll return, though for the reasons you mention.
  15. 6/10 I liked the Stannis bits very much. ftw worked for me. Arya's killing Trant was cathartic. Dorne still failed to make sense, but it made slightly more sense than last week; vengeful Ellaria is at least consistent. Cersei's walk was good. As with every episode but Hardhome, there was a problem with disconnected plots. In seasons 1-3, when they jumped between Tywin/KL/Robb/Stannis/Bolton, etc., there was the connection--war of the five kings, with Meereen and the Wall as extraneous bits There is none, here, so that when they went from the North to Dorne, it was like jumping from one show to another; there's no connection. Same with the story in the North, and KL. There's no connection via Robb/Stannis/Tywin/Tyrion. I can't blame them for this, as this is the nature of the novels they're based on. I'm glad they left the Pink Letter, winter's raven, etc., out, as they had no time to spare as it is. Here's to hoping they return to form, and that they are based on a work that returns to form, too.
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