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sheikah · 6 years

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Seeing the ask about you being a teacher of writing and literature got me wondering could you maybe explain the differences between bittersweet endings and tragic endings in stories with some examples to illustrate. I see so many folks predict things for the end of GOT and well it all seems so tragic but maybe its me that doesn't totally understand. I'd greatly appreciate a lesson teach if you have the time thanks!

Hi, anon! Sorry it took me so long to answer this.

First I just want to say that I don’t talk about the teacher thing much because I don’t want to wave around credentials like it makes me better than anyone else trying to analyze the story haha. I don’t want to seem like one of those people who is like “I definitely know more about x than you do because I went to school here or have this career.” While that sort of thing matters a lot in some contexts, I just think fandom should be fun so I don’t want to look like I’m making it into some academic endeavor when half of my blog is thirst posts and the other half is literally porn in written form haha.

ANYWAY I will talk a little bit on this topic because it’s one that bothers me a bit as I see it discussed around the fandom. When GRRM said to expect the ending to be “bittersweet,” I immediately took that as a good omen. It seems that a lot of other fans, perhaps in the interest of not getting their hopes up too high only to be burned later, continue to expect the worst from the ending. By the worst, I mean the deaths of the main/our favorite characters.

But objectively, regardless of who anyone’s fave is, Jon and/or Dany dying wouldn’t really feel bittersweet to me. Especially if it’s coupled with the deaths of other “big five” (Jon, Dany, Tyrion, Arya, Bran) characters, this sort of ending would be more tragic than it would bittersweet.

Let’s look at what tragic means. The first tragedies were Greek dramas performed for the public in Athens. These were serious and important events attended by virtually everyone and treated with the solemnity of a religious gathering.

Tragedies were characterized by the sad endings that befell their heroes. Often in the pursuit of noble causes, the protagonists of these stories would die, and/or bring about destruction and doom to the people that they loved.

One of the most famous early examples is Oedipus Rex by Sophocles. In this story Oedipus unknowingly marries his own mother and murders his own father. When the truth comes out, Oedipus’s mother kills herself. While some versions of the myth have Oedipus living on to reign as king, other versions feature him blinding himself and going out to live in exile. Either way, this is a very clearly negative ending and one that helped to define what “tragedy” meant from the earliest stages of the genre.

Tragedy as a type of drama was also a big part of the culture of Elizabethan England, famously in the works of Shakespeare. Shakespearean drama laid the foundations for many of the archetypes we still see in contemporary Western storytelling, and his tragedies in particular have left indelible marks on our literature.

Romeo and Juliet is probably the most well-known example: two young, “star-crossed” lovers are the unfortunate victims of their families’ bad blood and their love brings about both their own violent, untimely deaths, as well as the deaths of other members of their family.

In Hamlet, “everybody dies” is pretty close to the mark. Hamlet’s father, his mother, Gertrude, Polonius, Laertes, Claudius, Ophelia, Rosencrantz and Guildenstern, and Hamlet himself all die as a result of Hamlet’s actions.

In Macbeth, Macbeth’s ambition and desire for the throne–as well as his misplaced faith in prophecy and magic–lead to the deaths of the king, Lady Macbeth, Banquo, Fleance, Lady Macduff, and Macbeth himself.

In King Lear, Gloucester, Regan, Goneril, Edgar, Edmund, Cordelia, and Lear, all die as a result of Lear’s misplaced trust in Regan and Goneril and the exile of Cordelia.

In all of the above examples of tragedy, the primary characters all die. It can also be argued that their deaths ultimately result from their own mistakes–hence “the tragic flaw”–instead of solely coming about from the malicious actions of an antagonist.

So what’s the point? Why write something like this?

I read a pretty good blurb about tragedy on Britannica back when I was building a class the first time I taught drama as an elective to my students:

“The tragic form, more than any other, raised questions about human existence. Why must humans suffer? Why must humans be forever torn between the seeming irreconcilable forces of good and evil, freedom and necessity, truth and deceit? Are the causes of suffering outside of oneself, in blind chance, in the evil designs of others, in the malice of the gods? Are its causes internal, and does one bring suffering upon oneself through arrogance, infatuation, or the tendency to overreach? Why is justice so elusive?”

I think that throughout ASOIAF, GRRM raises many of these same questions. But I don’t think that his story is ultimately building to such a nihilistic endgame. If our heroes were to die in the final battle, “justice” would indeed be “elusive.” It would ultimately be just another in a long line of stories commenting on the endless and futile toil of humanity against suffering and hardship. I think that ASOIAF is more than that. This sounds trite, and I’ve been accused of “Disneyfying” the story before, but I believe that a “bittersweet” ending means that something will be lost in the battle–characters we love, innocence and youth, dragons, ancestral homes, magic, etc. But ultimately our heroes will survive and live to see another day, a day in which their efforts were not in vain. A future where they can live to shape the realm and continue the progress they’ve already made toward a better world.

In a tragedy, the primary characters die and often one small, minor character will live on to tell their story. Think Horatio, Albany, etc. If we apply this tragic formula into ASOIAF it would mean Jon and Dany dying, most likely Tyrion dying, Arya and Bran, ultimately as the result of one or more of their own faults. It would then leave someone like Davos to pick up the pieces. I don’t buy this. I can’t see this happening.

After all, GRRM has said before that his “big five” will live through the series.

So that leaves us with “bittersweet.” Bittersweet is more subjective than tragic. Tragedy has a longstanding tradition and history to give us clues to its meaning. Bittersweet could mean different things to different people. So we should look to the most important person in this equation: GRRM. He has mentioned how his ending will emulate Tolkien.

Tolkien’s ending might safely be called bittersweet–elves and magic have largely departed from the world. The main characters survive. Frodo never fully recovers from the wound he received from the Witch King. Frodo never truly feels the contentment that Sam finds, and he leaves Middle Earth with Gandalf, et al at the end of Return of the King. But Aragorn and Arwen are reunited, live, and restore the throne of Gondor in a glorious reign.

To me this means that our heroes survive but find a world very different than the one our series started with. Much of the realm is destroyed by the war. Many people were sacrificed. The dragons have died. The direwolves are gone. Possibly the Iron Throne is destroyed. For many, this is plenty “bitterness!” We don’t need one of the big five to die for something to qualify as bitter! We don’t need either Jon or Dany to be widowed. We don’t need Tyrion to become a turncoat for Cersei and be executed by Dany. We don’t need Arya to be rendered “too far gone” and die in the pursuit of revenge. We don’t need Bran to sacrifice himself for some magical ritual against the Night King. Where would the sweetness be if everything is lost in the pursuit of peace? There would be no sweetness. It would be a tragedy. And I don’t think GRRM is writing one.

Thanks so much for the ask! :) Hope this helped to answer your question.

#jonerys #got #speculation #meta (sort of?)#answered

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wellplacedrocket · 5 years

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I Visited the Mormon Temple Square and it Really Reminded Me of BioShock Infinite

I don’t go on a lot of (read: any) religious touristy sort of adventures, so maybe the Mormon Temple Square isn’t all that weird in the grand scheme of things. But I’ll be damned if it didn’t give me hints of Columbia, the city in BioShock Infinite. Hear me out on this.

I want to caveat before I go further that it’s probably gonna seem like I’m really picking on Mormons here. I’m not. Mormonism is absolutely no weirder than any other religion, and there are plenty of Mormons (probably most of them) who are much smarter, more hardworking, successful, and better to their fellow man than I am. If you roll your eyes at scripture of Moroni, but turn around and worship Jesus or Vishnu or Odin or Buddha, and follow the World of God as explained to you by Muhammad, then your cognitive dissonance is so thick, so dense, that it must throw off compasses. I don’t think religious or spiritual people are stupid for being that way.

Anyway.

I was in Salt Lake City with a few hours to kill, and figured the Mormon Temple Square would be the one thing I couldn’t get anywhere else, so why the hell not? Let’s get my Mormon on. Many of the buildings in the Temple Square are made with this gorgeous white granite that pops up nearby, and so to the eye a lot of it looked like the White City of Gondor.

The visitors centers are small museums that lay out the history, scripture highlights, and current tenants of Mormon theology.

As a kid, I was raised Catholic-lite, but I’ve never been to the Vatican, and I wonder if there’s similar stuff anywhere else among worldwide Christian churches. That Noah’s Ark museum in Kentucky, maybe? The tone of much of this stuff seems to be to reassure outsiders that hey, Jesus is still just the best! He’s the best, you guys. We’re not any different from your local bake sale-having church people at all! In fact, there doesn’t seem to be much that explicitly tries to contrast with other Christian sects whatsoever, until you get to the Book of Mormon (the actual Book of Mormon) stuff that takes place in the Western Hemisphere.

A lot of this stuff came across to me as a “here’s how to be” kind of children’s book in museum form. It’s not really propaganda, I guess, because conduct prescriptions are what religions are supposed to do. However, the exhibits and artwork they had showing important people in Mormon scripture and the paramount religious events in their lives started giving me weird, familiar vibes.

A 19th century New Yorker who has some sort of religious awakening, begins to preach, gathers a cadre of like minded true believers, establishes a hyper-ardent offshoot Christian sect in the U.S., insists upon racism as one of the pillars of this new theology, is revered as a prophet to his people, gains power and respect (which he abuses), and begins an exodus of his followers out of American society to found their own civilization which will eventually prove hostile to the U.S.? Oh, you thought I was describing Joseph Smith or Brigham Young? Well, surprise, it’s (also) Zachary Hale Comstock, villain of Bioshock Infinite.

I’m not the first to draw this comparison. Here’s a much better article than I could hope to write from an anonymous blogger who claims to be an ex Mormon. And Bioshock creative head Ken Levine mentioned in a Mother Jones article:

There’s a bit of Joseph Smith in [Comstock], a bit of Teddy Roosevelt…Roosevelt was a very progressive figure in many ways. But he was also what you’d probably call a neoconservative in his view of America’s role in the world. So I have trouble comparing Comstock to him directly. Also, I’d have trouble just comparing Comstock to Joseph Smith or Brigham Young. I mean, the American-centric nature of the religion that he forms has some similarities to Mormonism, but there’s nothing in the Mormon church that approached the level of sinisterness you’d find in a Comstock.

In the game (where the next bunch of linked images are from), Comstock is a religious figure with a hyper-nationalism for his own vociferously racist vision of America, which never actually existed and is more twisted than even our own real history. There’s a part of the game where you play through a museum dedicated to the history of Columbia, the city-state Comstock founded, and it puts a very religious sort of spin on the founding of the United States and points in its history. Abraham Lincoln is called “The Apostate” and is remembered as an insidious Satan figure, while John Wilkes Booth is a saint. The Confederate Army, being the true soul of America to these zealots, is led by the angelic spirit of George Washington. The locals are generally hostile.

All of this stuff is understandably batshit, because they were trying to write a villain in Comstock. I’m not saying Mormons are or were evil like this guy. I’m saying it seems pretty likely that the devs took Mormon lore, cranked the evil and steampunky sci-fi up to 11, and out came Comstock and Columbia.

The American founding fathers appear in Mormon religious works, notably in writings by Wilford Woodruff, fourth president of the LDS Church, describing religious visions:

The spirits of the dead gathered around me, wanting to know why we did not redeem them ... These were the signers of the Declaration of Independence ... I thought it very singular, that notwithstanding so much work had been done, and yet nothing had been done for them ... I straightway went into the baptismal font and called upon brother McCallister [sic] to baptize me for the signers of the Declaration of Independence.

The LDS Church is extremely PR conscious and has left doctrinal, institutional racism behind, but it’s a poorly kept secret that the early days didn’t look too good. Unlike the populations of other Western Territories (Colorado and California in particular), the Mormons mostly took a pass on the Civil War, though to their credit, there isn’t much evidence to suggest explicit sympathy for the Confederacy. However, here’s Brigham Young:

Shall I tell you the law of God in regard to the African race? If the white man who belongs to the chosen seed mixes his blood with the seed of Cain, the penalty, under the law of God, is death on the spot. This will always be so. The nations of the earth have transgressed every law that God has given, they have changed the ordinances and broken every covenant made with the fathers, and they are like a hungry man that dreameth that he eateth, and he awaketh and behold he is empty.

And now here’s Comstock:

What exactly was the Great Emancipator emancipating the Negro from? From his daily bread? From the nobility of honest work? From wealthy patrons who sponsored them from cradle to grave? From clothing and shelter? And what have they done with their freedom? Why, go to Finkton, and you shall find out. No animal is born free, except the white man. And it is our burden to care for the rest of creation.

The Mormons flirted with armed rebellion but eventually backed down when the United States and local native nations made it clear they were not fucking around. Joseph Smith, a 100% legit, honest to God prophet to his people, had some pretty dark things to say about the U.S., especially the godless northeast cities:

Nevertheless, let the bishop go unto the city of New York, also to the city of Albany, and also to the city of Boston, and warn the people of those cities with the sound of the gospel, with a loud voice, of the desolation and utter abolishment which await them if they do reject these things. For if they do reject these things the hour of their judgment is nigh, and their house shall be left unto them desolate.

And here’s Woodruff again, in a prophesy “confirmed” by Young:

While you stand in the towers of the Temple and your eyes survey this glorious valley filled with cities and villages, occupied by tens of thousands of Latter-day Saints, you will then call to mind this visitation of President Young and his company. You will say: That was in the days when Presidents Benson and Maughan presided over us; that was before New York was destroyed by an earthquake. It was before Boston was swept into the sea, by the sea heaving itself beyond its bounds; it was before Albany was destroyed by fire; yea, at that time you will remember the scenes of this day.

Well, here’s a scene in Bioshock Infinite that shows a time-travel flash forward to the future year 1984, what Comstock will do if not stopped. He floats Columbia right over New York and starts bombing:

How the hell do they not get shot down? Sci-fi weapons or shields, I’m guessing. Columbia imagines if a civilization of religious secessionists hadn’t decided to chill out in the end, the way the Mormons did.

If you need any more convincing of the connection here, in BioShock Infinite, one of the protagonists who the player spends a lot of time with and who drives the story is Comstock’s daughter Elizabeth. She is kept a gilded-cage prisoner and wants out of Columbia, and much of the action is about helping her to escape. SPOILER ALERT FOR A 5-YEAR OLD GAME: Elizabeth’s parentage isn’t what it seems, she was actually given the name Anna at birth. Well, there was a famous ex-wife of Brigham Young, one of 55, who decided she wasn’t about that life, alleged domestic abuse against Young and filed for divorce (both a huge deal for their time), and ultimately wrote an autobiographical account called Wife No. 19. This woman’s name? Ann Eliza Webb.

No doubt you could substitute any other religion and find similar parallels to BioShock Infinite in art and lore, but the Americanness of the LDS Church is what sells this idea to me, how both the real life Mormon church and the fictional characters and civilization draw from the cultural fundamentals of this country, as well as our absolute worst elements. The obvious difference is the Mormons wrestle with the racism and violence in their church’s past, and for sure try to do good works in the world today. Not so for Comstock and Columbia. But that’s part of what made them such compelling villains.

#BioShock Infinite #Xbox #Xbox 360 #Sony PlayStation #PlayStation 3 #PC #2K Games #Irrational Games #BioShock

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garden-ghoul · 7 years

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return of the blog, part 9

“I don’t want to stop thinking about the space opera version of the legendarium...”

THE FIELD OF CORMALLEN

The moment Sauron gets distracted and begins to doubt himself, every single one of his solders feels the hand lighten up on the back of their neck and goes “oh fuck, what am I doing?” WAIT. SO THE WAY SAURON KEEPS HIS SOLDIERS FROM DESERTING IS CONSTANTLY MIND CONTROLLING EVERY SINGLE ONE OF THEM? No, no, that probably only works when they’re all gathered together like this. Still, that’s a hell of a thing to be able to do. Think of all the stuff he could get done if he stopped spending 500% of his energy breathing down everyone’s necks!

Orodruin wheezes out a huge puff of black smoke. It’s Sauron, probably, or at least a metaphor for Sauron. He reaches out a threatening hand, but gets blown away by the wind before he can touch the Western Alliance. The people whose wills he enslaved are so confused that they start running around knocking into each other, tripping on their swords and dying, killing each other, they just do not know what is going on and it has massive casualties. A few of the humans who actually do hate the West hunker down and prepare to fight, but everyone else is running around like headless chickens. Gandalf asks Gwaihir to come fly him to Orodruin. Gwaihir is like “bro I am always here for you, I love you so much.” It’s very sweet and I want to hear more about their relationship.

Very jarringly, without so much as a section break (at least in my bootleg online copy) Frodo repeats his line from the end of last chapter, and then goes on to say some more extremely depressing things. Sam insists on walking a ways down the mountain, because what else are they going to do? But they fetch up in front of a huge pyroclastic flow so, no dice. Just as the eagles spot them, they both pass out. I really like how they each need an entire eagle to carry them, even though they are about a hundred pounds each probably, and I previously assumed these were giant eagles. Maybe they are... eagles that are only slightly larger than normal earth eagles?? Like, a condor and a half. Huge birds, but still of earthly proportion. Love it.

On April 8th, Sam wakes up again, and thinks he’s dreaming. This is nice and all, but they were literally starving when they were last awake several weeks ago (March 25th, Gandalf helpfully reminds us, which has now been declared new year’s day in Gondor). Unless someone invented intravenous feeding tubes while I wasn’t looking, they should be dead.

No. uh. ~~magic!~~

They walk outside (they’re in Ithilien, but Aragorn seems to be having his coronation here anyway? rather than in Minas Tirith?) and a bunch of people are shouting “PRAISE THE HOBBITS! PRAISE THEM WITH GREAT PRAISE! SAM AND FRODO HIP HIP HOORAY!” Which is extremely embarrassing. Even Aragorn, the guy of the day, takes their hands and shouts “PRAISE THEM WITH GREAT PRAISE!” This is starting to feel a little bit like a weird horror story, like where you wake up and the world has been altered in some way and everyone is acting Off and nobody will explain anything and it’s upsetting.

Sam, however, is just happy that someone wrote a song about Frodo.

They talk with everyone and feast and stuff for the whole day. Also apparently it’s Aragorn who kept them alive with his ~healing True King hands~. This still explains nothing. And I guess on May Day Aragorn is returning to Minas Tirith, for symbolism reasons. Waves a tiny flag apathetically. This was a very dull chapter because everything was summarized instead of told properly; we were supposed to feel happy, but it was like dutifully chewing kale. Except worse because I’m actually quite fond of kale. I can’t think of anything chewy. Gristle?

THE STEWARD AND THE KING

Heyyyyyy sounds like we’re gonna hear about Faramir! Fingers crossed for gay shit.

Eowyn is running around out of her bed when she shouldn’t be, because she’s as strong as a horse and bored bored bored. She picks a minor fight with the chief healer for saying maybe wars are bad and demands to know if there are any deeds to do. Gah I love her. Finally the healer, exasperated, takes her to the steward of the city so she can pester him instead. “Do not misunderstand him, lord,” says Éowyn. “It is not lack of care that grieves me. No houses could be fairer, for those who desire to be healed. But I cannot lie in sloth, idle, caged. I looked for death in battle. But I have not died, and battle still goes on."

Ugh. Eowyn is pulling a real Marius Pontmercy here.

“Make the healers let me go,” she says.

“Have you considered... maybe they know what they’re doing?” says Faramir.

“I WANT... TO GO TO BATTLE. I want to be like my father! Honorable and dead!” Okay why is Eowyn so set on being dead. I’m not entirely sure where this characterization is coming from. Has she always been lowkey suicidal and it just looked like she wanted to do glorious deeds? She sort of gives in eventually and accepts that this battle is already too far away for her to join in. Faramir doesn’t want her to be bored and antsy, so he asks her to hang out with him while they’re both healing. He also tells her she’s beautiful, and she’s like “Uhhhh sorry I’m too butch for this.” And leaves.

Faramir hunts down Merry to question him about Eowyn, and they loiter in the garden hopefully waiting for her to show up. She doesn’t. She does come later, and they start hanging out a lot. He gives her a super nice coat that his mom (Finduilas of Amroth!) used to own. Eowyn keeps looking toward Mordor and sighing and saying “When will he come back??” And it’s clear she’s utterly oblivious to Faramir’s gentle flirting. But she does hold hands with him without either of them noticing, so ???

AH. Faramir also makes a Numenor comparison as great plumes of smoke rise up from Mordor:

It seemed to them that above the ridges of the distant mountains another vast mountain of darkness rose, towering up like a wave that should engulf the world, and about it lightnings flickered; and then a tremor ran through the earth, and they felt the walls of the City quiver. A sound like a sigh went up from all the lands about them; and their hearts beat suddenly again.

‘It reminds me of Númenor,’ said Faramir. “The land of Westernesse that foundered and of the great dark wave climbing over the green lands and above the hills, and coming on, darkness unescapable. I often dream of it.’

Ugh I don’t even care about Hamilton but I think so much about that line that’s like “I imagine death so often it feels more like a memory.” It’s both how I feel about Faramir, and clearly how Faramir himself feels.

Just then an eagle flies by the city, singing the news. This is so goofy compared to Faramir’s congenital solemnity. Oh this is good though. After he takes up stewardship of the city Eowyn has an Angst. Faramir tries to be oblique about asking if she likes him, but she makes him come out and say it.

‘Éowyn, do you not love me, or will you not?’

‘I wished to be loved by another,’ she answered. ‘But I desire no man’s pity.’

I’m gay? oh haha,

'As a great captain may to a young soldier he seemed to you admirable. For so he is, a lord among men, the greatest that now is. But when he gave you only understanding and pity, then you desired to have nothing, unless a brave death in battle.’

Haha yes gogol was right

'Do not scorn pity that is the gift of a gentle heart, Éowyn! But I do not offer you my pity. For you are a lady high and valiant and have yourself won renown that shall not be forgotten; and you are a lady beautiful, I deem, beyond even the words of the Elven-tongue to tell. And I love you. Once I pitied your sorrow. But now, were you sorrowless, without fear or any lack, were you the blissful Queen of Gondor, still I would love you.’

“I would love you even if you were happy” is such a fucked up thing to have to say, honestly. BUT, “I love you for doing great deeds and this is not a pity-date” is exactly what Eowyn wants to hear, probably.

‘I will be a shieldmaiden no longer, nor vie with the great Riders, nor take joy only in the songs of slaying. I will be a healer, and love all things that grow and are not barren.’

Wait

I mean. This is a great thing, not killing people, and I have always associated becoming trans with putting down one’s sword, but this feels like. “oh finally she can be a real woman.” So Johnald thinks, but in fact Eowyn is trans and wants to be a gentleman/gentle man. So I’m putting my grubby queer fingers all over this and saying it’s really good that Eowyn is associating masculinity with peace and healing and growth.

Faramir asks Eowyn to marry him and she says,

‘Then must I leave my own people, man of Gondor? And would you have your proud folk say of you: “There goes a lord who tamed a wild shieldmaiden of the North! Was there no woman of the race of Númenor to choose?”’

For some dumb reason he interprets this as her being worried about his reputation, rather than her being worried about being asked to leave her entire family behind and be an item of curiosity as long as she lives in Gondor??

And then he kisses her. Ugh.

After this Aragorn and co come back, and Aragorn does a bunch of symbolic junk with symbols of office. He pardons everyone. The city is full of flowers and babies to kiss. Faramir becomes the prince of Ithilien. Eowyn goes home to Rohan to rebuild, but says she’ll come back when she can finally bring Theoden back and put him at rest in Rohan. That’s some good shit. Also Aragorn finds a Nimloth sapling just sort of hanging out on the mountain. Gandalf points at it and Aragorn is like “oh”

“guess I’ll take this home then”

Then Galadriel and Elrond show up and Aragorn gets married. Either that or he and Arwen are just holding hands. Gotta say, I can not relate to any of this. Where is the trauma. Where is the trauma!

#blog of the rings

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