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Learn how to code a circular spirograph using Python code.
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turtle-paced – Tumblr
turtle-paced, a blog on Tumblr. Never miss a post from turtle-paced. Make gifs, find your community. Only in the app. Get the app; No thanks …
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Date Published: 8/14/2021
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turtle-paced: I know I haven’t addressed Sansa’s…
Sansa empowering. This character, this female character, who’s in a medieval fantasy setting yet has no serious interest in weapons or in violence, who doesn’t …
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Date Published: 12/28/2021
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So, after years of excelling in a patriarchal… – rainhadaenerys
turtle-paced. answered: Blergh. One of the notable features of Catelyn’s narrative is the recognition that her situation is a giant failure of justice.
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Date Published: 9/28/2021
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turtle-paced: A few thoughts on GoT’s fight…
turtle-paced. A few thoughts on GoT’s fight scenes, one of which I got from a now-sober @meddlingwithdragons. “A fight is conversation. With stabbing.
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Date Published: 8/9/2021
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turtle-paced – Writing about ASoIaF and GoT, mostly.
turtle-paced · August 2, 2020 · a dance with dragons · barbrey dustin · cw: abuse · cw: rape · jeyne poole · ramsay snow … Tumblr and Coffee.
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Date Published: 3/8/2021
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What was Quentyn’s relationship with Oberyn like
turtle-paced answered: Not close. … doctorxtardisotp reblogged this from turtle-paced … See more posts like this on Tumblr. #turtle …
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주제에 대한 기사 평가 turtle paced tumblr
- Author: Geek Tutorials
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- Date Published: 2018. 10. 25.
- Video Url link: https://www.youtube.com/watch?v=w0LO0Ff7WRo
turtle-paced
Anonymous asked:
If Robert found out about Jon’s parentage and wanted to send him to the wall what do you think Ned would think about it? He accepted Jon going but that was probably because Jon had more of a choice and wasn’t forced? Also, could Robert make Jon go because he committed the crime of being Rhaegar’s son or could Jon fight it?
That’s a big if. This is Robert we’re talking about. There’s nobody he hates more than Rhaegar, as far as I can tell. Jon is the symbol and result of Rhaegar’s relationship with Lyanna. I have trouble seeing Robert okay with any outcome but Jon’s death. I don’t think he could stand to know that Lyanna’s son with Rhaegar was out there.
But let’s go with it.
The line between political and personal is blurred, here. Jon being the child of a Targaryen is not illegal. Nobody knew about him so he hasn’t been banished or anything like that. At the same time, his existence is clearly a political risk and hiding it was clearly a personal betrayal. Robert’s the king. Nobody’s the boss of him. There are very limited ways to call him to account and most of them are drastic. Robert can bring that power to bear against teenaged bastard kid Jon Snow, sure, if he’s willing to deal with the political consequences.
But here’s the thing. Like I mentioned above, hiding Jon’s existence was a massive personal betrayal of Robert, by Ned. If Jon’s parentage were discovered, I doubt Ned would be making shocked pikachu faces and denying he knew anything about it (not least because it’s seriously implausible). That’s the sort of thing he owns. So if Robert found out, Ned would either be dead or on the way to the Wall right alongside Jon.
I shall become a man of peace — turtle-paced: I know I haven’t addressed Sansa’s…
I know I haven’t addressed Sansa’s characterisation in particular – but that’s because I am gutted. I love book!Sansa to pieces. This week, show!Sansa was the latest casualty of the showrunners’ glorification of violence.
You know, I haven’t seen many people say this in so many words, but I find book!Sansa empowering. This character, this female character, who’s in a medieval fantasy setting yet has no serious interest in weapons or in violence, who doesn’t have much of a stomach for violence when confronted with the reality – she’s still portrayed as brave and strong and clever. Gender matters, here, since so many non-violent female characters are depicted as soft and shallow and silly, or else are sexual manipulators (almost always evil sexual manipulators, because the sexuality cannot be separated from the evil when it comes to women), rather than as potential heroes with a different methodology. As a girl with a low tolerance for violence, I really felt the lack in popular media, growing up. As a grown woman with a low tolerance for violence, reading Sansa’s storyline really meant a lot to me.
And please, nobody take my angst over losing book!Sansa’s specific characterisation as a general “no female character should be violent ever” sort of thing. It isn’t. Can’t help it though: book!Sansa speaks to me personally in large part because she’s got very little serious interest in physically hurting other people, and still fights for justice and tries to save people.
Brienne’s no chance, and no choice is one of the most badass, righteous, hell yeah moments in the entire series, but this
“A cask from the cellars! I’ll see him drowned in it!’
Sansa heard herself gasp. “No, you can’t.”
and this
Joffrey looked for a moment as if he meant to ride [the woman holding her child’s corpse] down, but Sansa Stark leaned over and said something to him. The king fumbled in his purse, and flung the woman a silver stag.
are just as brave, and GRRM means for us to see those acts as brave. No violence on Sansa’s part, just words and courage. I am so disappointed that the showrunners didn’t think she was “strong enough” without the rape-revenge arc of the past two seasons. (Again, I cannot emphasise this enough, I don’t have any problems with people fighting back against their abusers and don’t wish to imply otherwise. What we saw last episode wasn’t any sort of self-defence. It was cold-blooded murder for revenge.) I’m so disappointed with the presentation of aforementioned cold-blooded murder as strength and justice that I can’t even get angry. I’m disappointed that the showrunners thought that what would really improve the arc of one of my favourite generally non-violent characters was more violence. Variety, please. We can’t all be Arya, but that doesn’t make all non-Arya people weak.
As for book!Sansa’s future in TWoW and ADoS, while I don’t expect Sansa to take down Littlefinger without violence full stop (my personal theory is that Littlefinger is executed fairly for a crime he truly committed, a counterpoint to what he did to Ned), I do expect the meat of her victory over him to be accomplished with words. What will make her victory a victory will be in what she says, and not in the fact that Littlefinger dies.
Show!Sansa’s murder of Ramsay also came in an episode that showed off just how badly Jon Snow was botched in adaptation, and in a similar way. The Jon Snow of the books got a big lecture on playing the action hero all the way back in book one:
“Your brother is in the field with all the power of the north behind him. Any one of his lords bannermen commands more swords than you’ll find in all the Night’s Watch. Why do you imagine that they need your help? Are you such a mighty warrior, or do you carry a grumkin in your pocket to magic up your sword?”
Commander Mormont’s sarcastic words clearly fell flat for the showrunners, because in the show Jon is such a mighty warrior. How many Bolton soldiers did he kill last episode? How many wights at Hardhome? And the White Walker, don’t forget the White Walker.
In the books, Jon accomplishes important things by talking and negotiating, things show!Jon has notably failed at, when he’s even tried. The change to Jon provides additional evidence that the showrunners genuinely believe that violence is a necessary component of real strength, and that violent conflict resolution is better than non-violent.
(There are discussions to be had about the show’s depiction of Davos and the Tyrells, particularly Margaery. Davos gets his non-violent heroic story beats – but they accomplish nothing. Margaery is a non-violent character who’s depicted positively – but the focus on her political machinations is sexual, and recently it’s not clear how effective she’s been either. This doesn’t invalidate any benevolent goals, nor the positivity of her depiction, it just falls into an uncomfortable cliche in many ways. Show!Margaery is nowhere near the sort of character book!Sansa is.)
GRRM isn’t anti-war and anti-violence across the board. He’s got a solid appreciation for when violence is a moral necessity. But one of the things that I love so much about this series is that violence isn’t treated narratively as the only, default, or best option, and the characters who prefer to and excel in finding and implementing non-violent or minimally violent methods of resolving conflicts get as much (or more, depending) authorial respect as the out-and-out warriors.
The showrunners, on the other hand, they choose violence.
Daenerys Targaryen is the love of my life — So, after years of excelling in a patriarchal…
Blergh.
One of the notable features of Catelyn’s narrative is the recognition that her situation is a giant failure of justice. The measures meant to protect her (men, mostly) did not, and left her with little to no means to protect herself, while at the same time GRRM the universe is out to get her and all that she loves.
“And who would keep you safe, my lady?” Her smile was wan and tired. “Why, the men of my House. Or so my lady mother taught me. My lord father, my brother, my uncle, my husband, they will keep me safe…but while they are away from me, I suppose you must fill their place, Brienne.”
– Catelyn VI, ACoK
Brienne’s face was a watery blur. She reached across the table, but her fingers stopped short of Catelyn’s, as if the touch might be unwelcome. “I…there are no words, my lady. My good lady. Your sons, they…they’re with the gods now.” “Are they?” Catelyn said sharply. “What god would let this happen? Rickon was only a baby. How could he deserve such a death? And Bran…when I left the north, he had not opened his eyes since his fall. I had to go before he woke. Now I can never return to him, or hear him laugh again.”
– Catelyn VII, ACoK
All lost now, she reflected. Winterfell and Ned, Bran and Rickon, Sansa, Arya, all gone. Only Robb remains. Had there been too much of Lynesse Hightower in her after all, and too little of the Starks? Would that I had known how to wield an axe, perhaps I might have been able to protect them better.
– Catelyn V, ASoS
This recognition, that the entire situation is rigged and unfair and has been for all her life, is a major part of Catelyn’s post-resurrection heel turn. Everything Catelyn thought was fair and just failed her, so after a massively traumatic murder and revival, she started making her own justice.
This is fucking absent from Dany’s heel turn in s8, because the writers were throwing every evil trope at her (is she ~cRaZY~? is she eeeevil? why not both!), and totally failed to recognise that a great deal of what happened to Dany in episode four was some sexist, xenophobic, petty bullshit with potential real political consequences for her. We’ve got Catelyn’s thoughts on the unfairness of her situation; we don’t get Dany’s thoughts on the specific unfairness of hers. We just get “break the wheel!” used like it’s proof she’s a tyrant.
Anti Game of Thrones — turtle-paced: A few thoughts on GoT’s fight…
A few thoughts on GoT’s fight scenes, one of which I got from a now-sober @meddlingwithdragons.
“A fight is conversation. With stabbing. But still, it’s communication. You’re supposed to learn things about people in the fight. And not just oooo shiny swords moving.”
In other words, fight scenes are characterisation in and of themselves.
We know that the show can do better than they did this week because the show has done better. Compare the Tower of Joy fight and the Sand Snake fight with Ned vs Jaime in season one, or Jaime vs Brienne in season three. The former were choreographed to show off a big spectacular fight scene. The latter were directed and acted to show the audience how Jaime regarded his opponents.
It’s not that the show’s version of Arthur Dayne was dual-wielding. The problem is that Ser Arthur was dual-wielding swords not suited for dual-wielding, a decision made to maximise the spectacle while also dictating that every other participant in the fight scene slow down their own strokes, and then we got flat out told that Ser Arthur was the best swordfighter present. It’s just another informed ability.
Imagine if the characters were singing. It would not fly. The viewers would feel insulted that they were expected to believe that Ser Arthur was an extraordinary singer if he competently performed a musical number while every other singer deliberately botched their notes.
It’s also a wasted opportunity for characterisation in a scene that in the books is full of emotion. None of these people wanted to be there, fighting. They just had to be there, fighting, and that could have come out through the swordfight itself. Even if the writers/directors/choreographers couldn’t manage characterisation (not everything can be The Princess Bride), different shot choices could have a) emphasised desperation and b) hidden the fact that only two of Ned’s party were attacking Ser Arthur at a time.
The problem with the fight scene is that the desire for a flashy scene overrode all other considerations. It’s the ethic that went into the scene.
ETA: @meddlingwithdragons has provided an example of a big GoT fight scene (not a one-on-one) that nevertheless characterised the participants.
“Most clearly illustrated in the Jorah, Grey Worm and Mr Goodbutt [Daario] fight [Yunkai]. When they break into a city for some reason? Grey Worm fights very controlled, never over-extending, very rigid moves/forms that have clearly been practiced a lot, [Daario] is flashy, dramatic but very good at the killing thing. Jorah is much less good, much more out of control, desperate hacking and simple fighting.”
So even though the three of them versus an entire city is, ah, kind of unrealistic, there was character work going on there too.
turtle-paced
I appreciate this chapter more after recapping it. I do remember that on first reading, my reaction to it was a bit muted after the previous Brienne chapter.
The Story So Far…
Having done what a true knight does and saved the children at the Inn, a wounded Brienne is taken to receive her just reward. The catch being it’s Lady Stoneheart’s idea of just.
Continue reading “Revisiting Chapters: Brienne VIII, AFFC” →
What was Quentyn’s relationship with Oberyn like,…
Note also this:
Ser Arys had yet to meet Quentyn Martell. The prince had been fostered by Lord Yronwood from a tender age, had served him as a page, then a squire, had even taken knighthood at his hands in preference to the Red Viper’s.
Quent had had the chance to show a symbolic bond of familial affection between him and Oberyn. Quent had not only refused it, but had given the honor instead to his “second father” Anders Yronwood – that is, the man whose own grandfather had (certainly in the Yronwoods’ eyes) been murdered by Oberyn, the man whose own father had demanded Quentyn as the price of the blood debt incurred by Oberyn’s actions. Actions speak louder than words sometimes, and Quentyn had very clearly declared that he considered Anders Yronwood closer family to him than his blood uncle.
Also probably not helping any Quentyn-Oberyn relationship was Quentyn’s relationship with the Sand Snakes. Quent in ADWD fears them mocking him for failing at his mission, and I tend to think this isn’t an attitude he developed overnight. The combination of not growing up close to them (physically or personally) and (inherently relatedly) Arianne being close to them (thank Doran for that artificial rivalry again) may have permanently divided Quentyn from the Sand Snakes in his mind – and with them being the daughters of Uncle Oberyn, that lack of affection may have transferred in Quentyn’s mind to Oberyn as well.
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