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G Ame Of Thrones is a series built on lies. Almost all the events that have occurred since the beginning of the series are the product of a series of obscurations and disappointments that the Starks, or other characters, have had to badyze. Prophecy is widespread, but their translations are fragile and their results uncertain. Religions predict great heroes, but also seem to choose dozens of bad candidates to get to the right place. People are disconnected and the center of knowledge of the world, the Citadel, is rather obtuse: when Sam arrives in the books, the maestres have distinguished themselves from the magic, actively seeking to break its existence. Knowledge, it seems, is the great enemy of the supernatural.
Yet Westeros still contains some characters for whom knowledge and magic are natural bed-mates. There is House Reed, whose connection with the Isle Of Faces and Greensering leave them mysterious as wizards who stand out fighting but seem to know everything. Then there is Bran Stark, a small child who started the book apparently stripped of his great love: curiosity. But where he lost the ability to climb and sneak, he managed to become a medieval Wikipedia through the management of the three-eyed raven.
There may be no more characters discussed, now that Jon Snow's filiation is known, than Bran Stark. Through his ability to "clash" with other beings and to take control, his ability to see the events of Westerosi's story and to potentially interact with them, as well as his relative omniscience, Bran has a very specific and very important toolbox to use in the upcoming fight. . Swords and dragons may be lacking, but an enchanted encyclopedia has its uses.
The eight series also reminded us that Bran is important from the start. It is not only a failure for the fundamental human rivalries that threaten to tear our heroes, but it is also the person who serves to bring every piece of information to the sight of everyone. He managed to demolish the Littlefinger manipulative master at the end of the last series, and now he returns to shake the Targaryen lineage and hit the fear of God in Jaime Lannister. There is no more disappointment in this series that Bran can not expose in an instant if he chooses to look for it. The question is: what happens when the lies dissolve and each character has to justify his decisions in the grand scheme of things? Daenerys has already seen this happen when she spoke to Sam: what happens when years and years of difficult decisions, apparently taken in a vacuum, are all interrelated?
In reality, Bran's powers are so diverse and so numerous. It's hard to understand how they will play exactly in this series, beyond as a convenient way to get all the characters to fight when the weather is bad. The Internet is full of theories related to Bran: many people think that he could play a role in the craziness of the crazy king and repeatedly refrain from "burning them all," perhaps as a way to build up wildfires at King's Landing to fight the fire. White walkers. The only problem here is that Cersei worked on a lot of things, Qyburn did not confirm that he had made one and we already know that Targaryens was a little crazy, which would have absolutely nothing to do with consanguinity the most dangerous. known to man.
Others suggest that Bran could be linked to Bran The Builder, the creator of the wall: the builder informed King Durran of what he had to do while he was still a child , according to A Clash Of Kings and in the footage of an additional DVD of the series one, Bran The Builder is transported on a platform, as if he could not possibly not walk.
There are then suggestions that Bran would turn into one of two people: the king of the night. himself or the new dragon courier of the king of nights. It's hard to know how to quantify it just because Bran did not turn into zombies (but that does not seem that much different from how White Walkers control wights) and certainly never controlled a creature too big. With the former, we do not know how far he can return or, in fact, what would be Bran's interest as a secret leader of the long night ahead. Others have suggested that he could do crazy king visits, Bran The Builder and the King of the night, all in one last fly. What I'm saying: it's … a lot.
The problem of time travel, to the extent that it exists, because Bran is that time is on a unique path to Westeros: the things that Bran has changed have already had visible consequences. , the only twist was to learn that Bran had made them. This means that although the Crazy King and Bran The Builder may be influenced by Bran, the fact that he is the king of the night makes no sense: he would have to believe rightly that all that the White Walkers have accomplished so far in the series corresponding to the smallest number of victims to achieve its ultimate goal and benign. That does not seem to be the case for me. Even Isaac Hempstead Wright said that the Bran / Night King theory does not stand up – "I think it sounds a bit obvious – a bit tacky" – but Kit Harington then denied that Jon Snow came back for centuries, so who know what a NOA will mean to a man.
But what interests me most about Bran is that his place in the story is so different from all the other characters. He is not a follower of inter-human conflicts like Sansa, Cersei. or Arya, this is also not one who has shown great strength in the war against fantastic foes such as Jon, Daenerys or Jaime (although he may have had more of Experience of the King of the Night himself as anyone). many to the real-world influences on the series, such as the Rose Wars or the Hundred Years War, and it does not seem to owe much to the more gracious epics such as The Faerie Queene The Dead of Death. Arthur or, more recently, The Lord of the Rings who hold magical sections. I would say that Bran Stark looks much more like a fairy tale character: a child who experiences almost inexplicably heart-wrenching experiences and gets out of it that changes completely.
It may seem strange to talk about fairy tales in the same breath as Game Of Thrones but in reality, JRR Tolkien – which we can all agree, is felt in this particular series – would clbadify them as being one and the same. In his famous lecture "On Fairy Stories," Tolkien provided a very precise definition of what constitutes a fairy tale, for example, a fable. "For Tolkien, the fairy tale takes place in a world separate from ours, it is a world of autonomous" fairy tale ", with its own rules, logic and magic." explained Paul Quinn of the Chichester Center for Fairy Tales, Fantasy and Speculative Fiction. "Crucially, the reader must believe in the totalizing effect of place and history, which, for Tolkien, can not be written for children only." It is a description that perhaps better describes The Silmarillion than some fairy tales, but there is no better description than that of a series of great stories like . song of ice and fire
There are characters in the series who owe a lot to folklore and fairy tales: the idea of ugly threats in the woods and an unknown force lying within unknown lands are found in the Russian fairy tales of Afanasyev, Norwegian Folklore and Little Red Riding Hood . Weights, giants, and savages are not new to British folklore, nor even to Perrault's ogres. Folklore, fairy tales and GRRM books all play with both external and internal threats: Cersei is nothing but a nasty clbadic queen, and even the misogynistic sufferings of Sansa or Jeyne Poole are found in the particularly vicious treatment of Hans 1945, Andersen] The little mermaid or the woman in The red shoes . There is therefore ample evidence that Martin relies on folklore as much as his courtly novel and epic oral traditions.
But while the series is full of Sir Gawains and abounds with many strong Achilles and wicked Ulysses, Bran sits in a very different place. Even if his disability is described, it corresponds more to an idea of punishment than to an internal deficit, as the physiognomy of the pre-19th century suggests.
"In fairy tales, a physical disability is often inflicted on an innocent party by a corrupt character more powerful than the victim," says Paul Quinn. In the story of the Brothers Grimm of The Handless Maiden a girl is forced to have her hands cut off so that her father is not tormented by the devil himself (the story does not become happier) . The kind of unnecessary suffering that Bran experiences also corresponds to the type of endless suffering we observe in something like Hans Christian Anderson's The Dark Man The Tin Soldier . While in some iterations, the hands of the girl without hands can grow back, but in many others she receives silver hands when she gets married in royalty: a kind of compensation that looks like the ridiculous powers of Bran, as the three-eyed crow says, "You will never walk again, but you will steal."
The thing is, fairy tales are also selling in deception. In The Handless Maiden much of history rests on the fact that the devil tries to sow discord with rewritten letters. In almost all fairy tales, heroes resort to trickery to succeed, from Hansel and Gretel to Jack when he steals the golden goose. While innocence is often the preserve of those who succeed, transparency is rarely: "Fairy tales speak of lies, cheating and theft and the need to demonstrate flexibility and intelligence to find the happy ending, "said Maria Tatar, professor of folklore. and mythology at Harvard. "How did we get to the top of the food chain? With progressive intelligence, of course. "
This is by l & rsquo; Mind and intellect that we do better than monsters and beasts, explains Tatar, but that's not all we can learn from these stories. "They also teach us a lot about the compbadion, connectivity, "she explained," and the need for us to help donors, mentors, and mentors to defeat all these tormentors and dementors. "This could ultimately be crucial for this that Game Of Thrones installs in the end: a symbiotic board of characters sharing information and wisdom, like Arya, Sansa and Bran against Littlefinger.But that also suggests that sometimes , a bit of lying is good for a person Bran does not seem to think the same thing [196] 59003] There is very little reason for Bran to die. It seems to be settled. It gives too much utility to the series as a whole so that a character loaded with this information and this ability to ignite character relationships be invalidated. But also because fairytale heroes never die (unless you are Hans Christian Andersen's wives). They simply suffer in a new and unusual way until reaching the zenith of their powers. Some might claim that this has already happened to Bran, who is now – for all practical purposes – dead for the three-eyed crow, a kind of ultra-being, to survive it. He and Meera Reed talked a lot about the last series.
If fairy tales and folklore teach us anything, it is that an excess of knowledge is a powerful thing. The question is whether an excess of honesty helps or prevents it. It is certainly the powers of Bran that will allow the heroes to get ahead of their enemies. This is certain. The question is who ends up dying in exchange? Who will be revealed as deceitful and cunning, rather than honest and true, and will not survive the coming war? Personally, I do not think there is a moment on the screen – scenes such as Tyrion and Cersei bringing together the latest series – that can not have gravity, as the show moves towards the end, Bran to intervene and mess. Bran is important because his knowledge will save the game, but it is all the more essential that this is the reason why half of the actors have to worry about the head. I doubt that he plays an important role in the war for Winterfell, but I think the second half of the 8 series belongs to Bran. The series began with Ned Stark, teaching his sons the power of justice, and it would be very fitting if the series ends if Bran is to do the same. Do not be fooled: at the end of Game Of Thrones Bran may be responsible for the death of more of your favorites than anyone else.
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