some tags i used a lot!
#aph art for my art
#asoiaf brainworms
#tpw brainworms
#s&l brainworms
also follow me on twitter because i'm more active on there!
Aqua Utopia|海の底で記憶を紡ぐ
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@aphemera
some tags i used a lot!
#aph art for my art
#asoiaf brainworms
#tpw brainworms
#s&l brainworms
also follow me on twitter because i'm more active on there!

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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When arya in a modern war(and when she grows a little older)
ARYA WEEK 2025 | DAY7-Alternate Universe: Feminism and the Role of Women
*inaccurate reference to clothings and firearm
𓍼 ོ Sansa Stark as Lúthien Tinúviel
[ @sansaweek day 3: literary parallels ]
commission done by @malotte00
In A Storm of Swords, ARYA XIII, the death of Joffrey Baratheon is recounted to Arya, including the rumours surrounding her sister, Sansa:
“The northern girl. Winterfell’s daughter. We heard she killed the king with a spell, and afterward changed into a wolf with big leather wings like a bat, and flew out a tower window.”
While the wolf imagery is not surprising considering her Stark heritage, which the small folk reaffirm, despite her marriage to a Lannister by calling her “The northern girl. Winterfell’s daughter.”, the decision by GRRM of bat wings is demands further discussion.
Throughout her story, Sansa is directly compared and tied to animals of flight; doves, falcons and exotic birds which need to be caged in order to stop them from flying away, but previously, never bats. GRRM may have landed on bat-wings this time because the wings of a bat are more unpleasant to behold, they’re leathery and ugly, thus, illustrating the sinister portrayal intended to paint Sansa as villainous.
However, for a song-bird such as Sansa, perhaps an allusion to a siren, a creature with the feathery wings of a bird of prey and the body of a woman; or even perhaps a harpy, a creature similar to a siren, who’s name, even more so than ‘siren’, has become a misogynistic and derogatory word for a detestable woman, would have been more fitting for someone who, in their eyes, committed such a monstrous act such as regicide.
Moreover, it could also be a reference to Sansa’s maternal grandmother, Minisa Whent, of the Whents of Harrenhal, whose sigil is nine bats on a yellow field. While this is a possibility, it seems rather obscure for a story supposedly originating amongst the small folk. What seems more likely is that GRRM is directly referencing JRR Tolkien’s, Lúthien Tinúviel.
In both the earlier Lay of Leithian and posthumously published, The Silmarillion, Lúthien Tinúviel, elf-maid and Princess of the hidden kingdom of Doriath, fashioned for herself a pair of bat wings, procured from the vampire-like creature Thuringwethil. And for her love, Beren, a wolf skin from the terrible “sire of all were-wolves”, Drauglin.
This act of skin-changing allowed them both to travel cross country at break-neck speeds to arrive at the lair of Morgoth, Tolkien’s lucifer parallel, an abominable immortal being who was “as tall as a tower”. Due to the supernatural power of her singing voice, and Morgoth’s lust for Lúthien, she is able to successfully defeat the giant, meaning their quest can be fulfilled.
Similarly, in the small folk’s tale of Sansa Stark, she murders the king with a spell, and wearing both the skin of a wolf, and the wings of a bat, is able to flee her captivity in King’s Landing. In doing so, this leads her straight into the domain of Petyr Baelish, the commonly theorised “savage giant” whom she must “slay” in order for her arc to be fulfilled.
Both recounts of the tale of Beren and Lúthien, as well as Sansa’s escape, are oral recounts of historical events by in-world characters, the elves (and later written down by Bilbo Baggins) in Tolkien’s legendarium, and the common people in Westeros, cements both ladies in their respective world’s myth and legend.
i was watching this video about ugliness while cooking earlier and tbh (getting in first w the ‘person who has only read asoiaf’ allegations) it really made me think damn it is some minor miracle a character like Brienne even exists. ppl are so Deathly afraid of portraying female ugliness, of even imagining it. and GRRM wrote Brienne w the utmost sincerity and empathy and made her a romantic heroine. what the hell. why is this boomer lib doing better on this than all of us
samira mohan sketch!!

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THE MEANING OF “A SONG OF ICE AND FIRE”
Some say the world will end in fire,
“I am known for titles that have several meanings”
Revanshe: There is some question as to what “A Song of Ice and Fire” refers to. Some people think it dwells on elements, such as the wall and Others and dragons, while others think it refers more to a character or characters, the favored one being Jon. Any comments?
George_RR_Martin: No comments on that one … except that I am known for titles that have several meanings.
—Transcript of Chat with George R. R. Martin on March 18, 1999
Some say in ice.
“I like titles that work on several different levels”
Shaw: The series title (Song of Ice and Fire) draws on two images that are opposite. With these images, do you mean to suggest that any kind of peace and reconciliation are a lost hope for the people of Westeros? Martin: No, not necessarily. I think the contrasts of ice and fire, of love and hate, all the things that they symbolize is one of the themes of what the series is about. You can’t really encapsulate that in a nutshell, but that’s certainly a part of it. I like titles that work on several different levels where the title seems to have an obvious meaning but, if you think about it, also a secondary meaning, perhaps even a tertiary. That’s what I’m striving for here.
—Interview with the Dragon, 2003
From what I’ve tasted of desire
I hold with those who favor fire.
“That’s for my readers to argue out”
Shaw: As the novels unfold, Jon becomes increasingly identified with the northern cold and ice, just as Dany is closely tied to the southern heat and fire. Will these two ultimately embody the central image of the series, Ice and Fire? Martin: That’s certainly one way to interpret it. That’s for my readers to argue out. That may be one possible meaning. There may be a secondary meaning, or a tertiary meaning as well.
—Interview with the Dragon, 2003
But if it had to perish twice,
I think I know enough of hate
“People say I was influenced by Robert Frost’s poem, and of course I was”
Why your saga is called A Song of Ice and Fire, because of the Wall and the dragons or is something more beyond that?
Oh! That’s the obvious thing but yes, there’s more. People say I was influenced by Robert Frost’s poem, and of course I was, I mean… Fire is love, fire is passion, fire is sexual ardor and all of these things. Ice is betrayal, ice is revenge, ice is… you know, that kind of cold inhumanity and all that stuff is being played out in the books.
—Adria’s News, 2012
To say that for destruction ice
Is also great
“greater and more dangerous threats”
For people who are not familiar with your work, the series takes place in an imaginary world. There is a struggle for control of the kingdom. This dynastic war is essentially one of three main plot lines. There are the other plot lines involving these sort of superhuman characters, and then there’s the exiled Targaryen daughter who seeks the return of her ancient throne. Why those three main plot lines?
Well, of course, the two outlying ones — the things going on north of the Wall, and then there is Targaryen on the other continent with her dragons — are of course the ice and fire of the title, “A Song of Ice and Fire.” The central stuff — the stuff that’s happening in the middle, in King’s Landing, the capital of the seven kingdoms — is much more based on historical events, historical fiction. It’s loosely drawn from the Wars of the Roses and some of the other conflicts around the 100 Years’ War, although, of course, with a fantasy twist. You know, one of the dynamics I started with, there was the sense of people being so consumed by their petty struggles for power within the seven kingdoms, within King’s Landing — who’s going to be king? Who’s going to be on the Small Council? Who’s going to determine the policies? — that they’re blind to the much greater and more dangerous threats that are happening far away on the periphery of their kingdoms.
And of course, you can see that all through history. It’s a common dynamic that takes place in history. You know, the Greek city-states, before the birth of Christ, you know, and fighting with each other, squabbling with each other, even as Philip of Macedon built up his armies to conquer them all. But you even see it in modern times, you know — the political struggles of France, under the Third Republic, while the Nazi threat is rising.
But the French politicians would almost rather befriend the Nazis than each other. And maybe our lessons in the modern day too. Who knows? I mean, we have things going on in our world right now like climate change, that’s, you know, ultimately a threat to the entire world. But people are using it as a political football instead of, you know … You’d think everybody would get together.
This is something that can wipe out possibly the human race. So I wanted to do an analogue not specifically to the modern-day thing but as a general thing with the structure of the book.
—Al Jazeera 2014
And would suffice.
~~~
UPDATE
“Ice and fire of course are also opposites”
Q: The first question I have to ask you has to do with a poem that probably most of you will know, which is the poem by Robert Frost entitled Fire and Ice and it says … .
The first question clearly Mr. Martin is, what are the ice and fire of the poem in his work, are they desire, are they hate, are they good and evil, what are they?
GRRM: Well ice is frozen water. And fire, fire is the result of combustion when a substance unites with oxygen and gives off heat and energy. But are they hate and love and these other things too? Yeah of course. I’m working on a number of levels there, and I’ve always loved a certain amount of ambiguity. Words or scenes or sequences in books that can be read in many different ways, that have several meanings when you look at them, that mean one thing when you look at them this way, and another thing when you’re looking them the other way. Ice and fire of course are also opposites, they’re a duality and there’s a lot in my books that are about duality. Certainly the religion of Melisandre, one of the most important characters, I think is basically a dualist religion with the premise that there are two gods. It’s somewhat based on Zoroastrianism, and a little bit based on Catharism, Albigenses heresy who I know had some roots here in Spain once upon a time, before they were all killed. The idea of a world divided between good and evil, war between the two, which is so basic to so many fantasy starting with Tolkien, but much more so in the case of Tolkien imitators, was something that I wanted to recast and think about and maybe subvert a little. But I’m still using kind of the language of it, and some of the symbols associated with it. So all of these are grist for the mill, it’s not something as simple as saying ice is this and fire is that. They’re both many things. And one of the most important things is that both of them, ice and fire will kill you dead. So they’re both dangerous in their own ways, hate, love, desire, coldness, they can both be deadly.
—KOSMOPOLIS // George R. R. Martin - July 28, 2012
The emotional rollercoaster of oml Ramy is an Indian Muslim to…oh…Ramy is an Indian Muslim.
I’m actually glad this story takes place (1830’s) a century before Partition (1947.)
Because oh man my heart wouldn’t be able to take Ramy trying to go home to India after it gains independence from the British.
Only to realise he cant go back because of his religion.
That Ramy didn’t belong in England and England made sure he would never belong back home.
i love that george rr martin has the same energy when designing characters as 15 year olds on deviantart. one has albinism and a birthmark and one eye. another one has a streak in his hair and family beef. their names are bloodraven and darkstar. warrior cats ass characters.

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Catelyn Stark and her firstborn Robb stark
*wakes up from dream where I mind melded with my wolf and felt the hot sweet blood of my kill run down my throat* that could mean anything *punches pillow so hard it actually explodes* *skips breakfast* would my dad be proud of me. *punches guy into unconsciousness without really thinking about it* *juices a whole frozen lemon in one fist* *pushes 700 pound wolf aside with only mild struggle* *yanks anchor that takes teams of 4 to pull out of frozen ground with one hand* no no I’m not a warg I’m normal. This is normal strong. *makes sweeping political status quo changes unilaterally* the nights watch takes no part *organizes marriage alliance and plans lovely reception* *never explains anything* whatever *shakes head at magical bird loudly declaring that I am the king* *walks by red witch portending my immediate murder* you’re weird *shrugs at inspiring mass religious conversion* *represses gay thought* time for my evening spreadsheet. how many vegetables are in the kitchen. I need to count them.
“I take no joy in mead nor meat, and song and laughter have become suspicious strangers to me. I am a creature of grief and dust and bitter longings. There is an empty place within me where my heart was once.” -Catelyn Tully Stark pg. 673 of Clash of Kings.
Dabbling in some symbolism. Spoilers under the cut.
Hair - With the cold/wind in the Vale, hairstyles where the hair is pulled back from the face would probably be preferred. This is merged with the relative wealth in the Vale which can be showed off through hair nets and pearl accents, with long hair being shown off as an indicator of wealth - having maids to brush and take care of it, but still needing to be pulled back due to the weather.
Dresses - Swiss/The Alps influences. Rich and detailed fabrics to convey wealth, relatively structured with high or covered necklines. Capes are useful to guard against the wind and lots of fur lined cloaks (again wealth), of course there's a lot of blue for house Arryn, but other houses (e.g Royce) would favour others (browns and blacks) but in similar styles.
Dressing Westeros - The Vale
possibly the greatest asoiaf moment ever is when jon gets the letter about bran waking up and mormont expects him to grieve because “sorry kid :( it’s actually bad news :( he’s never going to walk again :(” but jon is all like “my brother is going to live !!!” and then he races out of the room and tells everyone he passes that “my brother is going to live !!!” and he gets back to the common hall and picks tyrion up and spins him around and makes him read the letter too because “my brother is going to live !!!” and he’s so giddy that he befriends grenn and tells thorne to go fuck himself and then everybody laughs and jon is just so happy because “my brother is going to live !!!”
meanwhile bran is back in winterfell listening to robb’s bannermen whisper about how death is a kinder fate than his, how they should’ve just let him die, how he’s too broken to be alive—with no idea that his big brother is out there celebrating because bran is going to LIVE !!!

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baby come home(x)
"A corpse standing at the prow of a ship with bright eyes and grey smiling lips."
I like the theory of aeron mistakes the kraken summoned by euron for the drowned god. To him that means a definite chance of reuniting with urri ^^
Here you go! I hope you guys like them >:)