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Why Bittersteel kept choosing war
I’m not here to argue that Bittersteel wasn’t a ride or die. He absolutely was. Even as someone who is very much a Bloodraven girl at heart, I’ll give him that without hesitation.
But I want to talk about Bittersteel outside the endless conflicts he’s usually reduced to. Outside the rebellions, the mercenary companies, the slogan. Because if you only ever look at him through war, you miss something essential. Bittersteel didn’t become a rebel because of Daemon Blackfyre. Daemon just gave him a banner.
People often forget that Bittersteel was more of an architect of the Blackfyre cause than Daemon himself. It supposedly took years to convince Daemon to press his claim, and Aegor Rivers was one of the loudest, most persistent agitators. That alone should make us pause and ask why. Did he admire Daemon? Undoubtedly. But I don’t think admiration explains everything. I think Bittersteel would have ended up a rebel regardless.
To understand that, you have to look at his childhood.
Aegor Rivers was one of Aegon IV’s first acknowledged bastards, and unlike many others, he had real political weight. His mother, Barba Bracken, wasn’t disposable. She came from a house with ambition and alliances. So much so that her family openly maneuvered to make her queen while Naerys was dying in childbirth. That plan failed, and it didn’t fail quietly. Barba and Aegor were personally dismissed at the behest of the future Daeron II. Rejected, removed, pushed aside, made if you will, an example.
That moment matters, because it establishes the pattern of Bittersteel’s life. He is close enough to power to taste it, and then forcibly reminded that it will never be his.
Then Melissa Blackwood enters the picture. She gives Aegon IV two daughters and then a son, Bloodraven. And suddenly the court’s favor shifts. The new mistress is not shunned or distrusted, she is befriended by the queen herself and Daeron. Add the ancient Bracken–Blackwood feud to that, and what you get isn’t just rivalry, but a sense of replacement. Imagine growing up watching your future quietly reassigned to someone else.
And then there’s Aegon IV himself. A useless, destructive father who shows up late in your life only to spend his visit seducing your aunt and dragging her back to King’s Landing. That same aunt is later caught in bed with a knight and executed alongside your grandfather. What we get is a picture of humiliation layered on top of humiliation.
While Bittersteel’s family is disgraced, Bloodraven grows up at court, favored and protected. Bittersteel looks down on him for his appearance, his disposition, his lack of martial talent, and from his point of view, why wouldn’t he? And yet Bloodraven is the one brought into matters of state. Bloodraven is the one trusted. Bloodraven is given Dark Sister, a Valyrian steel sword previously used by the Dragonknight himself, mind you, this happens while Daeron II’s own sons don't have any ancestral blades, despite being better swordsman.
That tells Bittersteel everything he needs to know.
Under Daeron II’s reign, Bloodraven will always have proximity to power that Aegor never will. At best, Bittersteel can linger at the margins. At worst, he is permanently expendable. He ends up rejected by one king, disappointed by another, both playing a part in his family's drama. It is not hard to imagine the conclusion forming in his mind. If the kings of Westeros are disappointments, why not crown his own?
The First Blackfyre Rebellion gets talked about endlessly, but the framing often misses something important. Daemon was its champion, but I always felt that Bittersteel was its engine. He pushed logistics, alliances, and foreign support, or at least played a great role in these since it was Lord Bracken who went to extraordinary lengths to secure Myrish crossbowmen, delayed though they were. And after defeat, Bittersteel doesn’t fade into obscurity or cling to nostalgia. He adapts.
He spends time with the Second Sons, learns how Essosi warfare actually works, and then creates the Golden Company. Not as a refuge, but as a machine, one disciplined, ruthless, organized, and built with one purpose in mind. Return.
Which raises the real question. Why would a man declared a prince by royal decree remain in exile in Essos unless returning by force was the only future he could imagine? Bittersteel burned his bridges. What remained was repetition. Another attempt, and another, and another and thankfully Daemon gave him enough sons to keep trying.
War, in that sense, was not just Bittersteel’s environment but his life’s work. There is a small but telling detail that often gets overlooked: Daemon offered him the hand of one of his daughters. A sensible move, politically and dynastically. Aegor Rivers could have fathered sons, tied his blood permanently to the Blackfyre line, and ensured that when Daemon’s descendants failed, the cause might pass to him. But he didn’t. The marriage produced no children, and there is no indication that Bittersteel ever sought to correct that. Instead of building a lineage, he built an institution.
He chose the cause over heirs, discipline over dynasty. And that choice follows him all the way to the end. Bittersteel died at sixty-nine, in 241 AC, as he had lived, sword in hand and defiance on his lips. On his deathbed, he did not speak of legacy in terms of sons or blood, but ordered his men to boil the flesh from his skull, dip it in gold, and carry it before them when they crossed the Narrow Sea to retake Westeros. Not a father passing something down, but a commander making sure the war outlived him.
And no, I don’t buy that any of this was about Shiera Seastar.
The idea that both Bittersteel and Bloodraven loved her comes to us through Barristan Selmy, a man born decades after Bittersteel left Westeros, repeating courtly rumor with the romantic instincts of a knight. If there is any truth in it at all, I would place it under rivalry, possession, or the urge to prove masculinity by claiming the most desired woman in the room, not love. The realm did not bleed because Aegor Rivers was heartbroken, but because he planned for it to.
Bittersteel did not wake up one day and choose rebellion. Rebellion was the logical conclusion of a life built on displacement, rejection, and being told or shown again and again that no matter how capable he was, he would never truly belong. Daemon gave him a cause. Bloodraven gave him an enemy. The realm gave him no alternative.
If Fire & Blood II ever comes out and Aegor Rivers turns out to be more sentimental than I imagine him, then fine, I’ll accept that version when it exists. But until then, I prefer to read Bittersteel as something far more compelling than a fanatic or a man driven by wounded feelings.
I see him as resolute, disciplined, embittered, yes, but not unthinking. A man who understood exactly what the world had denied him and responded by imposing order where he could. His loyalty to the Blackfyre cause was not just blind devotion, it had structure and purpose as well. It was something he could build, refine, and enforce in a world that had never offered him stability on its own terms.
That’s why I don’t need him to be romantic, or tragic in the conventional sense, or secretly soft beneath the armor. His appeal is precisely that he is not ruled by sentiment. He does not lash out randomly, he plans, he persists and endures. The Golden Company is proof of that. So are the repeated attempts to return. So is the fact that exile did not dilute him, but sharpened him into more of a weapon.
Bittersteel is more interesting to me as a man who chose bitterness and discipline as survival strategies, who turned rejection into resolve, and who never pretended his cause was anything other than what it was. Not love, obsession or madness, but a long, patient refusal to let the world have the final word.
A solitary child. 📚🌱
Art by: @praparuru-ume
Date Finished: January 19 2026
When you get four vampires in a flat, obviously there’s going to be a lot of tension. There’s tension in any flatting situation.
WHAT WE DO IN THE SHADOWS (2014) dir. Taika Waititi, Jemaine Clement
adia coulibaly by barry lategan for vogue italia march 1998

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Sing and Play, Faye Wong (1998)
Cropped version of my Robb Stark x Daenerys Targaryen aka Wolfstorm fanart
'she don't speak. but she remembers.'
just ink and colour under cut:
cross my heart and hope to die
Commission from twitter 🍃

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Audrey Bialke (American, 1991) - Deep Murmurs Through Time (2023)
Ursula K. Le Guin, A Wizard of Earthsea
abalone
Scene from the dance performance “Totentanz II” (Danse Macabre)
source
Hannibal (2013-2015)
1x09 || 2x13

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Armand + Memories
The Vampire Armand (1988) - Anne Rice
tw: blood, murder
brothers