Yesterday, I was fortunate enough to watch the animated version of The Killing Joke on the big screen. There was a lot of hype surrounding this movie. What, if anything would they omit? What would they add? Most Importantly, would it live up to the quality of it’s comic book predecessor? Let’s dive in and find out.

Story:

Right off the bat I was pleased that the animation on display was reminiscent of Bruce Timm’s classic style, albeit with a modern edge. Now on to the story. The interesting thing about this adaptation is that it begins with a totally new storyline that focuses heavily on Batgirl. I know a lot of Killing Joke purists will have their strong views on this but it wasn’t too bad. I say this because it wasn’t without it’s flaws either.

Without giving away too much, the ” prologue” focuses on seeing Barbara Gordon in action as Batgirl. It also gives us a taste of the true nature of Batman and Batgirl’s relationship. The entire segment lasts about 20 mins or so. It’s very well done, production wise. It’s well paced with snappy dialogue and entertaining action, but the whole thing seems out of place to me. As a standalone prologue, I suppose it works, but as part of the movie itself I found it weird. It’s very Batgirl heavy and the things move at break neck speed. Once the more familiar aspects of The Killing Joke begin the pace slows down.

The plot, for anyone who hasn’t read the comic or seen the movie is basically a character study of The Joker and loose origin story for him. It touches on Batman’s psyche and relationship as well but it’s very much Joker centric.

Joker wants to prove that anyone, no matter how ordinary or good they are, can succumb to maddness if they have enough terrible ordeals in one day. Therefore, anyone can be like the Joker. This is something he seems dead set on proving to Batman and Jim Gordon, and he goes far to do it. Barbera Gordon/ Batgirl becomes a consequence of his horrific plan. It’s a disturbing story but the movie didn’t present it too graphically, so I give them kudos for it. As dark as it is, I was engaged throughout. There’s some great monologues in the movie. When heard on screen, The Joker’s word take on a diff rent meaning as opposed to reading them. It was an interesting experience. Ultimately I’m not sure if the comic lends itself for a cinematic translation but it is very well done nonetheless. Much like most of Alan Moore’s stuff, it works best in it’s comic book format. The movie tends to follow the comic beat for beat and thus provides a faithful adaptation, which is a good thing if you’re a fan of the comic as I am. The Batgirl story in the beginning seems to be the dividing point for many. More on that later.

The Animation/ Action:

The animation is stellar throughout the picture. The subtle expressions on Joker’s face are a treat to behold. He looks genuinely creepy on several occasions. Brian Bolland’s art was done as faithfully as possible while still remaining it’s own thing but the key moments were unmistakably Bolland’s art. The fluid animation and colors really impressed me. Again, it was a welcome come back to the Bruce Timm animaiton style!

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There is quite a bit of action on display, much more than the original source material provided. It’s quite good but not the best I’ve seen from DC animated movies. To be fair the movie is not really about the action but I expected a few more exciting action sequences. I will say that the Batgirl story did deliver more on that side of things.

The Voice Acting:

Outstanding. Kevin Conroy and Mark Hamil deliver as they always seem to do. Tara Strong more than holds her own among these giants. I felt she provided some excellent emotinal moments. Perhaps, some of the best in the movie. For my money, Mark Hamil stole the show. He provided the best performance of the character since his days on the Animated series. He gets every beat right and speaks every line with conviction. The Joker’s flashback sequences really showcased how diverse a range he has. I got shivers a few times I heard he spout off some of the dialogue from the original comic, great stuff. As good as Kevin Conroy was, I was hoping that a little bit more emotion would come through, not a lot just…A tiny bit more. Still the moment those two come together, everything works.

 

Conclusion:

The Killing Joke film is a faithful adaptation that only helps to honor the material but doesn’t surpass it. Ultimately the comic book version can’t be touched and it works best in that format. Fans of the comic will appreciate more than the first time watcher. What about the Batgirl story addition? Well, I liked it quite a lot. On it’s own it’s great, but as part of the main story it doesn’t completely work.

Does it really add anything to the Killing Joke? For me, not really, but it doesn’t take away from the story either. For the most part The Killing Joke story is an examination of The Joker and the nature of his insanity. Batman is big part of this because of the history between the two. the story tries to briefly hold up a mirror and show how similar and dissimilar they both are. What the Batgirl story does for the audience is showcase Barbara Gordon as her own person and not simply a victim of The Joker, and while that is incredibly important it feels a bit forced. Perhaps the story was done to appease the growing number of fans over the years that often complain about this story’s treatment of Batgirl, with the very argument being that she is nothing more than a victim of the Joker. For a long time I could never see it that way but DC has always gone back to that moment time and time again. It makes you wonder why they continue to bring Barbara Gordon back to that horrible time.

Victims only get on with their life if they move forward and get stronger from their ordeal, which she did. But we have been reminded of that moment in Batgirl’s life many times in many different stories far to often. That is problematic, but not totally unjustified either. It was a deeply traumatic event for Barbara Gordon/Batgirl so why shouldn’t it have left a scar on her? A scar so deep that it reverberates in her whole world, including the people around her.  Batman’s traumatic past is touched on over and over. The night of the his parents murder has left an undeniable scar on him that has clearly never healed. I know, I know… Batman wasn’t the direct receipt of the crime and Barbara Gordon was. Also, Batman was never physically incapacitated after the event. He was fully abled to exact his own form of justice. But I hate the implication that once Barbera lost the use of her legs she became less of a hero or a person. For those that don’t know… She got on with her life and even went on to become Oracle. She became an integral member of the crime fighting team, The Birds Of Prey. She also became the eyes and ears for Batman, saving his ass on many occasions.

Some fans often complain about why Joker had to do this to Barbera Gordon? You hear that he went too far., that DC went too far in allowing Alan Moore to write this. Maybe they did.

Maybe they did go to a grim place that was so dark it shouldn’t of happened, but it did. That argument could lead to a further argument in regard to the direction that comics took in the late 80’s and beyond. It might mean you disapprove, which is fine. But if you continued to read on, than you must accept the fact the this is where comics went. Once DC decided to cross that dark territory no one can really be surprised about what a character like the Joker has done or will do. Over the years the Joker has become a deranged psychopath who has zero regard for the well being of anyone. He scarcely has regard for his own well being. He’s a cold blooded sadistic murderer, do you expect a murderer to be nice? If not, then why be enraged when said murderer kill’s and maims? And it’s not like Barbara was the only victim in the Joker’s wake. Jason Todd( the 2nd Robin) shared an even grislier fate. He was beat with a crowbar within an inch of his life only to be blown to bits shortly after, and that event certainly defined him. For a long long time Jason Todd was not able to enact his own justice until, of course, he was. But even after coming back from the dead, the scars of that moment remained.

At the end of the day you can’t please everyone but I think it’s best to look at both sides of an argument objectively and as fairly as possible. Perhaps this version of the Joker is not YOUR joker. Perhaps the joker you grew up with is more in line with the easier to root for version in Batman the animated series or the even goofier version of the 1966 Batman TV show. Maybe you like your Joker a bit over the top, but just menacing enough. In that case, Jack Nicholson’s version might be right up your alley. Or maybe you like your Joker  grounded and a lot scarier, in which case Heath Ledger’s version is the one to go with.The one thing that they have in common is that they all have the same spirit, just done a different way. Everyone’s tastes and opinions are their own and we’re all entitled to them. The point is that Joker, like Batman, can be done in a multitude of ways. It’s very hard to have a definitive version that will please everybody so I try to remember that whenever I see any interpretation done on screen or on paper. I found something to like from all the versions of the Joker I just mentioned and the version in the Killing Joke comic or movie fits into my spectrum of what the Joker is and should be. He can be cruel, sadistic and violent but he can also be complex, engaging and even sympathetic. A lot of fans might call that wrong, I just call it a good character.

Much like Tony Soprano or Walter White, you’re not supposed to love them or even like them, they just are who they are and you kick yourselves for having developed a connection with them as you watch them do something that makes you hate them. It’s almost a betrayal to see such a thing because, let’s face it, a lot of people like the Joker. How many people weren’t rooting for him just a little bit in Heath Ledger’s Dark Knight? It just that when they go too far into a place that a we can’t follow, it offends and disappointing us. Make no mistake, the signs are there and the Joker is many things but a good person ain’t one of them.

Does what happened to Barbara offend me? No, does it anger me? Yes, I care for the character immensely. I don’t believe that The Killing Joke dismisses her worth as a chracter, that’s for sure. Fans may have an argument against that and they may have a point but I don’t let that moment define her as a victim, a defining moment, yes but not THE defining moment.

Barbara Gordon has been retconned and will have the chance to purge whatever baggage there may be left from the Killing Joke. Maybe that’s a good thing, maybe that’s what she deserves. A hero is someone who rises up against all obstacles to do right by others in times of need. That’s Barbara Gordon to me. before the Killing Joke or after, during the New 52 or DC rebirth, that’s who she is.

barb

 

Bill Sienkiewicz ( pronounced Sin-ke-vich) is a comics legend and one of my favorite artists of all time. He’s pretty much worked on every prominent comic character for DC, Marvel and more. I can’t tell you how many times I’ve picked up a book from the 80’s, 90’s, or 2000’s and found his name attached. A lot of the times I wasn’t even aware he had worked on whatever title it was I was picking up til years later. Even nowadays, I look at some of the comics I have and find myself surprised to see that Bill Sienkiewicz either drew or inked it.

Even to this day, Sienkiewicz gets steady work, although mostly as an inker. Ironically it is his extraordinary inking abilities that impress me the most. Sienkiewicz is one of the few inkers who is instantly recognizable. He always seems to be his thumbprint on whoever he inks over. So much so, that sometimes the original pencils are almost unrecognizable. Some people have a hard time understanding what an inker’s role actually is. It’s so much more than simply tracing over the pencil lines.

Then inker finishes the penciler’s thought and embellishes what is there. A good one, is able to interpret the art in his own way while honoring the spirit of the pencils. For my money, an inker like Sienkiewicz almost always elevates the source material, but not enough to overshadow it. No, he does so in a way where you come to appreciate the penciler more than you did before. Perhaps, opening your eyes to the subtle skill of the penciler you may have disregarded upon first glance. To me, this is what Sienkiewicz does best. He can make, even a mediocre penciler look good.

Sienkiewicz is also a fantastic penciler and painter. He has such a varied style that it’s hard to recognize his earlier work compared to his more free flowing style today. When he started, Sienkiewicz’s style resembled  Neal Adams quite a bit. Sienkiewicz even admitted as much himself. It didn’t take long for him to eventually push his style in ways that few comic artists had done at that point. His covers for New Mutants and Moon Knight really showcased that transition.  Abstract at times, and impressively defined at others, he quickly became a fan favorite and worked with notable artist’s like Frank Miller,Jim Aparo, Denys Cowan, Dan Jurgens, Sal Buscema, Kyle Baker and many more.

If you’re lucky enough to pick up one of his sketchbooks you’ll see his excellent use of mixed media on full display. I especially like his portraits. He captures the likeness of whomever he’s drawing/painting with incredible accuracy. His exaggerated art is reminiscent of artists like Sam Kieth but I feel, Sienkiewicz doesn’t go as far. Even the times when he does go too far, I still appreciate the general artistry behind the piece I’m looking at.

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Here are a few examples of Bill Sienkiewicz’s most notable works…

 

Moon Knight( From the 80’s) # 1-30

moon-knight-29

 

His first foray into comics is fondly remembered by die hard Moon Knight fans. Here, you get to witness the evolution of his art style. The covers alone are worth it. # 29 is easily one of my favorites. No other artist has yet to match Sienkiewicz’s popularity on the character since his run ended. The new stuff Marvel is putting out does come close but there’s something truly special about Sienkiewicz’s Moon Knight that can’t be replicated. Here is a great example of the interesting things he was doing with his art while on his run on Moon Knight, and this was in the 80’s!

MoonKnight_37_26

Elektra :Assassin – 1-8 Mini Series

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Another chracter that Sienkiewicz put his stamp on, perhaps even more so than Moon Knight. Sienkiewicz managed to collaborate with none other than Frank Miller. Together, they were both running on all cylinders, feeding off each other. Miller’s story and dialogue would excite and motivate Sienkiewicz to produce his most daring artwork up to that point. The whole thing is done in this, sort of, painted art style that graces the cover before your eyes. Elektra:Assassin proved to be one of the most popular and definitive stories for the red clad assassin.

 

Superman: Day Of Doom – 1-4

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Superman: Day Of Doom is an interesting read that often gets overlooked but it’s the art that really stands out to me. If there’s any reason at all to pick it up, it’s for the art. Sienkiewicz only handles inks here but he may as well have done the pencils. The finished product is so starkly diffrent than the original pencils you’d swear it was another artist. Dan Jurgens is a fine artist in his own right but he clearly has a more traditional style. Here is an example…

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A nice panel for sure, but you get the point. It’s clean and fairly polished. Here’s a look at the same artists work, this time with Sienkiewicz’s inks…

 

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Quite a change isn’t it? You may or may not like it, depending on your tastes but I find that the inks add an edginess to the work. It’s rough and dirty but it’s beautiful. There’s an urgency to it that demands more of your attention. This is especially important for this story because it’s not an action packed one with a lot of big moments. It’s more of a character piece with more dialogue and exposition. Judging from the title, you’d imagine it was a rematch between Superman and Doomsday, but it’s anything of the sort. It deals more with the consequences and collateral damage that Superman was, in part, resposbile for during his devastating battle with Doomsday. It’s a serious story that takes a few darker turns and I think the art compliments that well.

New Mutants – #17- 31

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Sienkieeicz jumped on the New Mutants title on issue 17 but made his mark right away. His popularity was already on the rise thanks to his tun on Moon Knight, but New Mutants made him a star. I must confessed I was never particularly interested in reading any mutants that didn’t have X in the title. When I noticed the striking covers and realized his name was attached, I had to pick it up. It didn’t hurt that Chris Claremount’s name was attached to the project either. I’m glad I did because both creators push their artistic visions more than ever before and we ended up with one of the most interesting and original X-men comics from the 80’s.

 

These stories are just some of the work Bill Sienkiewicz has done. If you’re feeling very adventuros you could try picking up the Graphic Novel: Brought to Light By Alan Moore. This features classic Sienkiewicz art but is a rather grim read and not for the faint of heart. Also incredibly hard to come by these days.

Recently I heard rumblings of Sienkiewicz having a couple of projects with Mark Millar and Kelly Sue Deconnick, so I look forward to seeing that whenever it comes out. Meanwhile, dive into the back issue bins and shelves and pick up some of Bill Sienkiewicz’s seminal works. You will be impressed.

 

 

 

This is a novel by James Blish, a notable science fiction writer who began releasing stories in 1940, before that, he was a member of the Futurians, along with Issac Asimov, which was a group of science fiction fans that spawned many editors and writers. It started in the late 1930’s, based in New York City. James Blish also coined the cosmological term ‘gas giant’.
This story was the first original Star Trek novel, earlier stories being comics, show adaptations and a children’s book. The story starts with McCoy, Scotty and Kirk discussing the philosophical ethics of teleportation, reflecting on whether the person who disappears is really the same person on the other side. Scotty proposes an experiment, to find out once and for all. Kirk is notified by the bridge that the peace treaty, imposed by the Organians, has abruptly ended and the Organians home world can’t be reached, raising fears that the planet may have been destroyed (From episode: Errand of Mercy).

Scotty makes modifications to the main transporter to test his theory and Mr. Spock volunteers himself as a test subject. The experiment results in the creation of an exact cloned copy of Spock. From here, the story takes the scenario seriously. Kirk makes a good point shortly after the incident, by saying that there can only be one first officer, the clone making an obvious obstacle to the chain of command.

Spock

The Enterprise enters the Organian system to investigate and find that the planet is being affected by Klingon technology, intended to end the peace treaty by interrupting their psychic abilities.

Captain Kirk, Scotty and Mr. Spock beam down to discover the reason for the peace treaty being neutralized. With Klingon battle cruisers converging on the planet, Kirk orders Sulu to take the Enterprise to Starbase-28.

Starship Enterprise

Below on the planet, Organia has changed drastically from their last visit. The surface littered with a rocky landscape and dark grey coloured skies and fog. This resulted from the psychic disruption of the Organians, they evolved beyond the need for bodies and other physical comforts, their world was made from their thoughts.

With some difficulty, they find the Organian high council and are led to the Klingon device, where Spock and Scotty disable the field by dismantling the components. The Organians reestablish control of the planet and impose punishment upon the Klingons.

To conclude, for such a early novel in this series, this was very entertaining and excellently captures the style of the original series. This is an example of a story for Star Trek, written by an author who was inspired during a much different age of science fiction. The discussions about technology are a bit dated, for example, but succeeds in driving the story, regardless. The author did a great job of representing the main characters, a favourite moment being when McCoy uses his medical expertise to identify which of the two Spocks is the replicate.

Dr. McCoy

As well, this book has a bit of mystery which kept me guessing as to where the story would lead, so I’ve decided to leave out those details from this review. For such an early novel, I really enjoyed reading it. It does a great job of capturing the style of the show and representing characters. The scenario of might be a bit played out at this point, I even saw one commenter even compare it to the problematic third season, but the story takes itself seriously enough to forgive that comparison.
I recommend this novel for anyone with an interest in science fiction, it was easy to flip through and really captures the spirit of the original series and feels like another adventure of the old crew.

It has been a week since the Game of Thrones season 6 finale, annnnd it’s withdrawal peak for all of us. Know what that means?

Gratuitous speculation time!!!!

The pace is moving quicker, endgame pieces are emerging, and the setups for the conclusion have been laid out.

What can one expect in the final season of Game of Thrones?

POSSIBLE SPOILERS. THIS ENTRY ASSUMES YOU HAVE CAUGHT UP WITH THE SHOW’S SEASON 6 FINALE AND WITH “A DANCE WITH DRAGONS”.

 

ENDGAME PAWNS

Game of Thrones House Sigils

To determine what might occur, it would be prudent to re-profile the major houses.

The Baratheons from The Stormlands: Assuming Stannis was killed, the Baratheons no longer have a stake in the Game of Thrones.

The Tyrells from The Reach: The shocking finale wiped out the Tyrell bloodline, leaving Lady Olenna with no prospects for a blood-tied victory.

The Martells from Dorne: Former rivals to the Tyrells, the eradication of the Martell bloodline and the rise of its illegitimate rulers have pushed Dorne to forge an alliance with The Reach.

The Greyjoys from The Iron Islands: The Greyjoys are divided by a succession war between Asha-Yara & Theon on one end and Euron on another.

The Arryns from The Vale: Co-led by Petyr Baelish and the young Robin, the Arryns have bided their time with their seclusion, waiting for the perfect moment to take center stage.

The Freys and Tullys from The Riverlands: The locale is contested by the heirs of the former family and by the supporting houses of the latter.

These small fry will all be present in the endgame but solely as supporting pawns to the following three houses: Lannister, Stark, and Targaryen.

 

THE LANNISTERS FROM THE WESTERLANDS

Cersei has finally taken the Iron Throne, albeit at the cost of her children’s lives.

“Long may she reign,” Qyburn decrees.

Yeah, effin’, right!

 

War of the Queens

Game of Thrones Cersei crowned

Cersei will lose in the Game of Thrones as prophecies in storytelling have a very poignant feature.

“Queen you shall be… until there comes another, younger and more beautiful, to cast you down and take all that you hold dear.” ~Maggy the Frog

The red herring to which this prophecy pertains was Margaery. With her gone, Daenerys becomes the true rival option. Sure, Margaery played a part in taking Joffrey and Tommen away from Cersei, but think about it.

What is it that Cersei truly holds dear?

Power.

Cersei’s reign will be even shorter than her sons’ and Daenerys will make it so.

The Lannister Queen, however, will not go quietly.

 

Lannisters Always Cash in on their Favours

It may seem one-sided that Cersei only has the Freys, Wildfire (or what’s left of it) and the zombie Mountain at her disposal against Daenerys’ Unsullied, Dothraki, Dornish, Tyrell, Yara’s Greyjoys, and Dragon army.

But Cersei may also succeed in getting the Vale, Euron’s Greyjoys, and the Tullys at her side.

SAAY WHAAAAT?!

Hear me out.

Got2 Petyr Varys

Petyr Baelish wanted the North for himself with Sansa at his side, to satisfy his creepy motivation of never having wed his true love—Catelyn. Since Sansa has happily reneged her Northern claim to Jon Snow (or so it seems), the North has become more united and Petyr will have no in.

Littlefinger will therefore need Cersei’s help. The Lannisters will also want to cash in on having given Petyr the city of Harrenhall and his lordship status. This unholy alliance will act as a nice tie-in to the Littlefinger/Varys rivalry and it’s telling who between them will emerge victorious.

Game of Thrones Euron

With regards to Euron, Yara got to Daenerys first and she agreed to halt the Ironborn raiding way of life. We know Euron wants leadership of the Ironborn and since he had no qualms in murdering his father to do so, we can infer that he is a much more conservative reflection of Ironborn culture—want, take, have. Cersei will only be too happy to indulge, offering Yara’s head on a pike (On that note, Yara will fall, paving the way for the now-subdued Theon to rise).

The Tullys and their supporting houses are the biggest wildcards. On paper, they should support Sansa as she’s the last known living relative of Catelyn. But the Tully’s current leader, Edmure, is still a Lannister-Frey prisoner and may yet be held hostage (or manipulated) into rallying the supporting houses for Lannister gain.

 

THE STARKS FROM THE NORTH

Sansa’s final season six scene—where she smirks at Littlefinger as the Northern Houses proclaim Jon, the King in the North—was very telling. She was manipulating enough to lure Petyr to her side when she needed him most but is quick to discard him as soon as he’s served his use.

 

The Queen in the North?

GoT2 Sansa GIF

However, after having gone through many betrothals, Sansa may just want more than becoming a symbolic figurehead. After all, considering the power plays to which she’s been exposed and the suffering she’s had to endure, the once innocent Sansa may want some tangible recompense. Lest we forget: Sansa shared in Catelyn’s disdain for unconventionality—a bastard living in Winterfell being one of them.

Personally, I don’t think Sansa betraying Jon is a likely scenario but it is still one worth considering.

So what is a likely scenario?

 

Winter Has Come

We know from Benjen Stark’s final scene that the Wall is magically-infused and capable of preventing the White Walkers from advancing.

Now that winter has come, a winter projected to be the coldest yet, the Night King will find a way to pass. Whether that means he’ll build ships to sail around or if he’ll successfully find an instrument meant to tear the Wall down, I haven’t the foggiest idea. Yet it stands…

Game of Thrones Night King

The Night King will pass.

In order to combat this threat, Sansa may finally “grow up” and remind Tyrion of the wedding to which they were sworn, thereby solidifying the North’s alliance with Daenerys.

But it isn’t Game of Thrones without another Stark dying and I reckon Sansa will be the final Stark casualty. Remember, Littlefinger is one of Sansa’s many suitors and is deeply motivated by his regret in failing to marry Catelyn. Taking Sansa with him to the Netherworld might be his final play, complicating the North’s survival.

 

THE LAST TARGARYEN, MOTHER OF DRAGONS

Daenerys’s endgame triumph will be far from straightforward, not just because of Cersei’s resistance, but also because of the inevitable drama to be borne from within her large army. How many will remain loyal upon landfall?

 

Fire and Blood

Dorne will be the biggest threat to the cohesion of Dany’s army. How so?

Game of Thrones Sand Snakes

First, they offer no male progenitor with whom to safely secure an alliance. They are insignificant in the endgame at best and sacrificial lambs at worst.

Second, Tyrion may want justice for the death of one of the few Lannisters he likes—Myrcella. Daenerys is above involving children in the Game of Thrones and may be willing to overlook Myrcella’s lineage, as she has done with Tyrion. Her vengeful sense of justice might just resurface here.

Third, the Martells are extinct by Westerosi law and bastards are not legitimately recognized to rule. Daenerys may see the parallels in how the Sand Snakes took the Dornish seat with how Robert Baratheon took the Iron Throne from her father—through a premise of illegitimacy.

Daenerys will set the cities of her enemies ablaze, King’s Landing among them. But if she were to spill the blood of her allies, the Sand Snakes seem the most probable candidates.

But if we were to read into Quaithe’s prophecy from A Dance With Dragons:

“The glass candles are burning. Soon comes the pale mare, and after her the others. Kraken and dark flamelion and griffinthe sun’s son and the mummer’s dragon. Trust none of them. Remember the Undying. Beware the perfumed seneschal.”

… It sounds like every single one of her allies will taste a portion of her wrath.

 

A Song of Ice and Fire

So what happens after Daenerys takes back the Iron Throne?

Recall the reason why Daario Naharis was left behind in Mereen: Dany fully intends to wed to secure a peaceful rule in Westeros.

Consider the few prospects remaining: Euron can be crossed out because of a conflict of interest with Yara, Jamie is the Kingslayer and will probably be flayed or mutilated for that unforgotten act, and Petyr won’t even get close especially if Tyrion or Varys have anything to say about it.

Game of Thrones Quaithe

That leaves Jon Snow, hence fulfilling the song of Ice and Fire. Consider another prophecy by Quaithe:

“To go north, you must journey south. To reach west, you must go east. To go forward you must go back, and to touch the light you must pass beneath the shadow.”

As with her aforementioned prophecy, this one does not make an appearance in the show… but it’s held true so far. Daenerys makes a stand at Vaes Dothrak after “liberating” the southern cities of Essos, she’s spent many years out east in preparation for her rule in Westeros, and she’s foregone governing Mereen, after remembering her true purpose in claiming the Iron Throne.

The last line can refer to many things. My guess—“the light” is associated with the red priests’ prophecy, where the Lord of Light’s champion will wield the Lightbringer sword and vanquish the darkness, the White Walkers.

“Passing beneath the shadow” might just refer to Dany’s wedding to Jon, a man of the Night’s Watch and a resurged shadow of one who’s already died once. For her to assume the bearer of the Lightbringer, she must consummate with another true Targaryen

… or something like that?

 

THE GAME OF THRONES VICTORS

Well, there you have it. There are a million more things to discuss but not enough time or space in which to do so.

Will the armies of Jon and Dany face-off? Will Cersei wipe out most of Dany’s army with her wildfire? How will Dany be exposed to the White Walker threat? How will Jon’s true identity be conveyed, given that only Bran has the means to see it? Will Arya reconnect with Nymeria and succeed in vanquishing all those in her list? Will Tyrion betray Jamie and with whom will Brienne end up? And is Samwell’s final role to facilitate an alliance between Dany and Jon?

Whatever the answers may be, I reckon Jon and Dany will emerge the final victors in tandem. Jon’s honour and Dany’s ambition will balance each other out and they will prove to be a formidable king-queen duo.

Yay for incest?