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weavesasitwills · 3 days
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weavesasitwills · 12 days
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Aes Sedai affirmations my channeling is so graceful and my manipulations are so subtle and my bosom is so ample
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weavesasitwills · 17 days
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"Ilyena! My love, where are you?"
The Wheel of Time Origins: Kinslayer
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weavesasitwills · 20 days
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weavesasitwills · 1 month
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you ever think about how in The Dragon Reborn Perrin and Loial have to go fishing and they suck at it and then Moiraine shows up and flexes her fish catching skills and she is actually laughing out loud when she catches them and she is having such a good time and she's teasing the boys ??? bc i do
(click image for optimal quality ! )
+ bonus bc i couldn’t help myself
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weavesasitwills · 1 month
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The Wheel of Time turns, and ages come and pass, leaving memories that become legend. Legends fade to myth, and even myth is long forgotten when the Age that gave it birth comes again.
It hasn’t really ever occurred to me before how literal this quote kind of is. The series of course takes place in Third Age, and other events of the Third Age are memory - imperfect, distorted, with lots of lost detail, but mostly accurate. The Age before is the Age of Legends - everyone is heightened, twisted into awesome figures or primordial monsters, but a lot of the basic facts remain mostly true, recorded in ancient times. Then you get to the First Age, our Age. By the time of the books, things are totally distorted, the nuclear standoff between Russia and the US transformed into giants throwing spears of fire at each other, rocket ships transformed into fire eagles, centuries collapsed into nothing. It is fully the realm of mythology.
Memory to legend to myth, each in an age.
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weavesasitwills · 2 months
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truly the most underrated thing that makes the (RJ-authored) WoT books great is the combination of how good he is at inhabiting the narrative headspace of one character at a time, and how dedicated he is as a writer to the idea that people can have different, even contradictory points of view and cultural expectations without someone being wrong and someone being right. he truly writes like someone who understands that everybody is human and everybody is pretty much trying to do the right thing as they see it, and that all human cultures are the result of people living their lives under a specific set of circumstances. (the exceptions, his truly villainous villains, are always people who put themselves first outside of matters of survival - and they aren't limited to one culture or background.)
if there's a flaw in this approach, it's that he is so good at inhabiting one PoV at a time that people confuse 'things the characters think' for 'things the narrative is saying are true about the world', because a protagonist is thinking and/or saying them, when in fact 90% of the comedy and commentary in WoT falls in the space between what PoV characters think or understand and what is actually happening. alternatively, that space is used as evidence that X character is bad in some way instead of being a narrative technique to emphasise that everybody's worldview is limited by their experience and upbringing, and the 'truth' of the world exists somewhere at the intersection of all those worldviews. it's not a skill that's unique to him as a writer but in epic fantasy, especially of his time, I think it's rarer than it should be.
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weavesasitwills · 2 months
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no doubt about it traveller, you're looking for the clitoris. here, i'll mark it on your map
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weavesasitwills · 2 months
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the music in WOT is never random. even if it's just very soft background music, it's relevant to the scene. practically every time there's music playing while egwene is onscreen during s2, the tune is egwene's theme, rearranged and reinstrumentated in dozens of different ways to match the tone of the particular scene. mat has quick little snippets of his theme tune play during various scenes of his, often mixed with the old blood theme from s1, and it finally blares out in full glory for the first time during the horn of valere scene, to parallel how mat is truly finding himself for the first time. even secondary characters like liandrin, siuan, and aviendha have their own dedicated theme tunes that play during their scenes and are never repurposed as background music in other characters' scenes. and all the themes have lyrics in the old tongue that suit the character or concept the theme is about! in conclusion, lorne balfe is truly doing the Most, and i'm so grateful he's the composer for WOT and i hope he'll return for every season the show goes for.
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weavesasitwills · 2 months
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Reason to read wot number 87:
You like books with unreliable narrators? How about a series with over a dozen different uniquely voiced unreliable narrators each competing for the title of Least Self Aware???
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weavesasitwills · 3 months
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Thinking about Mat’s first meeting with Olver. Just this twenty year old who’s so frustrated with responsibility that despite hating fighting goes into this situation looking for an excuse to hit someone. Then he sees that a kids involved, and he tries to diffuse the situation, he’s tired and just wants to solve this quickly so he can go back to the inn and get some sleep- then this full grown man threatens to kill a child, for the crime of roughing his horse. And Mat, Mat KNOWS what it’s like to be that kid, too curious for his own good and getting into trouble, but never NEVER has anyone threatened to hurt him over it. And Mat without any thought for potential repercussions breaks a dudes wrist and hits the other right between the legs. And then he threatens to have the lot of them run out of town by the Band because they had the audacity to say that Olver was “just a peasant child” as of that changed the situation for Mat, a horse traders son in fancy clothes. Because to Mat that’s all he is, a peasant in nice clothes. Then he’s trying to figure out what to do with Olver, since his parents are no where to he found, and Olver tells him not to talk about him like he isn’t there. And Mat ACKNOWLEDGES that, he apologizes and kneels down so they can be eye level. He doesn’t talk down to Olver, because he knows what it’s like to have other people make decisions for him. He is so keenly aware of his Olver feels, the frustration and rebelliousness that comes from being a child because he isn’t that far removed from it. Just three years ago he was still just a kid, older and a bit more mature than Olver perhaps, but still just a kid and one who hadn’t seen the horrors that ten year old Olver had seen. He acknowledges Olver’s feelings and talks to him like he’s anyone else, and redirects Olver’s stubbornness so skillfully. He’s just so good with kids in a way that not even just having two younger sisters can account for. He Gets It, the parts of him that others consider immature are what make him so good at communicating with Olver.
Then think about this from Olver’s perspective. He’s been alone for who knows how long, forced to flee his home, to bury his mother, and now all alone in some strange place. He was likely sleeping in the stables, and that was how he ended up trying to make friends with the Hunter of the Horns horse. Then this Hunter drags him out to the middle of the street, threatening to Jill him. Olver was brave about it but it must’ve been terrifying. Especially upon realizing that none of the other refugees would help. Then suddenly a man in nobles clothes, a strange hat and the coolest looking spear he’s probably ever seen intercedes on his behalf. A man Olver has never seen before, a foreigner no less, but here he is coming to rescue Olver like some gleemans hero. Then Olver sees Mat fight, while to Mat this was hardly even a struggle, a few cracks with the blunt of his spear and the ‘fight’ is over, but to Olver, Mat probably looked like a warder with how easily he handled two armed men presumably trained in using those swords they carry. We as an audience see Mat mainly through the eyes of people who don’t take him seriously, Mat himself included, so it’s easy to overlook just how badass Mat must seem to anyone else looking from the outside, especially a young angry boy who wants to fight the aiel who killed his father. We don’t know how Olver found out, or when, but imagine being Olver and hearing the most certainly exaggerated story of Mat “dueling” Couladin. Is it any wonder that Olver hero worships Mat? That inspite of what Olver perceived as Mat being hypocritical and foolish(or as Mat sees it trying to properly care for a child and be a good influence) he still considers Mat to be someone to emulate. Whether Olver sees Mat as more a mentor, brother or father figure he very clearly idolizes him. He wants to be like Mat, he wants Mat’s attention and praise because despite Mat being “no bloody hero” to this little boy he IS a hero, one worthy of any gleemans story
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weavesasitwills · 3 months
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I sincerely love that Rafe Judkins took one look at wheel of time, said “nice but can we dial the homoeroticism up to 11” and then didn’t wait for an answer he just did it
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weavesasitwills · 3 months
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"is this about death or sex" what do you mean "or"
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weavesasitwills · 3 months
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I think one of my most favorite tropes that Wheel of Time ever introduced was “Angry woman heals people, because seeing wounded people makes her angry and everybody is constantly scared of her”.
It’s most wonderful, cause no matter how much Nynaeve has changed throughout the books, her core remained the same. For an exploding powderkeg of a person, it’s particularly remarkable that she never ever wanted to do anything else except for healing people. That’s just who she is. 
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weavesasitwills · 3 months
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weavesasitwills · 4 months
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i forgot how much i lovee wheel of time. it's so well written...the patience it has in slowly unfurling layer after layer of lore...the way it manages to imply wider and wider depths of lost history underneath the existing narrative, centuries of forgotten legends all fallen into ruins. ruins which contain within their halls, secrets and mysteries which might yet benefit the characters of the present, whose ignorance is at the start of the story complete. the way it lets them sit with revelations for chapters at a time, unpacking the implications of every new concept and piece of information. the way lore actually has material implications for the narrative itself and the world...it's such an intricate world. that's what i love so much about it. and it's not just the world, but also the magic, the history, the myths, characters...it really succeeds in creating a feeling of uncovering lost secrets. and implying there's way more of this stuff than you can imagine
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weavesasitwills · 4 months
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