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(Complicating everything is that the Harpy murderers aren’t the slavemasters themselves, but poor freedmen paid to do their dirty work. Her Meereen aides argue that the slave masters–the same ones who crucified children on the road–only understand cruelty. Ser Barristan counsels her that her father, the Mad King, acted out of a sense of cruel, deserved justice and it was his downfall.
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The Sons of the Harpy are waging urban guerilla warfare in payback for the slave rebellion, and former slaves are paying back the payback. These are the irreconcilable questions facing Dany, in a conquered Meereen where everyone is keeping a list. On the other hand, how do you do that without rewarding the very worst? On the one hand, maybe you can reign more peacefully and prosperously if you’re willing to risk weakness and break the cycle. It may be a moral question–turn the other cheek and all that–but because Game of Thrones is very much a political story too, it’s also a practical one. Does it do anyone any good to launch another round, paying it forward to another innocent and ensuring yet another reprisal, when the view of the gardens is so lovely? The reason Oberyn came to King’s Landing at all, and accepted the battle with the Mountain so gladly, was vengeance for his own sister, brutally raped and murdered in the sack of King’s Landing. But he has powerful recent history on his side. Not while I rule.”įrom the looks of things, the argument is not over. “We do not mutilate little girls for vengeance,” he answers.
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It’s a threat, but not a certain one: back at the Water Gardens, Ellaria Sand is arguing with Prince Doran whether to punish Myrcella–an eye for Oberyn’s literal eyes. Someone has FedExed Cersei a gorgeous hexagonal box with a snake–symbol of Dorne–and the necklace of her daughter Myrcella, living as a ward/hostage in the land whose prince, Oberyn, her champion the Mountain recently made into head-jelly.
#BLACK AND WHITE GAME CODE#
Not Stannis, of the inflexible code of justice, who tells Jon Snow that if you want to be followed, you need to be feared.Īnd it’s not long before we’re in our first new location, Dorne, which is beautiful and angry. Not Brienne, driven across the countryside by duty and unquenched fury of Renly’s murder. Certainly not Cersei, who has issued a bounty that is reaping her dwarfheads by the bagful from opportunistic bounty hunters. If that’s some kind of cautionary parable, though, no one’s listening. Message: when you make a list of names for revenge, save a line at the bottom for your own. He’s no one–he has many faces, but no identity–and if she enters the building that’s who she will have to become too. Later, he reveals himself as the face-shifting J’aqen, though he denies that name. Because there’s no good sensei story without a challenge, she’s met be a strange elderly man who turns her away. Vengeance!”) But this is all she has left: a coin, a badass fighting stance and the name of a guy. Her plan may be drawn from the Underpants Gnome school of retribution. She’s rowed in, past the homey scenes of a beautiful harbor, hanging melons, frying fish, but the only tourist site she’s interested in is the massive building built entirely of cold rock and Manichean symbolism. Her anger and bitterness have honed her sharper than Needle, and she’s come in hopes of weaponizing herself, clutching her worried coin, seeking J’aqen Haghar. Our first sight is her fixed, intent stare. The episode starts its investigation with Arya, whom we’d follow to the ends of the Earth–and now we have, almost anyway, on a ship sailing underneath the dangly bits of the Titan of Braavos. But is it just? Is it right? Is it smart? But while the quest may be thrilling, it’s never simple. Hardly a character on screen lacks just cause for revenge on someone. Westeros’ history, like most any other continent’s, is a chain of they-did-it-to-us-first stretching back to the mists of creation. Vengeance is a big theme in “The House of Black and White,” an ironic title since the moral question here is anything but.