Elizabeth Sandifer
Posts by Elizabeth Sandifer:
Kill the Boy
Funded via my Patreon.
State of Play
The choir goes off. The board is laid out thusly:
The Lion, Tyrion Lannister
Dragons of Mereen: Daenerys Targaryen
Direwolves of the Wall: Jon Snow
Burning Hearts of the Wall: Stannis Baratheon, Mellisandre
Ships of the Wall: Davos Seaworth
Kraken of Winterfell: Reek
Archers of the Wall: Samwell Tarly
Direwolves of Winterfell: Sansa Stark
Flowers of the Wall: Gilly
Swords of Mereen: Dario Noharis
Butterflies of Mereen: Missandrei
Shields of Winterfell: Brienne of Tarth
Paws of the Wall: Tormund Giantsbane
Flayed Men of Winterfell: Roose Bolton, Ramsey Bolton
With the Bear, Jorah Mormont
King’s Landing, Dorne, and Braavos are empty.
The episode is in parts. The first is five minutes long and is in sections; it is set in Mereen. The section is seconds long; the opening image is of the lamp flickering by Grey Worm’s bedside. The other is five minutes long; the transition is by image, from Missandrei watching over Grey Worm to Daenerys standing over Ser Barristan’s body.
The second part is nine minutes long and is set on the Wall. The transition is by family, from Daenerys Targaryen to Maester Aemon Targaryen and, subsequently, Jon Snow, and by dialogue, from Daenerys to Maester Aemon and Samwell talking about her.
The third is nineteen minutes long and is in sections; it is set in Winterfell. The first section is two minutes long; the transition is indirectly by family, from Jon Snow to Brienne watching Winterfell and musing about Sansa. The second is three minutes long; the transition is by dialogue, from Brienne talking about Sansa to Ramsey and Myranda doing the same. The third is fourteen minutes long; the transition is by dialogue, at last to Sansa herself.
The fourth part is seven minutes long and is set on the Wall; the transition is by dialogue, from Roose and Ramsey talking about Castle Black to Castle Black.
The fifth is five minutes long and is set in Mereen. The transition is by hard cut, from Stannis’s armies riding south to Grey Worm.
The sixth is eight minutes long and is set in Valyria. The transition is by dialogue, from Daenerys in Mereen to Tyrion and Jorah talking about going to Mereen. The final image is of Jorah staring at his greyscale stricken arm.
Analysis
We are, at last, to the part of the season where Game of Thrones is finally freed up to do things that are interesting as opposed to necessary. A King’s Landing-free episode marks the point where we are finally, in a sense, free of the season’s opening, the first episode having been framed in terms of Cersei. This week the only Lannister is Tyrion, by now firmly enmeshed in Daenerys’s plot.
Without the South or Arya, we get an episode about the North – a thirty-five minute stretch of episode – with Daenerys wrapped around it. This structure also produces the most flagrant “Jon Snow is a Targaryen” acknowledgment yet as Maester Aemon talks about Daenerys being all alone in the world and the camera then pans to Jon entering the scene, which is absolutely hilarious.…
Saturday Waffling (May 9th, 2015)
The Word “Fuck” Typed Eight Thousand Times (The Last War in Albion Part 95: American Flagg)
This is the seventh of eleven parts of The Last War in Albion Chapter Ten, focusing on Alan Moore’s Bojeffries Saga. An omnibus of all eleven parts is available on Smashwords. If you are a Kickstarter backer or a Patreon backer at $2 or higher per week, instructions on how to get your complimentary copy have been sent to you.
The Bojeffries Saga is available in a collected edition that can be purchased in the US or in the UK.
Also, I’d like to apologize if I inadvertently persuaded anybody that because the early comics of Alan Moore were so good the UK should just go back to the Thatcher era. That was not the intended thesis statement of The Last War in Albion.
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Figure 722: The first page of Alan Moore’s 1984 Batman text story. |
The Three Doctors Commentary
Jack Graham and I have struck again, this time with The Three Doctors. Technical difficulties did not stop us, although they did leave some strange noise artifacts on episode one to surprise you if you have the volume too loud, and a somewhat desperate attempt at the start of episode four to remember what we said the first time we tried commenting on it when I forgot to record it.
In any case, a zip file with all four mp3s is right here. Enjoy, and we’ll be back with The Ark in Space before too long I hope.
Previous commentaries:
Comics Reviews (May 6th, 2015)
The Amazing Spider-Man #18
The storyline that fills the gap between Spider-Verse and Secret Wars ends, having accomplished its primary aesthetic goal of taking up three issues.
Convergence: The Question #2
Unsurprisingly, this runs up pretty hard against the fact that it’s two issues and the characters in question are presumably being wiped out of existence soon, although I’m not actually following Convergence and have no actual idea what it’s about. Rucka is still a delight with these characters, and not having him on a DC street level book remains the biggest problem with DC other than being run by Dan Didio.
Uber #24
One of those issues that you describe as “transitional” if you liked it and “filler” if you didn’t. Transitional, then, and with a couple rare moments of humor for Uber. I think the next “everything explodes a lot” issue of this is going to be extraordinary.
Secret Wars #1
An issue that is in some ways rough for the dedicated comics fan who has been following the promotion and lead-up to this series, but is surely necessary for the 200,000 some-odd readers who weren’t following Avengers and New Avengers. The Ultimate/616 punch-up is fun, not least in terms of how it could easily have been eight issues in its own right and is instead energetically spent as a one-off plot. Mostly, I’m glad this rumbles on with a second issue next week, and I hope it finds itself feeling well under way instead of catching up to its solicits.
The Wicked & The Divine #10
Another transitional/filler issue from Gillen this week, though this one is more blatantly the suture between Urdr’s arrival and whatever horrible and upsetting plot twists are waiting in issue #11. (Which has, I suspect, the best cover of 2015.) It works and gets from point A to point B, and has some excellent moments in the process, but this is nevertheless a quiet month for the comic.
Crossed: Badlands #77
This one’s not transitional. Instead the series accelerates gamely. It’s getting increasingly hard to see how the two timelines are going to reintersect, although this is the point in the story where that really doesn’t need to be clear. But they’re both moving with terrible alacrity. My only complaint is that we’ve had three issues so fast, and #78 is apparently waiting for June, which is not great pacing.
Spider-Gwen #4
The third issue of this left me slightly cold, but it really roars back into form here, including an absolutely brilliant Aunt May/Gwen Stacy scene. Everything about this book continues to delight.
The Unbeatable Squirrel-Girl #5
It has a cameo from T-Rex. You know. The star of Ryan North’s other comic. God I love Squirrel Girl.…
In Defense of Sucker Punch
A commissioned essay for Eric Rosenfield.
I will admit that I am not entirely sure how to go about constructing a defense of Sucker Punch. It seems to me a film that is its own defense . It’s intelligent, well-made, and has a clear and savage point to make – one that was important in 2011, and remains important today. Above all else, I recommend sitting down and watching it; the theatrical cut, specifically. (The extended cut has at least one change that is, to my mind, without doubt for the worse.) Certainly almost everyone I’ve pointed to has come away from the film broadly sharing my perspective on it. And yet there is a persistent vein of criticism against the film – one that seems to me to fundamentally misunderstand almost everything about it, and that is inexplicably common among people I wouldn’t normally expect such misreadings from. One of whom paid me rather a lot of money to set him straight.
All the same, defending the movie seems strange to me, simply because its critics seem to me, as I said, mostly to simply not accurately describe the film in the first place. So instead, perhaps, an explanation of Sucker Punch.
The author is of course dead, but it seems useful to start with Zack Snyder’s own comments on Sucker Punch, if only to shore up my claim that this is not some redemptive reading where I slyly read against the text, but blatantly and straightforwardly what the text is. Indeed, Snyder has talked about the way in which the film was misread, saying:
I honestly feel like a great majority of the time people just missed it — they missed the movie entirely. They missed the point of the movie. Like when I talk to people about “Sucker Punch,” they would say this is a hollow romp with these girls dressed like they’re from Frederick’s of Hollywood — and I’m like, really? You just need to watch the movie more carefully. But if zero percent of people said, it’s not a de-constructivist comment on pop culture, then I might go, you know what? I blew it.
He elaborates on this in several interviews, frequently returning to the question of the characters costumes:
Someone asked me, “Why did you dress the girls like that, in those provocative costumes?” And I said, “Well, think about it for a second. I didn’t dress those girls in the costume. The audience dressed those girls.” And when I say the audience, I mean the audience that comes to the movies. Just like the men who visit a brothel, [they] dress the girls when they go to see these shows as however they want to see them.
And, elsewhere:
…It’s funny because someone asked me about why I dressed the girls like that and I said, “Do you not get the metaphor there? The girls are in a brothel performing for men in the dark. In the fantasy sequences, the men in the dark are us.
Will You Even Tell Her if You Decide to Make the Sky Fall (SimCity, Populous, ActRaiser)
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CREATE AND MANAGE A LIVING CITY |
The history of urban planning is ultimately one of control machines – of efforts to build spaces that will shape the lives and psyches of its inhabitants. Housing developments to sort and contain them, roads to dictate the ways in which they move through space, and lattices of utilities and infrastructure that transmute the abstract relationships of power that govern them into brutal physicality. It is the creative practice to which psychogeography is the criticism.
It is, of course, an illusion that the city is some sort of authored construct. Even moreso than the video game, where our convenient fiction of an auteur figure like “Will Wright” is in reality a mask worn by a team of developers and, in the case of a game like SimCity, a swath of teams responsible for the huge number of ports and versions. The iteration of SimCity that served as a launch title for the Super Nintendo is one of more than a dozen – it was a game that existed on the Commodore 64, the Amiga, the Macintosh, the BBC Micro, and others, all taking the smear of psychic landscape attributed to Will Wright and adapting it to new forms, with varying degrees of success.
[In practice, this is one of the rare cases where the console port is a highlight, at least in one sense. Ported by Nintendo EAD, it not only has the charming detail of Bowser in place of the generic lizard monster disaster, and adds an interesting system of special buildings like casinos and libraries that can be built under certain circumstances. Though in the end, little can remove the basic problem that a Super Nintendo controller is an unsatisfying replacement for a mouse when it comes to this sort of game.]
The city, like the video game, is multi-authored, a teeming mass of viewpoints and visions. And this includes not merely the ostensible creators – the programmers and urban planners – but those who are shaped and interpolated by it, and whose interactions with it define it; a city without inhabitants is as barren as a game without players. But citizens and gamers are two very different things. The gamer cannot, in the end, change the game in ways beyond those strictly delineated for him. The citizen, on the other hand, has meaningful resistance as an option.
Ironically, the difference is one of escapability. The gamer can quit the game, whereas nothing the citizen does can ever render them no longer a citizen – even if they move to some other city, they are still a citizen of something that has far more similarities than differences to the original. But because citizenship is inescapable, it in turn cannot fully reject the dissident. Put another way, the city can bulldoze the crime-ridden slums and replace them with a row of gleaming stadiums, but the list of the biggest problems in the city and a non-zero disapproval rate are irreducible elements of its existence.…
Sons of the Harpy
Brought to you by my backers on Patreon. There’s a new Milestone there, by the way, as we just unlocked the Marcelo Camargo post today. So at $325, $10 from where we are now, I’ll do a post on Night of the Doctor.
State of Play
The choir goes off. The board is laid out thusly:
The Lion, Tyrion Lannister
Lions of Dorne: Jaime Lannister
Lions of Casterly Rock: Cersei Lannister
Dragons of Mereen: Daenerys Targaryen
Direwolves of the Wall: Jon Snow
Mockingbirds of Winterfell: Petyr Baelish
Roses of King’s Landing: Margery Tyrell
Burning Hearts of the Wall: Stannis Baratheon, Mellisandre
Snakes of Dorne: Elaria Sand
Archers of the Wall: Samwell Tarly
Direwolves of Winterfell: Sansa Stark
Chains of Dorne: Bronn
Swords of Mereen: Dario Noharis
Butterflies of Mereen: Missandrei
Stags of King’s Landing: Tommen Baratheon
With the Bear, Jorah Mormont
The episode is in eight parts. The first is one minute long and is set in Volantis. The opening image is of a boat in the harbor at night.
The second is three minutes long and is set on a ship in the Narrow Sea. The transition is by image, from ship to ship, any by family, from Tyrion Lannister to Jaime.
The third is ten minutes long; it is set in King’s Landing. The first part is three minutes long; the transition is by family, from Jaime Lannister to Cersei.
The fourth is nine minutes long and is in two parts; it is set on the Wall. The first part is six minutes long; the transition is by hard cut, from Margery walking away to boys sparring in the yard of Castle Black. The other three minutes long; the transition is by image, from Jon Snow at his desk to Stannis at his.
The fifth part is five minutes long and is set in Winterfell. The transition is by image, from a candle in Stannis’s office to Sansa lighting candles, and by dialogue, from Stannis to Sansa and Littlefinger talking about him.
The sixth is nine minutes long and is set in Dorne. The transition is by image, from Sansa in the dark of the crypt to Jaime and Bronn’s boat rowing ashore in the dark.
The seventh is three minutes long and is set on a small boat. The transition is by hard cut, from the Sand Snakes to an establishing shot of the boat.
The eighth is six minutes long and is set in Mereen. The transition is by dialogue, from Jorah and Tyrion talking about Daenerys to Daenerys. The final image is of a mess of bodies, including Grey Worm and Ser Barristan Selmy.
Braavos is empty.
Review
It is difficult not to think of the first four episodes of Season Five as something of a unit, given their simultaneous release. And while the leak was unintentional (though evidently unproblematic, with “The Wars to Come” bringing a record high rating for the show, although subsequent episodes have been roughly level with the fourth season, and this is the first season in which the lowest rated episode will not beat the highest rated of the previous), it came from the official HBO screeners, which sent out the first four episodes as a unified block.…
Saturday Waffling (May 2nd, 2015)
Hello all. Just time for a quick one of these today – I just cut the Three Doctors commentary with Jack (out next week sometime) and I’ve been otherwise spending the day drawing up notes for my interview with Theodore Beale, which is an actual thing that’s happening.