Elizabeth Sandifer

About Elizabeth Sandifer

http://www.eruditorumpress.com

Elizabeth Sandifer created Eruditorum Press. She’s not really sure why she did that, and she apologizes for the inconvenience. She currently writes Last War in Albion, a history of the magical war between Alan Moore and Grant Morrison. She used to write TARDIS Eruditorum, a history of Britain told through the lens of a ropey sci-fi series. She also wrote Neoreaction a Basilisk, writes comics these days, and has ADHD so will probably just randomly write some other shit sooner or later. Support Elizabeth on Patreon.

Posts by Elizabeth Sandifer:

May 1, 2015

The Great Gran’pappy of All Dirges (The Last War in Albion Part 94: Not the World Cup)

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This is the sixth 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.

Previously in The Last War in Albion: The Bojeffries Saga was hardly the only minor work of Moore’s early career.

“A dirge… space-trucker talk for a hard luck story. And this was the great gran’pappy of all dirges.” – Alan Moore, “The Killer in the Cab”

Figure 715: Alan Moore’s cartoons alongside
his glossary of trucker slang. (From The BJ and
the Bear Annual 1982)

For instance, in 1981 before Warrior had even launched, when his career consisted of The Stars My Degradation, Maxwell the Magic Cat, his Doctor Who work, and his earliest Future Shocks, Moore had a gig writing and illustrating text pieces for Grandreams’s 1982 BJ and the Bear Annual. BJ and the Bear was an American television series about a trucker (BJ) who drove around the country with his pet chimpanzee (Bear) that debuted with a pilot movie in October of 1978 and wrapped up in May of 1981 forty-eight episodes later. Its British 1982 Annual was, in other words, a marginal piece of cultural ephemera even when it was printed at the end of 1981. It did, however, contain a three page illustrated glossary of trucker slang compiled by Alan Moore that helpfully informed readers that “keep your nose between the ditches and Smokey out of your britches” meant “drive safely,” a piece that got recycled a year later for the 1983 Dukes of Hazzard Annual. The BJ and the Bear Annual also featured a three page illustrated account of various stories about monkeys, such as the story of how some villagers from Eelberdale, in the Hargesia region of Somalia, fought a pitched two-day battle with attacking monkeys, resulting in injuries to six villagers and the death of three hundred and sixty-three monkeys, and the story of a couple of chimpanzees attacking police in Tarzana California, a town that sprung up around a ranch owned by Edgar Rice Burroughs, which Moore ends by fondly musing on how “right there, in the home of the Lord of the Jungle, the apes of Tarzana struck a blow for animal liberation!”

Figure 716: Illustration to Moore’s “Sawdust
Memories.”

These stories are also instances of Moore’s early career dabbling in straight prose writing – a sideline from comics writing that exists across his career. This is not the first instance of this to emerge in the War – several of Moore’s contributions to The Daredevils also fall under this umbrella. And these are not the only examples. For instance, in 1984 Moore contributed a short story, “Sawdust Memories,” to the magazine Knave.

…

April 29, 2015

Comic Reviews (Wednesday April 29th, 2015)

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From worst to best of what I paid your hard-earned Patreon donations for.

X-Men #26

Regrettably, this G. Willow Wilson arc simply didn’t work. He script had interesting ideas, but between subpar writers and a general sense of this being an auxiliary book running out the clock until Secret Wars, this just landed with the dull thud of a story that’s not going to be staying in print. Alas.

The Multiversity #2

Grant Morrison takes his usual superhero story to seemingly new conceptual limits, managing to change it not at all in the process. There are moments of distinct cleverness, but one kind of suspects that the final joke, with Nix Uotan wishing himself $800, is Grant Morrison laughing all the way to the bank.

Silver Surfer #11

The formalist gubbins are in overdrive, and the result is perhaps more a comic to respect than enjoy, with the cleverness really coming in at the expense of actually resolving the Surfer and Dawn’s conflict in any character-based way.

Daredevil #15

A perfectly competent comic in which Waid plays his big twist both to go into the end of his run and to put the toys back in the box. But Daredevil has been a lower tier book for me for a while now, and in a week as top-heavy as this, this is about where “perfectly fun” ends up.

New Avengers #33

Yeah, I’ve gotta say, I’m not thrilled with the tying into Secret Wars here. The waiting until the same week to release both of these drained momentum from Hickman’s already momentum-lacking run-in. That this seems to, unless I’ve misunderstood the plot, actually tie into the story several issues earlier than where we are right now makes it feel all the more insubstantial. There are some neat ideas in the exposition here, but wow, it’s as overworked as you might have feared. And… eh. Countdowns are never satisfying at the end when it comes to event comics, are they?

Avengers #44

It’s very funny to see the Ultimate characters and the 616 characters in the same panel, but talking with different capitalization styles. That’s proper comedy, that is. As for the big Captain America/Iron Man fight at the end… why? I mean, to provide some sort of thematic unity to Hickman’s Avengers run, but given that his Avengers run is going to go down as little more than a 77-issue prelude to Secret Wars, which is to say, and this is worth stressing, the prelude to Secret Wars is longer than Alan Moore’s Swamp Thing run, Sandman, Transmet, or The Invisibles… who cares? Why are we doing this? Oh god, I’m having existential doubts about my pull account again.

The New Avengers: Ultron Forever #1

Meanwhile, in “we should have a movie tie-in or two, eh?” we have a mashup of Marvel history punching robots. Robot Odin. A two-headed Hulk. Alan Davis art. what can I say, I really just wanted to put this ahead of Hickman’s Avengers.…

April 27, 2015

There is an Ocean in my Soul Where the Waters do not Curve (F-Zero)

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Anna Wiggins will be contributing a guest post for each year’s worth of games covered in the Super Nintendo Project. For 1991, she’s talking about F-Zero.

It begins with sound. When I think about F-Zero, it is the soundtrack that sticks in my mind. Where other games I had played had background music, F-Zero had songs. Big Blue was the most memorable. These memories are pleasant. This music has been a part of my internal soundtrack for most of my life, occasionally earworming in over the years, always an oddly comforting sense memory.

And this sort of sound was unprecedented. The number of bits in a gaming system was on the one hand meaningless to me; at seven years old, I had no idea what the technical difference between an “8-bit system” and a “16-bit system” were. But on the other hand these terms held an iconic power; clearly the SNES was twice as powerful, and so its games would be twice as cool. If I’d had a little more knowledge, I probably would have expected them to be 256 times as cool.

So this, for me, was my first real taste of what “16-bit sound” could do. I was hooked, and after this game music became a much larger part of how I judged games.

(What I didn’t know at the time was that the SNES made considerable improvements to the NES’ sound system, beyond just doubling the size of all the registers. The SNES came equipped with a separate dedicated co-processor for audio processing, the S-SMP, which meant game programmers could spend more cycles doing software manipulation of sound samples without affecting the game’s performance. Separate graphics processing chips were common in consoles already, but a coprocessor dedicated to audio was a leap forward for sound capability, and allowed for a lot of the richness in sound that jumped out at me here.)

Next comes light. This game looked great, with an initially dizzying faux-3d effect that pivoted around as the player’s car turned. I remember being amazed by this, and it’s what made me want to play the game, despite racing games not being the sort of thing I’m naturally inclined to play.

(F-Zero and Pilotwings were both basically tech demos for Mode 7 graphics, though I didn’t actually come across the term Mode 7 until much later, when SquareSoft ran television advertisements for Final Fantasy III. “Mode 7” was Nintendo’s great technical superiority claim for the SNES, a counterpoint to Sega’s “Blast Processing”. It sounds less impressive than Blast Processing, and indeed, described from a technical standpoint, it sounds like a fairly humble feature. However, unlike Blast Processing, it can be described from a technical perspective. The SNES graphics hardware had 8 different “modes” for drawing backgrounds, numbered 0-7. (Programmers always start counting from 0. It makes us feel special.) If you know just enough about computer graphics processing to be dangerous, it may seem strange that backgrounds were handled differently than anything else, but console graphics chips at the time had built-in notions about ‘backgrounds’ (things that didn’t move) versus ‘sprites’.…

April 26, 2015

High Sparrow

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Game of Thrones Season Five reviews are supported by my backers on Patreon. We crossed $300 this week, so I’ll be doing the whole season. Assuming, you know, that nobody backs out or anything. There’s a new milestone at $310, however, for a bonus post on the episode leaks of Doctor Who Season Seven. Which might be interesting to Game of Thrones fans as well, all things considered.

State of Play

The choir goes off. The board is laid out thusly.

The Lion, Tyrion Lannister
Lions of King’s Landing: Cersei Lannister, Tommen Baratheon
Direwolves of the Wall: Jon Snow
Mockingbirds of Moat Cailin: Petyr Baelish
Roses of King’s Landing: Margery Tyrell
Burning Hearts of the Wall: Stannis Baratheon
Ships of the Wall: Davos Seaworth
The Spider, Lord Varys
Kraken of Winterfell: Reek
Direwolves of Moat Cailin: Sansa Stark
Direwolves of Braavos: Arya Stark
Archers of the Wall: Samwell Tarly
Shields of Moat Cailin: Brienne of Tarth
Coins of Braavos: No one
Flayed Men of Winterfell: Roose Bolton, Ramsey Bolton
With the Bear, Jorah Mormont

Meereen is vacant.

The episode is in eleven parts. The first part is three minutes long and is set in Braavos. The opening image is of one of the many statues of gods’ faces in the House of Black and White.

The second is seven minutes long and is set in King’s Landing. The transition is by hard cut, from Arya to an establishing shot of the city.

The third is three minutes long and is set in Winterfell. The transition is by hard cut, from Cersei looking angry to Bolton men outside

The fourth is nine minutes long and is set at Moat Cailin. The transition is by dialogue, from Roose Bolton talking about Ramsey’s forthcoming marriage to Sansa, his bride-to-be.

The fifth is four minutes long and is set on the Wall. The transition is by dialogue, from Brienne talking about Stannis to Stannis.

The sixth is six minutes long and is set in Braavos. The transition is by family, from Jon Snow to Arya Stark.

The seventh is two minutes long and is set in Winterfell. The transition is by family, from Arya to Sansa.

The eighth is five minutes long and is set on the Wall. The transition is by family, from Sansa to Jon Snow.

The ninth is seven minutes long and is set in King’s Landing. The transition is by image, from the ritual of execution for Janos Slynt to the High Septon’s ritualistic sex game.

The tenth is three minutes long and is set in Winterfell. The transition is by causation, from Qyburn writing a message for Littlefinger to the scene where he receives it.

The eleventh is seven minutes long and is set in Volantis. The transition is by hard cut, from Littlefinger to an establishing shot of Tyrion and Varys’s cart outside the city. The final shot is of Jorah Mormont capturing Tyrion Lannister.

Review

There is not quite such a thing as a default pattern for Game of Thrones, simply because the show’s basic function depends so heavily on breaking the pattern – for instance, by putting the Purple Wedding in the second episode of the fourth season, thus defying expectations about the speed at which a season gets off to a start.…

April 25, 2015

Saturday Waffling (April 25th, 2015)

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These Saturday Waffling posts are ostensibly sponsored by my >$5 a week patrons at Patreon, but only like five of them ever gave me links to what they’d like me to plug for them, so now I’m just unabashedly trying to shame the rest into giving me them so I don’t just have to link Eric Rosenfield’s site week after week after week.

First off, I’m pleased to announce that not only did we hit the $290 threshold for “High Sparrow,” we’ve reached $300, which means I’ll be reviewing all ten episodes of Game of Thrones Season Five. I’m intrigued by this “small milestones leading directly to extra content” idea, so if the Patreon makes it to $310, I’ll bang up one of the essays that would otherwise wait for the Capaldi book (which in turn will wait for there to be an end in sight to Capaldi’s tenure), namely “Outside the Government: Marcelo Camargo,” a look at the leaked workprints and their implications for Doctor Who, television, and anything else that comes to mind.

Second off, thanks to everyone for the very generous response to my Hugos piece. I am especially flattered by the people who said they’d be nominating it in next year’s Hugos. My current thinking, very much subject to change, is that I’ll knock together a small book containing it, Recursive Occlusion, and some other short pieces and aim to get that out this year along with Eruditorum Volume 6. (I’ll probably do this in lieu of a wide release of Recursive Occlusion‘s standalone “art book” version, which you can still buy here.)

And third off, since it seemed a popular aspect of “Guided By the Beauty of Their Weapons,” I’m curious: who had heard of Janelle Monáe before that piece? Who has gone and looked at more than just one song? What songs of hers do people like? Why is she so awesome? And have you seen her latest video?

…

April 24, 2015

Poverty Reduction Programme (The Last War in Albion Part 93: Song of the Terraces, After They Were Famous)

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This is the fifth 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.

Previously in The Last War in Albion: The second major run of The Bojeffries Saga came in the magazine A1, and concluded with a strip called “Song of the Terraces.”

“The Hoop was a massive dead end in which to dump America’s unemployed. Called a ‘Poverty Reduction Programme’, it didn’t reduce poverty… it just meant that people no longer had to look at the poor. If you lost your job you were moved to the Hoop, where you lived on a state-provided credit-card system called MAM until you found employment. Except that there wasn’t any employment.” – Alan Moore, The Ballad of Halo Jones

Figure 709: The symphony grows more complex. (Written
by Alan Moore, art by Steve Parkhouse, from “Song of the
Terraces,” in A1 #4, 1990)

Described as “a light opera with libretto by Mr. A. Moore and full orchestration by Mr. S. Parkhouse,” the strip is formatted as a musical, beginning with the chant of a paperboy as he walks down the terraced street, identifying the paper of choice of each house he walks past: “Sun, Sun, Sun, Sun, Sun, Guardian, Sun.” He is quickly joined by further paperboys, taking up his chorus and adding in descriptions of the papers’ contents: “Page three, transfer fee, ‘Is your man a sex bomb?’/ Which M.P.’s been compromised outside a Gent’s in Wrexham? / Outrage, sports page, ‘Di: her secret vices!’, / Someone out of Neighbours whose domestic life’s in crisis…” In time the original paperboy takes up a new verse, imploring the reader to, “when letter boxes snap / pity the little chap / who does not write the crap / but is its victim. / For while the world’s asleep / he works to earn his keep / lest, with poll-tax so steep / his folks evict him.”

Figure 710: The symphony concludes. (Written by Alan
Moore, art by Steve Parkhouse, from “Song of the Terraces,”
in A1 #4, 1990)

At this point, things really get going as the first actual member of the Bojeffries family appears, with Raoul stepping out and singing his own tune about going to work, with other men quickly joining in and singing about how “we’ve little dicks and big dogs / and we’re not too fond of nig-nogs / but we whistle as we make our way to work” as Raoul proclaims, “At veekends I vill shop for shelving down at M.F.I. / or vatch a fourth diwision team at play / I’d like to vin der futball pools und then retire und die / so I vhistle as I go to vherk each day!”

…

April 22, 2015

Comics Reviews (April 22nd, 2015)

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Theodore Beale has responded to yesterday’s post. I’d link it and say not to read the comments, but honestly, why read the article. There’s some other highlights on my Tumblr. Which I bet, by linking here, I’m going to get some fantastic asks to ignore soon.

Comics, from worst to best of what I voluntarily paid for via what a commenter on Theodore Beale’s blog calls “e-begging on Patreon.” (Which is still $2 off from a review on “High Sparrow” come Sunday.)

The Black Vortex: Omega

Man, I love the word “Omega” instead of issue numbers. Kitty Pryde as literal Manic Dark Cosmic Power Dream Girl. This should never have been thirteen issues long. It was preposterously dumb. But its resolution is at least interesting in a general sense of being a thing that will probably be retconned by Secret Wars anyway.

Lazarus #16

A somewhat self-consciously clever interstitial issue to let Michael Lark catch up with the schedule. Fine, although I’m not sure it works satisfyingly after a self-consciously clever arc finale – Rucka’s pop virtues are not quite so virtuosic as this requires. He’s an album man, not a singles man. Nothing wrong with this issue, but not why this book is in my pulls either.

Guardians of the Galaxy #26

I see we’ve caught up with Secret Wars. Which is, once again, unsettling more than exciting – this issue sets up a lovely premise. Then it ends by going into a series that at best puts that premise on hold for several months. I mean, I’m not saying I think it’s going to suck, but I have to say, April is not doing wonders for my excitement on this series. In particular, I continue to think the pacing of Hickman’s Avengers issues was wonky – the fact that there’s no actual Secret Wars content coming out for the last few weeks is making the rest of Marvel feel disposable. There’s no swagger or confidence to this.

Chew #48

Chew continues its frustrating trend of being good enough, often enough that I don’t drop it.

All-New X-Men #40

This has generated some deserved controversy online over accusations of bisexual erasure. You can see, in the full issue, why Bendis thinks that accusation is misjudged. I’m very much unconvinced, simply because there’s still nothing motivating the decision to make Iceman, as he rather awkwardly puts it, “full gay” as opposed to bisexual. There’s nothing gained by having Iceman be gay instead of bi, and there’s plenty of implication that bisexual people are just gays who lack conviction, which is a bullshit stereotype.

In any case, the sense of momentum leading into Bendis’s big X-finale is satisfying.

The Unbeatable Squirrel Girl

Nobody is ever going to write a better line for Galactus than “Thanks, Tippy-Toe,” except of course, for Ryan North, who writes numerous other lines of similar quality for Galactus in the course of his defeat at the hands of Squirrel-Girl. (This is not spoiling the ending, since the title of the book pretty much guarantees it.)

…

April 21, 2015

Guided by the Beauty of Their Weapons: An Analysis of Theodore Beale and his Supporters

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Although this post is not specifically funded by my Patreon backers, this site and my work in general would not be possible without their support. Also, if you want to further support my work, you might try the book version of this essay, which is revised, expanded, and accompanied by tons of other cool stuff.

Right. It’s probably about time to collect all the issues and discussion of the 2015 Hugo Awards into one big post that is, at least in terms of what I have to say, a definitive take on it. A long read, to be sure, but one that will hopefully manage to cover everything important and give a clear sense of the issues and their implications.

One note that is probably worth making before we begin – I am writing this with the assumption of a basically sympathetic audience who have heard bits of the disturbing story, but who aren’t clear on the whole picture. It’s meant to be persuasive to people who are, broadly speaking, left-leaning (or at least not far-right) fans of intelligent and literary science fiction, and who are not generally of the opinion that there was ever anything badly wrong with the Hugo Awards. This is not to say “someone who agrees absolutely with the Hugo Awards,” as such a person presumably does not exist, awards being like that, but it is to say “someone who thinks the Hugo Awards have gone to generally reasonable selections over the past five years.”

Correspondingly, it is not expected to be in the least bit persuasive to people who think Theodore Beale to be an intelligent and respectable figure worth taking seriously. It is not an attempt to argue with them. For reasons that will I think become clear as the post goes on, I do not think arguing with them is a particularly worthwhile pursuit. In any case, off we go, first with a primer on what we’re actually talking about here.

Part One: What Happened with the Hugos

For decades, the Hugo Awards have been one of the leading awards in science fiction. This year, the Hugo nomination process was effectively taken over by two related groups who employed a controversial set of tactics that were legal but had not previously been employed in the over sixty year history of the Hugo Awards due to generally being considered unsporting and in poor taste.

Hugo nominations are a fairly simple affair. You join the World Science Fiction Convention (this year called Sasquan, and held in Spokane) for the year, either as a fully attending member or as a non-attending “supporting member” (this year costing $40).…

April 20, 2015

The Letters and the Law, The Meaning and the Cause (Super Mario World)

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The Super Nintendo Project, a sequel to my first major blog, The Nintendo Project, is made possible by my backers on Patreon. If you enjoy this project and want to support my work, please consider backing.

There are two ways to begin this.

I am, of course, talking about Super Mario World here and not The Super Nintendo Project, where there were an infinitude of ways I could have gone. No, I’m referring to the start of Super Mario World, where you are presented with a straightforward choice between going left to Yoshi’s Island 1 or right to Yoshi’s Island 2.

(Here’s a secret history for you.

The 1986 wide release of the Nintendo Entertainment System was one of the great marketing successes of 1980s American capitalism, a period with no shortage of contenders for that title. At the heart of the success is simply the sheer degree to which Nintendo triumphed over conventional wisdom. Following the shocking collapse of the Atari-led American video game industry in 1983, the American market was enormously wary of the entire idea of video games.

Indeed, it was in some ways surprising that Nintendo even had the opportunity to try, given that they very nearly allied themselves with Atari in 1983, just before the crash, an alternate history prevented only by a staggeringly unforced error in which Atari executives mistook a Coleco Adam running Donkey Kong at a 1983 trade show as evidence that Nintendo was making a deal with Coleco (formerly the Connecticut Leather Company), when in fact the Adam was simply playing the Colecovision release of the game via its backward compatibility. This resulted in Atari abruptly pulling out of its deal with Nintendo to distribute their successful Famicom console in the US.

Nintendo thus went it alone, initially trying to release the system as a personal computer akin to the still popular Commodore 64 or the Apple IIe, and, when this faltered, regearing the product as a straight video game console, and creating R.O.B., a console peripheral/toy robot that allowed Nintendo to situate the system not as a video game system in the mould of the failed Atari 2600, but rather as a toy.)

It’s more of a choice than it might first appear. The sense of linear progression would obviously lean towards starting with Yoshi’s Island 1, but this undersells the degree to which movement from left to right is a fundamental part of the conceptual grammar of the side-scrolling platformer genre that Super Mario World is in many senses the apex of. Likewise, the world map as visible at the start of the game emphasizes the importance of going right – the path extending forth from Yoshi’s Island 2 has two nodes that are visible markers for where Yoshi’s Islands 3 and 4 will appear, as well as a castle, recognizable as the end-of-world objective.

Funnily enough, I don’t remember the exact circumstances of getting the system. It would have been somewhere in the vicinity of my ninth birthday, which was the official release date, although systems arrived in stores a couple weeks earlier.…

April 19, 2015

The House of Black and White

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This review exists because of my backers on Patreon. Reviews of the full season of Game of Thrones are contingent on the Patreon reaching $300 a week, but I’ll do “High Sparrow” next week if it gets up to $290 by the time the episode airs, which is only a $5 increase. So if you want more reviews, please consider backing.

State of Play

The choir goes off. The board is laid out thusly:

The Lion, Tyrion Lannister
Lions of King’s Landing: Jaime Lannister, Cersei Lannister
Dragons of Mereen: Daenerys Targaryen
Direwolves of the Wall: Jon Snow
Mockingbirds of the Eyrie: Petyr Baelish
Burning Hearts of the Wall: Stannis Baratheon,
Ships of the Wall: Davos Seaworth
The Snake, Elaria Sand
Archers of the Wall: Samwell Tarly
Direwolves the Eyrie: Sansa Stark
Direwolves of Braavos: Arya Stark
Flowers of the Wall: Gilly
The Spider, Varys
The Chain, Bronn
Swords of Mereen: Daario Noharis
Butterflies of Mereen: Missandrei
Shields of the Eyrie: Brienne of Tarth
Coins of Braavos: No one

Winterfell is abandoned.

The episode is in eleven parts. The first part runs five minutes and is set in Braavos. The opening shot is of Arya’s face, staring up at the Titan of Braavos.

The second runs eight minutes and is set in the Vale of Arryn. The transition is by hard cut, from Arya walking away after throwing her coin in the canal to an establishing shot of an inn.

The third runs two minutes and is set in King’s Landing. The transition is by hard cut, from Podrick standing as Brienne rides off to Cersei.

The fourth runs three minutes and is set at Castle Stokeworth. The transition is by dialogue, from Jaime talking about Bronn to Bronn.

The fifth runs two minutes and is set in Dorne. The transition is by dialogue from Jaime and Bronn talking about going to Dorne to Dorne.

The sixth runs five minute and is set in Mereen. The transition is by hard cut, from Doran Martell to Unsullied marching through the streets.

The seventh runs two minutes and is set on the road to Volantis. The transition is by hard cut, from Daenerys to an establishing shot of Varys and Tyrion’s carriage.

The eighth runs four minutes and is set in King’s Landing. The transition is by dialogue, from Tyrion rhetorically asking if Cersei will be killing all the dwarfs in the world to her appraising the head of a dead dwarf.

The ninth runs eleven minutes and is in two section; it is set on the Wall. The first section is three minutes long; the transition is by hard cut, from Kevan Lannister storming off to the letter S in a book. The other is eight minutes long; the transition is by dialogue, from Shireen and Selyse talking about Stannis’s execution of Mance Rayder to Jon and Stannis talking about the same.

The tenth part runs two minutes and is set in Braavos; the transition is by family, from Jon Snow to Arya Stark.…

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