Eruditorum Press

None of you understand. We’re not locked in here with you. We just lost our keys.

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:

A Brief Treatise on the Rules of Thrones 1.05: The Wolf and the Lion

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A Brief Treatise on the Rules of Thrones is funded by my backers on Patreon. I apologize for the late post this week.


State of Play

The choir goes off. The board is laid out thusly:
Direwolves of King’s Landing: Eddard Stark, Sansa Stark, Arya Stark, 
Stags of King’s Landing: Robert Baratheon, Joffrey Baratheon
Lions of King’s Landing: Jaime Lannister, Cersei Lannister
Direwolves of the Eyrie: Catelyn Stark, 
Mockingbirds of King’s Landing: Petyr Baelish
Kraken of Winterfell: Theon Greyjoy
Direwolves of Winterfell: Bran Stark
Dogs of Kings Landing: Sandor Clegane
And the Lion of the Eyrie, Tyrion Lannister
Vaes Dothrak lies abandoned. The Wall is unmanned. 
The episode is in eight parts. The first runs eight minutes and is set in King’s Landing; the opening shot is an establishing shot of the city over a bridge, which Ned Stark is walking across. 
The second runs three minutes and is set on the road to the Eyrie; the transition is by hard cut, from Ser Loras sharing his victory with the Hound to one of Lady Stark’s men gathering water, and by family, the previous scene having featured Sansa. It features numerous deaths in a small battle, including a hill tribesman killed by Tyrion, who smashes his head with a shield repeatedly.
The third runs four minutes and is set in Winterfell; the transition is by family and into dialogue, from Catelyn to Bran, who brings her up in conversation. 
The fourth runs fifteen minutes long and in three sections;  it is set in King’s Landing. The first section is mere seconds long; the transition is by hard cut, from Theon and Ros to a cat being chased by Arya. The second is eleven minutes long; the transition is by family, from Arya to Ned. The last is four minutes long; the transition is by hard cut, from Varys addressing Littlefinger to Arya exiting the catacombs. At the episode’s halfway point, Arya is trying to warn her father about what she overheard in the dungeons just before Yorren arrives to warn him of what Catelyn has done. 
The fifth part run one minute and is set in the Eyrie; the transition is by family and dialogue, from Ned Stark learning that Catelyn has taken Tyrion to Catelyn and Tyrion.
The sixth runs five minutes and is set in King’s Landing; the transition is by family, from Catelyn to Ned.
The seventh runs three minutes and is set in the Eyrie; the transition is by family, from Ned and Littlefinger to Catelyn and Lyssa Arryn.

The eighth run fifteen minutes and is in three sections; it is set in King’s Landing. The first section is four minutes long; the transition is by hard cut, from Tyrion shivering in his skycell to Renly and Loras. The second is six minutes long; the transition is by family, from Renly to Robert. The third is five minutes long; the transition is by family, from Robert to one of his bastards. It features the death of Jory, stabbed in the eye by Jaime Lannister.
…

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Saturday Waffling (March 7, 2015)

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In case you missed it, Recursive Occlusion, aka the Logopolis book, is out. It’s $15, and available exclusively through the Createspace store.

Over on Tumblr, I randomly banged up a thing and called it “The Golden Age of Adolescent Literature: A Manifesto for an Aesthetic Movement.”

0. It is better to go too far than to be boring.

1. We must embrace the hubris that characterizes other great aesthetic movements. But as the great aesthetic movements of the last century have already laid claim to the future, we cannot. There are no further footholds to be found on that terrain. Instead, our hubris will have to be historicized. We will not be the future. When we lay claim to the phrase “golden age,” the purpose is not self-promotion, but a demand to ourselves that we live up to the promise of that title.

2. Just as the Golden Age of Children’s Literature is a specifically British movement (albeit one with American practitioners), the Golden Age of Adolescent Literature is ultimately American, embracing the grand cultural tradition of disaffected loners just as the Golden Age of Children’s Literature embraced the grand cultural tradition of portals to faerie.

3. Adolescence must necessarily be fetishized, but we must be clear on what we fetishize. The appeal is the certainty of one’s alienation, the complete rejection of aesthetic or moral compromise, a sense of identity largely untainted by the notion of “work,” and an incandescent focus on the present moment.

4. Adolescent is an adjective. We fetishize adolescence. We do not fetishize adolescents. (Indeed, there is no intrinsic reason why adolescent literature needs to feature adolescents as such.) We leave adolescents to their own devices, for they are better at being adolescents than we can possibly be.

5. Adolescent literature is not made by adolescents. Inherent to the movement is a sense of loss – a desire to recapture our own disaffection. This is the central appeal of adolescent literature to the present moment. Adolescence is defined by a propensity to take radicalism and extremism seriously, and thus adolescent literature gives us a license to contemplate the rejection of basic premises of the world.

6. A rejection of naturalism, whether subtle as with magical realism or emphatic as with outright sci-fi and fantasy, is a strong tool in adolescent literature. It is going too far to say that adolescent literature cannot be naturalist, but naturalism is not a default assumption.

7. Adolescent literature must be queer literature.

8. Adolescence is not about coming of age. If characters come of age, this must be understood as emergence from a chrysalis and as transformation, not as growing into a role that has already been prescribed. The only thing for which growing up is an acceptable metaphor is death.

9. The Hero’s Journey, with its embrace of the return home, is fundamentally a reactionary structure that must be emphatically rejected.

10. Nostalgia is not the enemy. But its purpose is to uncover what has been forgotten about the past.…

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Physics Bubbling Down Into Chaos (The Last War in Albion Part 86: Marvelman’s Unraveling)

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This is the fourteenth of sixteen (it grew) parts of The Last War in Albion Chapter Nine, focusing on Alan Moore’s work on V for Vendetta for Warrior (in effect, Books One and Two of the DC Comics collection). An omnibus of all fifteen parts can be purchased at Smashwords. If you purchased serialization via the Kickstarter, check your Kickstarter messages for a free download code.

The stories discussed in this chapter are currently available in a collected edition, along with the eventual completion of the story. UK-based readers can buy it here.

Previously in The Last War in Albion: The seventh issue of Warrior contained an installment of Marvelman that would, ultimately, cause Moore to depart from the magazine two years later. The eight page strip jumps among settings, starting with Sir Dennis Archer shortly after briefing the sapphire-toothed Evelyn Cream on his mission. Archer reflects on the events of October 12th, 1963, when they blew up the Marvelman Family. The second page has Mike and Liz out on Dartmoor, getting ready to test Marvelman’s powers. Liz brings a stack of American superhero comics, reading off possible powers he could have. 

“We’re not gods from space who can survive planetary impacts and physics bubbling down into chaos and clashing timelines. We’re just human.” -Warren Ellis, Supreme: Blue Rose

Figure 656: Evelyn Cream murders the terrorist upon
 getting the information he needs. (Written by Alan
Moore, art by Alan Davis and Garry Leach, from “Secret
Identity” in Warrior #7, 1982)
The third goes to Johnny Bates, now in the hospital, catatonic. The scene shifts to inside Bates’s mind, where Kid Marvelman berates him, calling him a “snot-nosed little pratt” and a “snotty little virgin.” Then it cuts back to Marvelman and Liz investigating his powers, trying to figure out exactly how they work and how, for instance, the impact of a massive boulder falling on him doesn’t drive his feet into the ground at all. Page five has Evelyn Cream, with caption boxes explaining how he has figured out that Marvelman must have been one of the reporters at Larksmere, that the transformation probably resulted in some sort of energy transfer, and that the terrorist with burns was probably closest when it happens, arriving at the hospital. This is followed by one more page of the Morans, with Marvelman having turned back into Mike and the two of them driving off. As they do, Liz tells Mike that “I’ve missed my last periods and I’m going to have a baby and it isn’t yours its Marvelman’s.” The final two pages form a single scene depicting Cream’s encounter with the terrorist, who lies in his hospital bed, heavily bandaged. As Cream enters, he wakes up, and murmurs, “Huh? Whaddayou want, chocolate?” Cream communicates with him by writing on a notepad, promising not to kill him if he answers his questions. He proceeds to ask enough questions to identify Marvelman’s secret identity, and then explains to Steve that he was lying about the promise not to kill him, smothering him in his hospital bed and calmly walking out.
…

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Comics Reviews (March 4th, 2015)

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The next episode commentary will go up next week some time, in its own post. Comics reviews follow, from least favorite to favorite of what I bought this week.

Rat Queens #9

Issue #8 of this came out five months ago. This is part four of an ongoing story. There is no recap page whatsoever. I know I’ve ridden this hobby horse before, but this is suicidally dumb, in an “I think I’m dropping this title because I can’t be bothered to figure it out” sort of way. Seriously, I don’t remember a comic from five months ago. I have enough trouble with one month ago half the time. And yet nobody thought “ooh, maybe we should remind readers of the plot instead of throwing them in the deep end.” Yes, I could dig through my unorganized back issue piles looking for issues 6-8. But I could also save $3.50 a month, and that’s what I’ll be doing. This looks like a fine issue, but honestly, I’m done with comics that don’t make the slightest concession to the fact that I read 30+ comics a month on top of all the other media I consume and probably need a refresher when I haven’t seen an issue for five months. You had room for a six page preview of another comic, you could have given me a fucking recap page. Ugh. So, yes, dropping this, and going to commit to being much more aggressive about this. I’m not asking for dumbed down comics, but I am asking for some basic reader friendliness.

Saga #26

A perfectly pleasant issue, although man, again, a cast page would be so nice right about now. Does this work better in trade? This must work better in trade. I think this has turned into the latest equivalent of The Unwritten – a book I pay money for so that in two years when I pirate it because I’ve lost all my back issues and reread it in one night I feel no guilt. In any case, if you’ve enjoyed the twenty-five issues prior to this, you’ll probably like this a lot too.

Avengers #42

Whatever I may think about some of the steps along the way, Hickman is managing a gloriously effective pounding climax here. I’m especially fond of the teases of where Bendis’s X-Men plot is going, although the “massive alien army about to nuke the Earth” plot is fun too. I’m curious how he’s going to pivot to the Steve/Tony confrontation that obviously underlies all of this, and I don’t quite trust him not to just drop all the spinning plates, but right now this book is a countdown to May, and I admit, each step is suitably breathlessly exciting.

Blackcross #1

A superhero horror comic by Warren Ellis that doesn’t sell itself on its own value after one issue, but that is by Warren Ellis, and so gets trusted to pull it together over the next five, because while there are Warren Ellis comics that are not great, there aren’t really any that are bad, or even not good.…

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Recursive Book Launch

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It is my pleasure to announce that Recursive Occlusion, also known as the Logopolis book, is now available for sale. You can buy a copy here if you’re so inclined.

If you pre-ordered the book via the old Hartnell Second Edition Kickstarter then assuming you also provided me with updated address information, your book has been ordered and is either on its way to you or to me so that I can sign it and send it to you. If you’re owed a signed copy of Volume V, that will be in the same package. If you haven’t sent me updated address information, check your Kickstarter messages for information.

If you have not pre-ordered the book, things are going to work a little differently this time than some of my other books. For one thing, the print edition is the only edition. I’m not ruling out an ebook edition in the future, but for now there are no active plans. The print edition is also available exclusively via the Createspace store, which is to say, via direct order from the print on demand company I’m using. I’m also not ruling out an eventual general sale via Amazon and the like, but for now, again, there are no active plans.

The book is about 120 pages, and the $15 price was picked in part because I didn’t want to sell it for cheaper than I did to pre-ordering Kickstarter backers nearly two years ago, and in part to highlight the fact that this is very much book-as-art-object.

Basically, this is the sort of book that, under traditional publishing, would be called a “limited edition” or something, although given that it’s print-on-demand that’s kind of the exact wrong phrase for it. Nevertheless, the point of the book is very much to be an interesting and compelling physical object. Both Alison and I, in editing and typesetting the book, and James, in doing the cover design, worked hard to mimic the design of vintage Choose Your Own Adventure books, and, if I may be so bold, the book is a real pleasure to just pick up and play with. (James’s account of designing the cover is up here.)

Content-wise… this is a strange one. It is loosely based on the essay “Recursive Occlusion,” the TARDIS Eruditorum entry on Logopolis that is reprinted in Volume 5 of that series. That essay is structured as an interactive set of branching paths akin to the Choose Your Own Adventure books, and consists of a total of 33 separate nodes. But Recursive Occlusion the book is almost completely rewritten – only two of its 34 notes originate in the old Logopolis entry, and the other 32 are completely new and exclusive to the book. These include two lengthy essays explaining the format of the book and some of the philosophical ideas underlying it, although you’ll have to successfully find them within the book’s narrative.

Recursive Occlusion is my definitive statement on one of the major themes of TARDIS Eruditorum, namely the intersections between occultism (and particularly alchemy) and Doctor Who.…

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A Brief Treatise on the Rules of Thrones 1.04: Cripples, Bastards, and Broken Things

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A Brief Treatise on the Rules of Thrones is generously funded by my backers at Patreon.
The choir goes off. The board is laid out thusly:
Direwolves of King’s Landing: Eddard Stark, Sansa Stark, Arya Stark
Stags of King’s Landing: Robert Baratheon, Joffrey Baratheon
Lions of King’s Landing: Jaime Lannister, Cersei Lannister
The Direwolf Catelyn Stark
Dragons of Vaes Dothrak: Daenerys Targaryen, Viserys Targaryen
Bears of Vaes Dothrak: Jorah Mormont
Mockingbird’s of King’s Landing: Petyr Baelish
Direwolves of the Wall: Jon Snow
Direwolves of Winterfell: Robb Stark, Bran Stark
Kraken of Winterfell: Theon Greyjoy
Dogs of King’s Landing: Sandor Clegane
And the Lion of Winterfell, Tyrion Lannister
The episode is in twelve parts. The first runs five minutes and is set in Winterfell; the first shot is of a raven flying through the castle as Bran stands drawing a bow. 
The second runs three minutes and is set on the Wall; the transition is deceptive continuity, with a cut from Theon watching Tyrion ride away to an overhead shot of a man on horseback who turns out not to be Tyrion. 
The third runs seven minutes and is set in Vaes Dothrak; the transition is by family, from Jon Snow to Daenerys Targaryen.
The fourth runs seven minutes long and is in two sections; it is set in King’s Landing. The first section is two minutes long; the transition is by dialogue, from Viserys talking about the Red Keep to Sansa and Septa Mordane walking into it. The other is five minutes long; the transition is by family and dialogue, from Sansa talking about her father to Ned. 
The fifth part runs two minutes and is set on the Wall; the transition is by family, from Arya and Ned Stark to Jon Snow.
The sixth runs six minutes and is set in King’s Landing; the transition is by family, from Jon Snow to Ned Stark. The transition marks the halfway point of the episode. 
The seventh runs three minutes and is set on the Wall; he transition is by hard cut, from Jory walking away from Jaime to people dining in the mess at Castle Black. 
The eighth runs one minute and is set in Vaes Dothrak; the transition is by dialogue, from Thorne talking about sniveling boys to Viserys, and by family, from Jon Snow to Viserys and Daenerys. 
The ninth runs six minutes and is set on the Wall; the transition is by dialogue, from Daenerys saying “hands” to a shot of Sam’s hand scrubbing a table.
The tenth runs one minute and is set in Vaes Dothrak; the transition is by family, from Jon Snow to Daenerys Targaryen.
The eleventh runs six minutes and is set in King’s Landing; the transition is by dialogue, from Daenerys talking about her brother possibly taking back the Seven Kingdoms to a shot of Robert. The scene features the death of Ser Hugh of the Vale, killed by Gregor Clegane in the joust. 
The last runs three minutes and is set in an inn on the Kingsroad in the Riverlands; the transition is by family, from Ned Stark and Cersei Lannister to Catelyn and Tyrion.
…

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Saturday Waffling (February 28th, 2015)

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Hey, so, first off, check out Ian McDuffie’s Patreon for his webcomic FEELS. And, for that matter, his webcomic FEELS. Really nice, sweetly funny and dryly sad comics about people having emotions about one another.

In other news, barring an absolutely massive swath of votes in the final twenty-four hours, the next bonus post as voted on by Patreon backers will be on Russell T Davies’s produce triptych Cucumber/Banana/Tofu. That’ll be in just about two weeks, once the whole thing airs.

But man, if you’re not watching it, check it out. It’s really, really good. Episode 6 of Cucumber is titanically, breathtakingly good, although for the most part I think Banana has really been the best show.

So, given how good episode six of Cucumber was, let’s have an open thread on it. I’ll talk about it in detail in two weeks time, but for now I’ll just say… holy shit that was amazing.

Also, if you missed it, the commentary track Jack Graham and I did for the second episode of The Rescue went up on Wednesday. These have gotten super low download numbers according to my stats tracker. Like, apparently only eleven people downloaded episode two, down from sixty-eight on episode one. Will at least do The Mind Robber, though will probably take a week off before that, and maybe a new series track to see if that does a bit better, but I’m officially flagging that project as in serious danger of cancellation. In case my stats tracking is wrong, though, if you downloaded episode two, please say so in comments.

Finally, there’ll be a post on Tuesday this week. The title will be Recursive Book Launch.

Currently working on: A Brief Treatise on the Rules of Thrones 1.09: Baelor…

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Devoted to Joy (The Last War in Albion Part 85: Garry Leach’s Marvelman)

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This is the thirteenth of fifteen parts of The Last War in Albion Chapter Nine, focusing on Alan Moore’s work on V for Vendetta for Warrior (in effect, Books One and Two of the DC Comics collection). An omnibus of all fifteen parts can be purchased at Smashwords. If you purchased serialization via the Kickstarter, check your Kickstarter messages for a free download code.

The stories discussed in this chapter are currently available in a collected edition, along with the eventual completion of the story. UK-based readers can buy it here.

Previously in The Last War in Albion: Following the cessation of Captain Marvel stories on the part of Fawcett Comics, L. Miller & Son, a British company that had been publishing reprints of Fawcett’s material, created a transparent knockoff of Captain Marvel called Marvelman. In 1981, Moore pitched a revival of the character for Warrior, with the idea that Mickey Moran, Marvelman’s human alter-ego, had forgotten his magic word, and indeed that he was Marvelman, until one day he was taken hostage by terrorists.

“He was mad. He devoured Nietzsche’s writings, enamored of the idea of the superman being devoted to joy, and bringing joy by dint of his existence.” -Warren Ellis, Stormwatch
Figure 649: The iconic panel of Marvelman’s
return as reworked by Alan Davies. (Written
by Alan Moore, art by Alan Davies after Garry
Leach, from “The Yesterday Gambit” in Warrior
#4, 1982)
Moran, held hostage, sees the word “ATOMIC” reflected in a door, and reads it backwards, out loud, suddenly transforming into Marvelman. The terrorist next to him simply drops dead, burnt to death in the force of Marvelman’s transformation. Seven feet tall and blue, he trivially cleans up the terrorists and flies away, joyful at being a superhero again. Moore then goes on to outline some future plots, starting with one in which Kid Marvelman turns out also to have survived, but in his superhero form, which he remained in, growing rich and powerful with his secret abilities and becoming, in Moore’s words, “a nasty amoral son-of-a-bitch.” He also suggests an arc in which Gargunza’s employers take an interest in the newly returned Marvelman after he visits the grave of Dicky Dawson, Young Marvelman, followed by one in which Marvelman confronts Gargunza himself. “This should take us well into the stage where we’re selling the film rights and printing up the T-Shirts and similar,” Moore quips, although this would more or less have been true save for a series of creative conflicts and poor investments. “I’ll worry about what comes next when I get that far.” Moore then suggests Dave Gibbons or Steve Dillon as artists – both had in fact already been sounded out but were uninterested – and notes that he could rework the idea with a Marvelman pastiche, perhaps called Miracle Man, if the rights prove unavailable. This pitch sufficiently impressed Skinn that he asked Moore to write a first installment on spec that, if Skinn liked it, would land him the job.
…

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Comics Reviews (February 25, 2015)

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First off, the second part of the commentary track for The Rescue. Next up will be The Mind Robber, although whether that starts the first or second week of March is still unclear – trying to schedule it with Jack. Watch this space. Part one is still available here. 

Also, Logopolis book update, I just ordered my proof copy, so expect an announcement early next week. Tentatively, let’s say it’ll be out on Tuesday the 3rd. Details will be up here, but broadly, the plan is a limited release exclusively through this site and my print on demand publisher, at least for the first few months, with a possible broad release/ebook version to follow. 
Finally, comics.
Chew #46

This just left me totally cold for some reason. Whatever is meant to be interesting about this latest plot arc doesn’t really present itself yet, with the death of Poyo yet to actually have any interesting consequences, and the vague sense of “well, I’ve bought forty-six issues, I may as well follow it til the end” back in force here. 
New Avengers #30

The sense that Jonathan Hickman is just Grant Morrison without a sense of humor is strong in this book. Can’t say I’m wild about destroying the entire Captain Britain mythology casually and without a “Last Days of the Captain Britain Corps” mini or anything. Actually, I can’t say I’m wild about anything here. It feels like Hickman doesn’t trust his own ideas enough to carry a story, and is just going all out in explaining his wild multiversal philosophy. Comparisons to Multiversity do Hickman no favors, and I don’t even like Multiversity that much.
Amazing Spider-Man #15

I can’t honestly say I care much about the status quo coming out of Spider-Verse, not least because the status quo coming out of any Marvel event right now is a bit of an odd thing what with time running out and everything ending. Much of this served as a resolution of the Superior Spider-Man plot, which I skipped, so that didn’t really work for me either. I’d say I’m really considering dropping this, but my position on Marvel right now is that it’s kind of silly to make any major changes to my pulls given that I’ll be redoing them all in the wake of Secret Wars anyway. 
Thor Annual #1

A triptych of small tales, all on the sweet/funny end of the scale. Harmless, and no bad tales, but a classically inessential annual at $4.99.
All-New X-Men #38
I read this and the preceding installment of Black Vortex this week, having accidentally left Star-Lord on the shelf last week. The pace of the start of the crossover has thoroughly dissipated, and we’re now left in decompressed wheel-spinning of the sort that blights crossovers reliably. The “evil versions” of characters are as dull as I feared, and I’m not a fan of Sorrentino’s art, which is, for me, a textbook case of exchanging clarity of storytelling for prettiness. But at least Bendis is at home with decompressed middle chapters, they being essentially his default form, so this rolls along pleasantly.
…

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A Brief Treatise on the Rules of Thrones 1.03: Lord Snow

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A Brief Treatise on the Rules of Thrones is generously funded by my backers at Patreon. If you enjoy it, please consider, for just $1 a week, supporting both this project and my compulsive “having a roof over my head” habit.

State of Play
The choir goes off. The board is laid out thusly:
Direwolves of King’s Landing: Eddard Stark, Catelyn Stark, Sansa Stark, Arya Stark
Stags of King’s Landing: Robert Baratheon. Joffrey Baratheon
Lions of King’s Landing: Jaime Lannister, Cersei Lannister
Dragons of the Dothraki Sea: Daenerys Targaryen, Viserys Targaryen
Bears of the Dothraki Sea: Jorah Mormont
Mockingbirds of King’s Landing: Peter Baelish
Direwolves of the Wall: Jon Snow
Direwolves of Winterfell: Bran Stark, Robb Stark
And the Lion of the Wall, Tyrion Lannister. 
The episode is in fourteen parts. The first runs fourteen minutes and is in three sections; it is set in King’s Landing. The first section is nine minutes long; the first shot is the Stark bannermen riding through the gates. The second is three minutes long; the transition is by hard cut, from Varys saying they serve at Lord Stark’s pleasure to Cersei treating Joffrey’s wounds. The last is five minutes long; the transition is by dialogue, from Cersei and Joffrey talking about the Starks to the Starks. 
The second part runs three minutes and is set in Winterfell; the transition is by family, from Ned and Arya to Bran. The cliffhanger is resolved sixteen minutes in, when Bran appears for the first time. 
The third runs three minutes and is set in King’s Landing; the transition is by family, from Robb and Bran to Catelyn. 
The fourth runs one minute and is set on the Wall; the transition is by dialogue, from Littlefinger talking about Tyrion to Tyrion. 
The fifth runs two minutes and is set in King’s Landing; the transition is by dialogue, from Jeor Mormont talking about the Starks to Ned. 
The sixth runs two minutes and is set on the Wall; the transition is by family, Ned Stark to Jon Snow.
The seventh runs eight minutes and in four sections; it is set in King’s Landing. The first section is one minute long; the transition is by dialogue and by family, from Tyrion informing Jon Snow that Bran has woken up to Ned and Catelyn in Littlefinger’s brothel. The second is one minute long; the transition is by dialogue, from Littlefinger and the Starks talking about the assassin’s attempt on Bran’s life to Jaime and Cersei talking about theirs. The third is two minutes long; the transition is by dialogue, from Jaime saying he’ll kill Ned Stark if need be to Ned Stark. The last is five minutes long; the transition is by dialogue, from Ned talking about Robert to Robert. At the episode’s halfway point, Ned and Catelyn are saying goodbye for the last time in their lives. 
The eighth part runs three minutes and is set in the Dothraki Sea; the transition is by dialogue, with Jaime talking about killing Aerys Targaryen to Daenerys Targaryen. 
…

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