A Knight of the Seven Kingdoms and the Greatest Warrior Fallacy

A Knight of the Seven Kingdom, (AKSK) is HBO’s latest follow up on the blockbuster series Game of Thrones and House of Dragon. Chronologically, AKSK takes place in the 100-ish years between HoD and GoT. All three fantasy shows are based on books by author George R.R. Martin. While the latter two are epic in scope, cast, and plot, AKSK is close and achingly personal.

However, for all the hype, watching both GoT and HoD often felt like a job. Just as often, it was a painful job. Thankfully, AKSK is completely different.

*Spoiler Alert* You know the drill. Continue reading at your own risk.

The story of Dunk, (Peter Claffey) a squire-turned-knight, looking to secure his place in a scary world and Egg, (Dexter Sol Ansell) a runaway prince who desperately wants to squire for a real knight...and possibly get someone killed.

Mostly, AKSK is television's best buddy-series in at least a decade. 

Egg trying to sort things out.

When Egg, (his Momma named him 'Aegon') asks Dunk if he is real knight, he's not asking for references or work history. See, Egg has two brothers with the title of "knight" but between them there isn’t one real knight. Or much of a decent human being. To Egg a “real” knight is not a complete psychotic or a degenerate alcoholic.

Here’s the rub, Dunk (Ser Duncan) is a knight of questionable provenance. As in there are no witnesses to Dunk’s knighting. No one remembers his former lord. Oh, and he’s a bit, um, threadbare even by lordless-knight standards.

'bama: [noun] unsophisticated... of modest education/background.

Through a comedy of virtues, Dunk ends up on the wrong side of the ruling family. Namely, Prince Aerion Targaryen, (Finn Bennett) a grandson of the king. Aerion wants blood for Dunk’s offense, (punching and kicking him in the face). 

Prince Aerion: nowhere near as nice as he seems.

But as mighty and formidable as Aerion is, Dunk makes two of him. And this is perhaps George R.R. Martin’s greatest gift. He’s been around enough to know that the toughest tough guy seldom wants to mix it up with anyone big enough to pull a wagon and eat hay.

Most writers (new and otherwise) don’t get that memo. They are moved by the legend of Leonidas and his Spartans (each warrior worth a thousand), Richard the Lionheart–who led from the front against superior forces, the unstoppable Genghis Khan, and last but not least, Alexander the Great and (purportedly) undefeated.

In fiction we have Thor, Achilles, and Aragorn. They’re all fine characters but the trope isn’t. It’s dishonest and worse, it’s boring.

So, who does it right?

For context, this is a graduation ceremony.

Frank Herbert’s Sardaukar are the fiercest fighters in the known universe. They instill terror in anyone facing them—although mostly, they attack from behind/ambush. Then they meet the Fremen who bring the fight to them with a religious frenzy. 

Fought this duel after a sword-tip was removed from his arm.

In Richard Lester’s 1973 version of The Three Musketeers, Athos, (Oliver Reed) is the best swordsman of the group. But swords are swords and a watermill doesn’t care about reputation. Athos’ cloak gets snagged on a watermill and he takes a sword tip to the throat for his trouble. 

Bonus points for D’Artagnan, who kills another "deadliest swordsman," Rochefort—with a broken sword. 

FIERCE

In the Netflix Original, Last Samurai Standing, (based on the manga by Shogo Imamura) Saga Kokushu, (Junichi Okada) is a renowned swordsman and samurai, (military leader in feudal Japan). His nom de guerre is “Kokushu, the man slayer.” Unfortunately, in19th century Japan the samurai class is fast approaching extinction. 

In flashback, we (and Kokushu) watch as artillery and rifle companies cut his army to pieces. As a result, Kokushu suffers from PTSD. The mere sound of a sword drawn immobilizes Kokushu as he descends into uncontrollable shakes. 

What’s the problem you ask? Just don’t fight. Well, as previously stated the times, they are a changing. The samurai in service to daimyo (petty nobles) have all been dismissed. The landed samurai, (like Kokushu) struggle to make ends meet. Oh, and a cholera epidemic is sweeping the island. Kokushu’s own child has died and his village is suffering. 

The only option is an organized series of duels. Really, more like brawls conducted under shadowy circumstances no one can really trust. Still, desperate samurai of all stations—even Kokushu—gather to slaughter each other for the promise of a life-saving fortune. 

Except Kokushu still cannot draw his sword, even to defend himself. Yeah, the “compelling,” like the conflict is baked in. Throw in a kid who looks/acts a lot like Kokushu’s late child and you have money in the bank. Which is why the series has already been renewed for a 2nd season by the notoriously fickle Netflix, (seriously, they are the deadliest swordsmen). 

Um, what does this have to do with that big 'bama and bald kid?

Dunk is barely qualified for the tournament he has begged/barrowed/stolen his way into. Assaulting the king’s grandson was NOT part of the plan. On top of all that the little twit knows the law.

Aerion has been trained his whole life for single combat. He is the preeminent swordsman of his age. Dunk had to pawn his horse to buy armor. I’m not joking. 

Not as stupid as he looks.

But Aerion knows one thing for sure he does NOT want to fight that big ‘bama all by his onesies. He invokes a challenge of seven. Really the full explanation isn’t worth the typing. Basically, Dunk has to come up with six other schlubs to fight with him or he forfeits his right arm and right leg. 

Who wouldn't trust this guy? Um, just watch his hands.

Long-story-short, Dunk’s drinking buddy and maybe-friend, Lyonel gets a gang of reprobates together. Still, he’s still one man short. Then, as if delivered from the heavens, Prince Baelor Breakspear (Bertie Carvel) heir to the throne, Aerion’s uncle, and the best swordsman in the seven (nine, whatevs) kingdoms pledges to fight alongside Dunk.

 

Yay! Right? 

"Is that my blood? What the actual—?!" 

Obvs, nothing goes the way you expect. Otherwise, what story? Dunk does clean Aerion’s clock and makes him withdraw his challenge/charge/whatevs. Dunk keeps life and limb. Baelor doesn’t... fare as well. 

Which is the ultimate lesson. 

The ultimate swordsman's greatest adversary isn’t some other swordsman. It’s the time of day, the footing of the battlefield, the guy who showed up with an ax/spear/club instead of a sword. The man determined to take what fate/birth order denied him.

Or, the guy who’s no swordsman, scared to his very marrow, but harnesses his unbridled terror into the fight because he has something to fight for. 

Who wouldn't risk a right arm and leg for her?

Big hearted, narrow in focus, and earnest as first love, AKSK is an absolute joy to watch. I highly recommend it. Last Samurai Standing is grittier, meaner, and absolutely as captivating as AKSK. Do yourself a favor and check them both out. 

I own none of the images above. All are used for illustrative/educational purposes as covered by the Fair Use Doctrine.

From Where? Regional Bias and Character Establishment

 

In celebration of March Madness, Tonight Show host Jimmy Fallon debuted a witty little rap recognizing 15 teams in the “Sweet 16.” You read that right, 15 teams in the “Sweet 16.” Even incorporated 15 team mascots. In the “Sweet 16.” If you doubt me, you can see it here.

Really, it's not that surprising. See, the 16th team is the University of Houston Cougars and this omission of recognition is not an isolated incident for my beloved city. 

The Houston Comets, (RIP) professional women’s basketball team, won the first WNBA championship. It’s like they didn’t even exist nationally. Perpetual underdogs, the Houston Rockets won back-to-back championships and it took (local) media outrage to compel Sports Illustrated to publish a championship edition—that was only sold in this market. The Houston Astros have won two World Series. Crickets

Sam Houston, the first hater. 

The fourth largest city in America, Houston is more diverse than Los Angeles and NYC, (Migration Policy Institute, 2023). We had the first out-lesbian mayor in the nation. But that’s not what we’re known for. Not our college communities, (we have five universities and over 40 colleges) or diverse employment opportunities, nor sports teams, either.  

See, for most outsiders, (means “me”) if you say “Michigan,” they/I think “Detroit.” Nevada is Las Vegas. New York is the five boroughs. Conversely, if you say “Dallas,” or “Austin,” or ~sigh~ “Houston,” most outsiders hear one thing: TEXAS. 

Only (ever) a selling point in Texas.

It might be the weather: hot with brief periods of freezing or drowning. It might be the time difference. You set your watch back 25 years when you come here. It might be our geography: far. We’re far from everywhere. Bands on world-wide tours, skip us. Regularly.

It may be our economy, largely built on beef and oil, injustice and exploitation. But mostly, it’s just Texas. We're really hard to love, especially by folks who entertain critical or self-reflective thought.

What’s this have to do with writing?

Regional biases can round out your protagonist/antagonist personality and character. There’s a long tradition of regional “attitudes” fleshing out a character. 

"Do I look like I'm from Reseda?"

Every dramatization of playwright, poet, and duelist, Savinien de Cyrano de Bergerac—from Rostand’s play to every successive film—has depicted Cyrano as a gregarious, boisterous, and pugnacious Gascon. Gascons, (closer to the Basques than the Parisians) were the “'bamas” (bumpkins, hicks, yokels) of France. It really "butches up" the world’s most famous unrequited lover.

Yet, in the greatest of writing traditions, Rostand stole the idea of the head-strong, fearless, (and guileless) Gascon.

Yep, 'bama...

Alexandre Dumas first used the 'bama-hero for his do-right man, d’Artagnan, the world’s most famous musketeer. He is the mold for generations of heroes born of meager—but proud, ig’nant, strong, dumb, I can go on—beginnings who stand up to the sophisticated but ultimately corrupt villains. 

Maybe it's just about hats...

Raylan Givens, Elmore Leonard’s U.S. Marshal from the mountains of Kentucky is a contemporary example. If you’ve never been to the mountains and valleys (hollers) you still have an idea of the folk who live there from other books and movies. Same when Hannibal Lecter tells Clarice Starling (and I paraphrase, badly) “Good nutrition has given you some length of bone…And that accent that you’ve tried so hard to shed? That’s pure West Virginia.”

The mountain people of the eastern United States are known as recalcitrant nonconformists. They are the spiritual descendants of the afore-mentioned Basques and closer to the indomitable Spartans than the southern colonels and dixie princes. Most are descendents of the Scots-Irish dispossessed. These points of origin lend a gritty toughness as well as a baked-in backstory of desperation with minimal exposition.

But why should the good guys have all the fun? 

W.A.S.P.  (noun)  an acronym which stands for White Anglo Saxon Protestant. Considered the first enduring colonists of the north-eastern United States. Most commonly associated with New England.

Also, almost immediately a villain. Why? Oh, regional-specific terms like “old money,” and “triangle money,” and "prep-school." Kidding! Mostly...

Then there’s the middling-guys. Not good, not bad, just meh-guys. You want to paint a picture of them with just a few strokes? Give them a point-of-origin identity.

Shoes instead of hats

There is however, a thin line between cultural identities and stereotypes.

For several hundred years, the (penny-pinching) Scot and the (ignorant/lazy/dishonest) Irish were the ne’er-do-well butt of most English jokes. The same stereotypes were assigned to the Jews of Europe and the Russian Empire.

For several decades it was the (dumb) Polish in the north-eastern U.S. (as well as a certain Tennessee Williams' play) the cajuns in Louisiana, the Aggies (and Mexicans and Blacks and...) in Texas, and the Texans everywhere else. 

We’re the perpetual 'bamas and every year, in ways large and small, we perpetuate the stereotype. 

But please remember, in all instances, we’re dealing with living breathing people. If you find yourself slipping into invective or hurtful stereotypes, just remember the Cougars. 

A whole team of hard-playing, kids from all over the country entered into the NCAA’s March Madness in University of Houston Cougar jerseys. They made it all the way to the end. For their trouble, the national press only mentioned them in reference to the Florida Gators—who defeated them in the championship final. 

Shasta stating facts

I own none of the photos here. All are used for instructional/educational purposes as covered by the Fair Use Doctrine.

Writing the Girlfriend of Color

 

More reality than the leading costume drama

Around 2009-ish, I was in a critique group with the late-great Roger Paulding. Roger was an excellent writing coach—well-read, true ear for multiple genres, no nonsense crits—and a damned-good writer.

Usually...

On this particular night, he decided to grace us with a chapter from a thriller in progress. I’ll spare you the play-by-play and cut straight to business. 

The protagonist was an FBI agent recovering from surgery. So far, so good. Another FBI agent provided care, disguised as a nurse, either to provide close protection or surveillance of the protag. A little fuzzy but still functional. 

The protag was a white male, stoic, focused, professional—the character you’ve seen in 80% of movies/books written. The agent/nurse was an African American woman and written to be a romantic interest for the protag.

I’ve been in a mixed-marriage for something-something years and seldom see depictions of couples like us, so this got my attention.

Then it got awful

Roger wrote Agent Nurse as teenage-smitten for the protagonist. Like 2500 words of internal dialogue about how attractive he is, how would her mother react if she only knew that Agent Nurse was attracted to a white man, (if not apparent, I'm editing heavily) and basically everything but "is that an erection or am I just excited by antiseptic and hospital corners?" He also liberally sprinkled-in slang and dialect for long-lasting offense.

When he finished reading, we all sat stunned. Normally the first to charge in amid a flurry blue-ink markups, I kept my yap shut. When the critiques finally started, the comments were “I liked your use of punctuation,” reticent. But Roger knew my relationship dynamic and wanted my feedback. 

Then it got hostile

I began with the indisputable truth: he could write better than this. Agent Nurse was 2-dimensional and like a white guy's idea of how a black woman would speak. Once I started, I was unable to get my mouth back on the leash. I further said the logic did not track on any story level: dramatic, comedic, or pornographic. The depiction was, in fact, offensive in the way it wastes the readers’ time.

Afterwards, (as in after I was invited to leave) I realized that really, this is the way a lot of interracial relationships are written. If written at all, they are shoehorned in as gimmick or simply to shock. And then I filed the whole experience away, under “I,” for “I think it’s time to give this crit group a break.”

Last year, I found Onjuli Datta’s excellent essay, Writing the White Boyfriend. Datta succinctly summarizes the dawning of interracial romances as a subgenre. She then illustrates “the white boyfriend” as the author’s favorite novel trope for exploring the delight in differences. 

Datta reminded me of the crit group and all the things I was too angry to articulate about Roger’s fu—mbled up chapter.

But I digress. Onjuli Datta’s essay is as thoughtful as it is brief. If I search to find a criticism, it’s just a little too polite but it’s not her fault. 

This touchy business

In 1968, groundbreaking series, Star Trek, made history with the episode, Plato’s Stepchildren, which featured American television’s first interracial kiss between Captain Kirk and Lt. Uhura. To this day, William Shatner, (Captain Kirk) qualifies that his lips never touched Nichelle Nicols' lips. That’s how deep racism and racial injustice goes—a white, jewish actor from Canada STILL feels the need to specify that his lips never touched a black woman’s.

I’d like to say we advanced beyond these petty prejudices but the whole point of this piece is honesty and knowing better to write better.

Jean Rhys’ Wide Sargasso Sea, (published in 1967) is a prequel to Charlotte Brontë’s Jane Eyre, (published in 1847). WSS tells the story of Rochester’s first wife, Antoinette. Rochester’s creole wife. Who ends up sold into marriage, stolen from her island home, and locked in Rochester’s attic while he woos, the white-on-white-in-white governess, Jane. 

Somebody gotta die…

So, yeah, Antoinette, (Bertha in JE) ends up dead in a house fire that she, (allegedly) starts. Rochester claims she was mad. Personally, I think she was good and fed-up with Rochester and his moldy-ass house.   

Roger wasn't grown enough to write this relationship

Either way, people weren’t ready then, (they’re barely ready now) for a white-man-woman-of-color romantic story. Films make the best record. In Boris Sagal’s film, The Omega Man, (1971) it’s Charlton Heston’s Neville. In the James Bond film Live and Let Die, (1973) it’s Gloria Hendry’s Carver. In Joss Whedon’s Serenity (2005) it’s Alan Tudyk’s Wash. But the result is the same—if it’s an interracial relationship one of them is gonna die.

They both live but...yikes he was creepy even then.

The thing is, most of the examples I cite, (Serenity being the exception) do not represent healthy relationships or fully formed characters. Most were written by WHITE dudes and they don’t want real women. They want platforms for their message, or vessels for their fetish, or in the case of Bond, a trend of the moment with a reassuring splash of colonialism and misogyny. 

Good fiction requires some honesty. That honesty requires a clear-eyed approach to characterizations—the good, the bad, and the embarrassing. 

But there’s no ignoring what’s gone before

Centuries of prejudice and racial injustice is the single largest obstacle to writing a responsible depiction of interracial relationships. However it is not the writer’s job, (capability?) to redress history. The writer’s job is to tell a story, honestly and responsibly. Ideally, it should be entertaining, as well. None that is possible without an engaging, fully formed woman.

So, who does it right?

Write her well—the rest falls in place

In 2015’s Bend it Like Beckham, Jess (Parmender Nagra) LOVES football, which is denied to her by her strict Sikh family. She develops feelings for (white) football coach, Joe, (Jonathan Rhys Meyers) as you do. Jess has goals, fears, and hopes—all independent of Joe. 

Sure, call her the "girlfriend," I dare you.

In James S.A. Corey’s Leviathan Wakes, (and the television The Expanse) Naomi Nagata, has goals, (self-rule and full rights for her people) hopes, (an end of hostilities perpetuated by Earth and Mars) and fears, (that her past activities with a separatist group will be outed)—all before she ever meets James Holdin.  

If not readily apparent, both women also have flaws. Rather than be honest with her parents, Jess sneaks around and lies, straining all of her relationships, (aka acts like a teen). As a former agent of a violent separatist group, Naomi has done much worse. Her subterfuge puts herself and her crew-mates in mortal danger. 

Both women also have strengths. Jess is loyal to her friends, (covering for one who is gay) and family. She subverts what she wants for the sake of her sister's impending nuptials. And she matures enough to come clean with her family.

Naomi is also loyal to her friends—and not just to the tall, lanky, good-looking friends. She is sisterly to Amos, the psychopath, and to her former OPA mentor. She is brave and doesn't back down. Mostly, though, she is smart. A mechanic turned engineer, she keeps their ship in the air.

Write people, not characters—and certainly not stereotypes

Worry less about looks and more about content of character. Identify the person you want to write to yourself first. Instead of relying on sit-coms or even rom-coms for reference, write a bio. Of course, 90% of what you write about this woman will never be seen by the reader but it will help you zero-in on the person, their wants, needs, and fears. If you're successful, you will want to spend ten-or-so hours (the time it takes to read the average novel) with them and then write their part of the relationship, honest and relatable.

Side note: never, ever use food as a skin-tone descriptive. It's objectifying. Yeah, yeah, you have a friend who doesn't mind. Guess what, a lot more people do mind and they don't know you.

Relevant, non-offensive skin-tone descriptions. 

Differences are to be celebrated

If you believe it they will live it

The person who says “I don’t see color,” or “color doesn’t matter to me” has the privilege of not being on the receiving end of prejudice with power. They’re also lazy and refuse to deal with their shit in the context of a larger world. Don’t be that writer. Embrace your person’s individuality, neither as gimmick nor gag but as an individual.

Nobody gets a “pass”

No racist-banter. No slang. And I don’t care how many Eddie Murphy movies, Chris Rock stand-up routines , or Quentin Tarantino artistic-license explanations you’ve seen—use racist invectives, in ANY context, at your own peril. 

Who wouldn't want to live in their world— or write it?

Write actual people talking, arguing, getting to know each other, getting rude with each other, and falling in love with each other. 

In her article, Onjuli Datta refers to the honesty of writers, (almost all women) when crafting the white boyfriend, their flaws and characteristics. She also writes of the reversal, (that isn’t quite reversed) of the exoticism/fetishism from earlier books with white male leads falling for a beauty of another color/culture. Write vibrant. Write clear. Don’t backtrack.

Check out Onjuli Datta's article, here.

I own none of the images here. All are used for educational/instructional purposes, as covered by the Fair Use Doctrine.