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A. Pseudonym

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  1. The Dragon was Lews Therin until he died. Then he was Rand for approx 20 years until for some reason, possibly the Taint, he began to remember his past life. Rand is Lews Therin by nature, but without the memories; his nature has been moulded by and added to by his upbringing in the Two Rivers. This is what a personality is - both nature and nurture. The problem was that he was thought to hate and fear his past life and when he started to remember it he wouldn't accept it... so he dissociated himself from the memories through constructing the voice of Lews Therin. He could then console himself by believing that it wasn't him who killed Ilyena, but the voice in his head. What happened in VoG is that he, among other things, reconciled with himself and accepted the memories of Lews Therin as his own. But this still leaves us with the post-VoG Rand being an amalgamation of both Lews Therin and the Rand that Tam raised in the Two Rivers. They are distinct at least up until tEotW. He's an amalgamation now because the memories he gained and accepted as his own changed him from the old Two Rivers Rand, into Cuendillar Rand and eventually Rand Sedai.
  2. Because they're emotionally invested in their point of view and take such criticism personally. This is not at all limited to a fanbase. It permeates everything.
  3. I always got the impression that she was sexually abusing Egwene in her dreams and then blocking the memories.... intending to remove that block later on and cause havoc. But no, nothing seemed to come of it.
  4. .... which is why I said to add 10-20 years. Caviezel is still a boy in terms of hardship and suffering. Which is why very few actors, most of whom are soft and effeminate, could adequately portray Lan. Clint Eastwood has a good sort of attitude for this part but his look is all wrong.
  5. I've said before that I think Brandon is not equipped experientially to write certain characters because he hasn't lived enough to know how a womaniser like Mat or an alpha female like Cadsuane thinks and acts. So he writes what he interprets them to be. Mat becomes a buffoon, Cadsuane becomes not only a bully but a close-minded and self-destructive one at that; a far cry from "remarkably adaptable". One sees here the differences that each individual author brings to the work. Generally, the hope is that Sanderson can improve. I do not hold that view. This is what he is and this is what he always will be. Amol will be about the same as the other 2, I'm pretty sure. Depending on how much is written by who, anyway.
  6. Well...... me being what I am and you being what you are... we're looking at him with different motivations, lets say. It's the hardness around the eyes that matters. Seamas got it in the artwork. Caviezel is an example of that.
  7. James Caviezel was mentioned on here before. Something like him, but maybe 10-20 years older.
  8. He should look like this: Adam Baldwin is too soft looking. Sorry I couldn't find any smaller pics.
  9. Yeah, that's a point. But it seems to me that things like the arrow created in TAR are ephemeral. They're created by a Dreamer or whatever and last only as long as that Dreamers concentration sustains them. Yet the arrow travelled from TAR into the RW, so it's all up in the air. Not enough information.
  10. My point was that had he had a distinct and powerful enough manner of delivery, then he could have written Jordan's plot in a better fashion. The plot would not need to change. Style and ability, not so much the detail of events. No, I think it made his career. He got to stand on another guy's shoulders.
  11. I think Aran'gar was messing with Egwene's dreams. Perhaps sexually, it's never really explained. Are you saying that Mogheden can enter TAR but not the gap of infinity? It's probably the a'dam, but it's never mentioned.
  12. Did Moghedien use TAR in any way when she was being held captive in Salidar, either to try escape or to mess with the minds of Elayne/Nynaeve/etc? If not, why not?
  13. My position is that a writer writes himself and his abilities are expressed through his work and that the quality of that work is determined by his abilities. That's premise 1. Premise 2 is a separate value-judgement performed by me against Sanderson based upon premise 1's Sanderson being compared to the standard of ability displayed by Jordan; since the series is originally his, he defines this standard. This is the core of my point: that Sanderson damages my appreciation of the series because he cannot recreate it's essence. He cannot do this because he lacks the ability. For me to say that he lacks means I disrespect him for this lack. To say that he lacks in this way is a criticism of him as a writer and is also a personal attack, as you have defined it, at his ability as a writer. I know you want to sit on that fence post, but I'm not going to. If he was a good writer he would have changed the WoT in his own way, made it his own, reforged it into something different but just as good. He did not. He assembled notes. That's it.
  14. I don't really have anything to say to this. A premise is a statement followed by reasoning accounting for that statement, which is what I gave. To refute that you will need to provide the same. "Nuh-uh" isn't enough. It might make you feel uncomfortable about yourself and others to realize that neither you nor they are universally -respected- all the time. Such is life. No, you can't. Because as I said to criticize is to highlight and comment upon a perceived flaw in an other... implying that that other is imperfect compared to an ideal. In this case the ideal is a standard of writing and the subject is an author whose ability falls below that standard. Respect on the other hand is a form of intimidation, as it is a display of power of some sort in the one respected towards those doing the respecting. In this way for example an intelligent man can win the respect of his peers by intimidating others with the power of his mind through displays of reasoning that they themselves are perhaps incapable of. Lack of power therefore entails a loss of respect as you present yourself as weak and incapable in comparison to others, resulting in contempt. But lets move off Sanderson for a moment and pander to a more level playing field of criticism and disrespect, if you will. ;) Jordan's worst fault was his verbosity. What he could convey in one sentence he chose to stretch out into a whole paragraph and sometimes even whole chapters. What he could have written as one chapter he sometimes stretched into multiple, to the point where a whole chapter is spent where Perrin walks from his tent to the edge of his camp, or where Elayne goes horseriding, or takes a bath. Jordan littered his work with unnecessarily long-winded descriptions of the environment, costumes and repetitive mannerisms to the point that when certain characters appeared it is possible to reason out the checklist he had beside him at the time. Often this repetitive checklist-based description is mistaken for excellent world-building or character-construction. It's neither. Jordan never understood the saying that less is more. To him, quantity always trumped quality. But because he took so long writing, he died before he got to finish it. I could also go into his notions of gender politics and what it suggests about his upbringing, but that's a can of worms for this kind of forum, so I'll demur. Now lets reason this out: I respect Jordans ability to craft a world and characters and drop foreshadowing everywhere to the point where the story becomes a sort of grand puzzle to figure out..... and yet the man is also long-winded and indulges in padding in order to lengthen his books and therefore extend the cash-cow as far as possible. Too far in this instance.... To me it is a simple case of the former outweighing the latter, meaning that his redeeming qualities are such that one can forgive or overlook the flaws. But in Sanderson's case I find no former to outweigh the latter. It is not a case of one iota of respect canceling out a mountain of disrespect. I have no respect for Sanderson. Because, as I said, I find so much to criticize in his work and by extension him as an author and consequently as an individual. Because, as I said, a writer brings himself to his work; he writes himself. What Sanderson brings is a mess of American nerd cliches; a resentment towards authority figures and strong personalities; a sense of humour which is, to be generous, blunt; a lack of experience with life that leaves him unable to sympathize with certain types of personalities and therefore unable to write their perspectives convincingly; a blindness to the concept of "show don't tell"; and the excessive use of the word "tempest". I said before that he was a boy and I meant that literally, not as an insult, but as an expression of how I measure him as being rather undeveloped as an individual and how this reflects upon his work.
  15. She is a person plain normal. She needed the bond to survive because Mog left her very weakened, and the Warder bond strengthens the Warder. I think the specifics of what Mog did are still unknown, but she 'weaved her into the Pattern' or 'riped her out of the TAR'. It would be easier to explain if you supported the TAR-RW theory. Fine, but my question was more metaphysical. We'll go with the TAR-RW thing. I'd seen it before and yes it is very interesting. Consider this: The RW is a dream construct of TAR maintained by the Creator (even though he's supposed to be absent, but forget that). The RW is not fluid in the sense that it cannot be manipulated by thought alone. TAR is. That seems to be the main difference. Birgitte was originally a soul in the fluid TAR reality cast into the non-fluid reality, which resulted in a weakened state near death. To look at it from another angle: in RW, when a person dies their soul leaves their body and goes off wherever it goes to be reincarnated. This suggests there is a requirement for souls to be housed in some sort of vessel in order for them to function in RW. Yet, Birgitte's soul emerges in RW without such a vessel. It seems to me that by this logic Moghedien in sending Birgitte's soul to RW created a vessel to house her at the same time - her body. That, or Birgitte's body is the .... embodiment... of her soul and that when she dies in RW it will be a final death because it will constitute the death of her soul. Which I don't think is what is going to happen, given Rand. I mean... she wasn't born from a woman, she didn't grow after twenty or so years of eating food and acquiring bodymass. She popped out of nothing into reality. What is her body made of? TAR-material?
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