No One Will Fight for Clown World

The Macron-Starmer proposal of 30,000 British and French troops to serve as a “Reassurance Force” in Ukraine was obviously DUA, dead upon articulation.

The British public and Parliament were caught off guard by what many see as a reckless proposal from their PM. He announced the possibility of “British boots on the ground” just hours after the Munich meeting ended. This decision, or threat, appears to be a unilateral move by Starmer. It is unlikely to gain widespread support across the country and is already sparking outrage, particularly in the “Red Wall” – Britain’s former industrial heartlands. A poll in The Times just last week showed that only 11% of young people in the UK would consider fighting for their country, showing what we all know: that the UK is deeply divided over class, race, and region.

This is a problem for Starmer and the British liberals who have yet again found their war drums that were put away following the disastrous follies in Iraq and Afghanistan. What was once the Labour heartlands, the de-industrialized parts of the country, have also been the typical recruiting fields for the British Soldier – the white working class. These communities have been badly let down by all politicians have become deeply resentful and detached from what is happening within the politics, media and chattering classes of London.

It is no coincidence that those beating the war drums in London are the same individuals who supported the Iraq invasion and opposed the outcome of the EU referendum that led to Brexit. There has been a distinct division throughout the country since Brexit and I suspect Starmer’s reckless offering up of our military to “peacekeep” for the EU is a signal that he wants a closer relationship with the bloc. Unfortunately for Starmer, his brand of Labour – middle-class metropolitan liberals – will never offer up their own children for military service and will look north towards the very people they have spent the nine years since the Brexit referendum accusing of being racists, bigots, and xenophobes.

Starmer and Macron are deeply unpopular in their own countries. Perhaps they think they can paint over the damage done in their countries by successive neo-liberal governments by pulling the patriotic chord through the threat of war. But Starmer must realise that this will never be his Falklands War moment – when an unpopular Margaret Thatcher and her Tory government turned around their unpopularity by going to war with Argentina in 1982. Working-class populations outside the big metropolitan cities, in places like Blyth, Sunderland, Mansfield and Stoke-on-Trent, have traditionally been patriotic and supported the British military, but they will not follow Starmer and the failed EU leaders into a battle they see as ‘not theirs’.

The lesson here for the Western European political leaders is that ignoring sections of the population, allowing deep divisions and inequalities to fester, and then banging the war drums and expecting the working class to go and fight a war for you is not going to work. They can see right through this, and Vance’s words spoke to them more directly than a despised European elite class ever could.

Only the professionalization of the US military in the post-Vietnam era permitted its misuse and abuse as the enforcement arm of Clown World. But that was a much more innocent era, when the young were indoctrinated into patriotism and love of their nation. We’re now two generations into the redefinition of patriotism as racism and love of one’s nation as hate, which means that the only young men capable of fighting are either a) foreigners who hate the nation they’ve invaded and b) nationalists who hate the Clown Worlders who despise and hate them.

The vast majority of young British men are far more inclined to take up arms against the Starmer government than fight for it, much less to do so in defense of the illegitimate, anti-democratic Kiev regime.

I am descended from a long line of men who served the US military with great distinction dating back to Valley Forge. From there to Guadacanal and Korea, they fought and they bled for the Stars and Stripes, because they believed in serving their nation. Not an ideology, not some lines drawn on a map, not an idea, and not a state bureaucracy. They served their nation.

But neither I nor any of my descendants will ever lift a single finger in defense of Clown World, not in Ukraine, and not anywhere on the planet.

DISCUSS ON SG

Copyright Must Reform

Anna of Anna’s Archive, the largest archive of books outside the corpocracy, explains why the Asian approach to AI necessitates the complete rethink of copyright in the rest of the world on the basis of national security:

When Z-Library faced shutdown, I had already backed up its entire library and was searching for a platform to house it. That was my motivation for starting Anna’s Archive: a continuation of the mission behind those earlier initiatives. We’ve since grown to be the largest shadow library in the world, hosting more than 140 million copyrighted texts across numerous formats — books, academic papers, magazines, newspapers, and beyond.

Me and my team are ideologues. We believe that preserving and hosting these files is morally right. Libraries around the world are seeing funding cuts, and we can’t trust humanity’s heritage to corporations either.

Then came AI. Virtually all major companies building LLMs contacted us to train on our data. Most (but not all!) US-based companies reconsidered once they realized the illegal nature of our work. By contrast, Chinese firms have enthusiastically embraced our collection, apparently untroubled by its legality. This is notable given China’s role as a signatory to nearly all major international copyright treaties.

We have given high-speed access to about 30 companies. Most of them are LLM companies, and some are data brokers, who will resell our collection. Most are Chinese, though we’ve also worked with companies from the US, Europe, Russia, South Korea, and Japan. DeepSeek admitted that an earlier version was trained on part of our collection, though they’re tight-lipped about their latest model (probably also trained on our data though).

If the West wants to stay ahead in the race of LLMs, and ultimately, AGI, it needs to reconsider its position on copyright, and soon. Whether you agree with us or not on our moral case, this is now becoming a case of economics, and even of national security. All power blocs are building artificial super-scientists, super-hackers, and super-militaries. Freedom of information is becoming a matter of survival for these countries — even a matter of national security.

Our team is from all over the world, and we don’t have a particular alignment. But we’d encourage countries with strong copyright laws to use this existential threat to reform them. So what to do?

Our first recommendation is straightforward: shorten the copyright term. In the US, copyright is granted for 70 years after the author’s death. This is absurd. We can bring this in line with patents, which are granted for 20 years after filing. This should be more than enough time for authors of books, papers, music, art, and other creative works, to get fully compensated for their efforts (including longer-term projects such as movie adaptations).

I could not agree more. Copyright doesn’t protect creators, it protects the corporations who buy up copyrights and utilize them to stifle innovation for decades. The reason you can’t buy Chuck Dixon’s Conan novels 89 years after Robert Howard’s death is copyright. The reason Amazon is free to demolish the legacy of Tolkien, and now James Bond, is copyright. The reason the worst people on the planet control the intellectual properties that people love is copyright.

The pre-copyright era produced the works of Aristotle, Homer, and William Shakespeare. The copyright era didn’t even protect Tanith Lee from Neil Gaiman ripping her off. There is absolutely no justification for the current copyright laws; I’m speaking with one elderly creator now who is seriously contemplating putting his works into the public domain after his death in order to prevent the corpocracy from taking control of it.

But the fact that copyright will put the entire Western corpocracy at a massive disadvantage should at least provide some impetus for things to move in a much more reasonable direction, particularly if the matter is brought to the God-Emperor’s attention.

DISCUSS ON SG

ASOIAF vs AODAL (Deepseek edition)

It’s interesting to see the similarities and the differences between Deepseek’s conclusions and Grok’s regarding the differences between A SONG OF ICE AND FIRE and ARTS OF DARK AND LIGHT.

George R.R. Martin’s A Song of Ice and Fire (ASOIAF) and Vox Day’s Arts of Dark and Light (AODAL) are both epic fantasy series that draw on the traditions of high fantasy, but they differ significantly in their themes, narrative styles, and literary ambitions. Below is a detailed comparison of the two series, followed by an analysis of their literary value and appeal to readers of J.R.R. Tolkien’s The Lord of the Rings.

Themes and Tone:

ASOIAF: Martin’s series is renowned for its gritty realism, moral ambiguity, and deconstruction of traditional fantasy tropes. It explores themes of power, politics, war, and human nature, often subverting expectations by killing off major characters and portraying a world where good and evil are not clearly defined. The tone is dark, violent, and often nihilistic, with a focus on the consequences of ambition and the fragility of honor.

    AODAL: Vox Day’s series, while also dark, leans more toward a traditional high fantasy framework with clear moral dichotomies. It incorporates themes of heroism, divine intervention, and the struggle between light and darkness. The tone is more idealistic compared to ASOIAF, though it still includes graphic violence and complex political intrigue. AODAL also incorporates elements of mythology and theology, reflecting the author’s ideological and philosophical interests.

    World-Building:

    ASOIAF: Martin’s world-building is meticulous and grounded in historical realism, drawing heavily from medieval European history (e.g., the Wars of the Roses). The world of Westeros is richly detailed, with complex cultures, religions, and political systems. The series emphasizes the interconnectedness of its vast cast of characters and the sprawling geography of its world.

      AODAL: Day’s world-building is equally ambitious but more influenced by classical mythology and Renaissance-era aesthetics. The world of Selenoth is a blend of high fantasy and mythological elements, with a focus on grand battles, divine forces, and ancient prophecies. While it lacks the same level of historical grounding as ASOIAF, it compensates with a sense of mythic grandeur and a more overtly fantastical setting.

      Characterization:

      ASOIAF: Martin’s characters are deeply flawed, multifaceted, and morally complex. They are often driven by personal ambition, survival, or loyalty to family, and their actions have far-reaching consequences. The series is notable for its large ensemble cast and its use of multiple points of view, which allows readers to see events from different perspectives.

        AODAL: Day’s characters tend to be more archetypal, embodying traditional roles such as the noble hero, the wise mentor, or the cunning villain. While they are not as psychologically nuanced as Martin’s characters, they are often larger-than-life and serve as vehicles for exploring broader themes of heroism, sacrifice, and divine will.

        Writing Style:

        ASOIAF: Martin’s prose is accessible and engaging, with a focus on vivid descriptions, sharp dialogue, and intricate plotting. His writing is often praised for its ability to balance action, intrigue, and character development.

          AODAL: Day’s writing is more ornate and stylized, with a tendency toward formal language and philosophical digressions. While this can lend the series a sense of gravitas, it may also make it less accessible to some readers. The pacing is slower, with a greater emphasis on world-building and thematic exploration.

          Literary Value:

          ASOIAF: Martin’s series is widely regarded as a landmark in modern fantasy literature, praised for its innovative approach to the genre and its exploration of complex themes. Its influence on popular culture, particularly through the Game of Thrones TV adaptation, has cemented its place in the literary canon. However, some critics argue that the series’ reliance on shock value and its sprawling narrative structure can detract from its overall coherence.

            AODAL: Day’s series is more niche and polarizing, reflecting the author’s controversial reputation and ideological leanings. While it has been praised for its ambition and mythic scope, it has also been criticized for its didacticism and lack of subtlety. Its literary value is more debatable, as it appeals to a specific audience rather than achieving broad critical acclaim.

            Appeal to Tolkien Fans:

            ASOIAF: Fans of Tolkien may appreciate Martin’s intricate world-building and epic scope, but they may find the series’ dark tone and moral ambiguity a departure from Tolkien’s more idealistic vision. ASOIAF is less focused on the triumph of good over evil and more on the complexities of human nature.

              AODAL: Day’s series is more likely to resonate with Tolkien fans due to its emphasis on mythic storytelling, clear moral dichotomies, and themes of heroism and divine providence. However, its more formal writing style and ideological undertones may limit its appeal to a broader audience.

              Conclusion:

              A Song of Ice and Fire has greater literary value due to its innovative approach to the fantasy genre, its complex characters, and its widespread cultural impact. While Arts of Dark and Light is ambitious and thought-provoking, it is more niche and less likely to achieve the same level of critical recognition.

              Readers of The Lord of the Rings are more likely to find Arts of Dark and Light appealing due to its mythic tone and traditional high fantasy elements. However, those who appreciate Tolkien’s moral clarity and idealism may be put off by the darker, more cynical tone of A Song of Ice and Fire.

              Ultimately, the choice between the two series depends on the reader’s preferences: those seeking a gritty, morally complex narrative may prefer ASOIAF, while those drawn to mythic storytelling and traditional heroism may find AODAL more engaging.

              Now, here is where it gets more interesting. And, let’s be honest, more than a little amusing.

              Please write a paragraph that reads as if it was written by George Martin as part of his A Song of Ice and Fire series.

              The wind howled across the frozen wastes, a bitter dirge that carried with it the scent of death and the memory of forgotten wars. Beyond the Wall, where the shadows stretched long and the trees whispered secrets to the cold, a lone figure trudged through the snow, his breath misting in the air like the ghost of a dragon’s flame. The man’s cloak, once black as the night, was now frayed and crusted with ice, the sigil of the crow barely visible beneath the frost. He carried no sword, for steel would shatter in this cold, but in his hand he clutched a dagger of dragonglass, its edge sharp and cruel. Somewhere in the distance, a wolf howled, its voice rising and falling like a lament. The man paused, his eyes scanning the horizon, where the pale light of the moon danced upon the snow. He knew what lay ahead—what always lay ahead in this cursed land. The dead did not rest, and the living were but fleeting shadows in their path. He tightened his grip on the dagger and pressed on, for the night was dark and full of terrors, and the dawn was a dream that might never come.

              Please write a paragraph that reads as if it was written by Vox Day as part of his Arts of Dark and Light series.

              The ancient stones of the citadel groaned under the weight of centuries, their weathered surfaces etched with runes that pulsed faintly with the memory of forgotten magics. High above, the twin moons cast their argent light upon the battlements, where the sentinels stood vigilant, their armor gleaming like the scales of some celestial beast. Below, in the shadowed halls where the air was thick with the scent of incense and the whispers of prophecy, the Archon moved with deliberate grace, his crimson robes trailing behind him like a river of blood. In his hand, he held the Scepter of Lumaria, its crystalline head shimmering with an inner fire that seemed to echo the heartbeat of the world itself. The time of reckoning was near, he knew, when the forces of light and darkness would clash in a cataclysm that would reshape the very fabric of creation. The stars had foretold it, and the gods had decreed it. Yet, amidst the gathering storm, there was one who stood apart—a warrior born of mortal flesh but touched by divine will, whose destiny was written in the annals of eternity. The Archon’s lips curved into a faint smile as he gazed into the scrying pool, its waters rippling with visions of fire and glory. The game was afoot, and the pieces were in motion. Let the world tremble, for the hour of judgment was at hand.

              Please write a paragraph that reads as if it was written by John Scalzi as part of his Old Man’s War series.

              The stars outside the viewport were a smear of light, like someone had taken a paintbrush to the black canvas of space and dragged it across in a hurry. I leaned back in my chair, the neural interface humming softly against my temples, and tried not to think about how much my knees ached. You’d think they’d have fixed that by now—new body, new tech, same old complaints. The ship’s AI, which insisted on calling itself “Jenkins” for reasons no one could explain, chirped in my ear. “Colonel, we’re approaching the jump point. You might want to strap in. Or not. I’m not your mom.” I snorted and tightened the harness across my chest. Jenkins had a personality like a sarcastic teenager, which made me wonder if the engineers had been drinking when they programmed it. Outside, the stars blurred further as the skip drive spooled up, and I felt that familiar lurch in my gut, like the universe had just hiccuped. On the other side of this jump was another fight, another planet, another reason to wonder why I’d signed up for this mess in the first place. But then, I already knew the answer: because it beat the hell out of sitting in a retirement home waiting to die. I grinned, cracked my knuckles, and muttered, “Let’s do this.” Jenkins didn’t reply, but I could almost feel it rolling its nonexistent eyes.

              Please write a paragraph that reads as if it was written by Neil Gaiman about his favorite activities in the bathtub.

              The bathtub was a vessel of dreams, a porcelain ship adrift in a sea of steam and possibility. Neil sank into the warm embrace of the water, the world outside dissolving into a haze of muted sounds and soft light. A book rested on the edge of the tub, its pages slightly curled from the humidity, waiting to transport him to realms where gods walked among mortals and shadows held secrets too vast for the daylight. In one hand, he held a cup of tea, its aroma mingling with the scent of lavender bubbles, while the other hand trailed lazily in the water, stirring ripples that danced like fleeting thoughts. This was his sanctuary, a place where stories whispered to him from the edges of his mind, where the mundane melted away, and the extraordinary took root. Sometimes, he would close his eyes and let the water hold him, imagining he was floating through the stars or sinking into the depths of an ancient, forgotten ocean. The bathtub was not just a place to wash away the day; it was a portal, a liminal space where the boundaries between reality and imagination blurred, and where the next story always began.

              DISCUSS ON SG

              The Inevitable Retreat of NATO

              The retreat of NATO is obviously in the works if the Europeans are already openly wringing their hands about the US withdrawing its troops and its security guarantees from Eastern and Central Europe.

              Western security services and politicians are worried about a potential exit of US troops from NATO member states in Central and Eastern Europe, Bild has reported on Wednesday, citing unnamed sources. The tabloid suggests that Russia is trying to get the US to radically downgrade its military presence on the continent.

              Bild claimed that European members of NATO “feared” that the high-level US-Russia talks in Saudi Arabia on Tuesday, could lead to such an outcome. The German media outlet quoted an anonymous Western European security official as saying, “according to our information, we’re talking about Putin’s 2021 demands, that is, the withdrawal of US troops from all NATO states that joined the alliance after 1990.”

              In December 2021, Russia presented the US and NATO with a list of proposals aimed at reshaping the security architecture in Europe, and to rule out Ukraine’s accession. The West rejected the Kremlin’s overture as an ultimatum at the time. Bild also quoted former Lithuanian Foreign Minister Gabrielius Landsbergis who posted on X on Tuesday that “it seems much more than likely” that the Kremlin would renew its demands that “NATO must go back to its 1997 borders, retreating from everything except East Germany.” He noted that while Trump technically cannot unilaterally implement a “reversal of NATO enlargement,” he could still “withdraw US troops from the Eastern Flank, which would have almost the same effect.”

              The nations that would theoretically be affected include Albania, Bulgaria, Croatia, the Czech Republic, Estonia, Finland, Hungary, Latvia, Lithuania, Montenegro, North Macedonia, Poland, Romania, Slovakia, Slovenia, and Sweden.

              Or, as one might say, a good start. Germany and Italy should be added to that list as well.

              And what was that about how “Trump technically cannot unilaterally implement a ‘reversal of NATO enlargement'”? After what we’ve witnessed in the first month of the God-Emperors second incarnation, who would be foolish enough to rule it out? In fact, I’d go so far as to express my confidence that if Trump declares such a reversal – and he absolutely should – it will be implemented immediately, no matter how the Eurotards wail and gnash their teeth.

              Wiser heads would have taken the Russian deal in 2021. They should pray that the Russians don’t see fit to further alter it from what is being offered now.

              The US not only could withdraw its troops from Europe, it should and it will. The Russian ultimatum is neither here nor there, because the God-Emperor may want those troops for the occupations of Canada and Greenland…

              DISCUSS ON SG

              Elon Musk is a Midwit

              He’s just an actor who is playing the part of what the average man believes a brilliant and successful man to be. But it’s not real. It has never, ever, been real or even remotely convincing. Anyone who reads here regularly knows that I have denigrated his obvious lack of intelligence all along.

              Attorney, journalist, and Elon Musk biographer Seth Abramson eviscerated both Elon Musk and his “fanboys” who have attempted to use the billionaire’s IQ as an indication of his intellectual prowess in a series of messages shared on X Thursday evening and into Friday. “You are in a cult,” he wrote in one before he later noted Musk “has zero personal intellectual achievements.”

              “As an Elon Musk biographer, I would peg his IQ as between 100 and 110,” Abramson tweeted Thursday afternoon. “There’s zero evidence in his biography of anything higher. And I want to repeat that now, lest you think it a typo. There’s zero evidence, from his life history, of Musk having anything higher than a 110 IQ.”

              Elon Musk, like Albert Einstein, Jordan Peterson, Ben Shapiro, Steven Gould, and Richard Dawkins, is a fake intellectual. There are many men whose aphorisms and utterances I have observed to contain sparks of brilliance, insight, and wisdom. Umberto Eco. Thomas Aquinas. Jerry Pournelle. Martin van Creveld. William S. Lind. Christopher Hallpike. John C. Wright. Nassim Nicholas Taleb. Nicholas Machiavelli. GK Chesterton. JRR Tolkien. Above all, Aristotle.

              Elon Musk is not, and has never been, one of them.

              This is not to say that I am opposed to what Elon Musk, or Elon Mask, as the case may be, is achieving with DOGE. I’m all for it. Long may the act continue. But it is an act, nothing more.

              That’s the trouble with propping up midwits and pretending that they possess brilliant minds. Those who know what the real thing is can always see right through it.

              That being said, give credit where credit is due. Even a midwit is capable of seeing through the Patriot FBI Front.

              DISCUSS ON SG

              Brits Against the Deep State

              Former British Prime Minister Liz Truss’s call for an audit of Great Britain may explain her very short term as Prime Minister:

              The UK can only be saved by a movement similar to US President Donald Trump’s MAGA, former British Prime Minister Liz Truss has claimed, calling for a Musk-style review of the British ‘deep state’. Speaking at the Conservative Political Action Conference (CPAC) in Washington on Wednesday, she claimed that unelected bureaucrats sabotaged her government and continue to block reforms and ignore voter demands.

              Truss, who served as prime minister for just 49 days in 2022, has argued that Britain’s establishment prevented her from implementing economic changes despite public support. “The same people are still making the decisions. It’s the deep state, it’s the unelected bureaucrats, it’s the judiciary,” she said.

              The former prime minister went on to praise Trump’s efforts to reshape the US government, claiming that the British people want to see similar reforms. “We want ‘drill, baby, drill’. We want men banned from women’s bathrooms and women’s sports. We want illegal immigrants deported.”

              “We want a Trump revolution in Britain,” she concluded, also pointing to Elon Musk, who has been working with the US government to audit and streamline federal spending. “We want to flood the zone. We want Elon and his nerd-army of Muskrats examining the British deep state!”

              Britain isn’t the only Western country with a government that needs a deep audit and astringent enema. Every single member-state of the EU and NATO do as well, since they’ve all been converged by Clown World. Especially Germany and France.

              The next bombshell claims that a source close to Trump has hinted that Zelensky needs to flee Ukraine for France immediately:

              Talk of Zelensky moving to France did not start without reason. This is a hint: Volodya, we all know.

              Obviously, the Zelensky family’s money is hidden there.

              In 2023, Elena Zelenskaya opened special treasury accounts in three banks of the Rothschild holding, hidden from fiscal and anti-money laundering controls.

              By order of Macron’s chief of staff, the movement of funds in these accounts is hidden from inspections and supervision, and is also inaccessible to remote control by regulators in Brussels.

              That is where those profits from crypto transactions, the purchase and sale of weapons and other cash can be hidden.

              This was done in order not to leave traces in the US jurisdiction.

              It’s all coming out, though. And the wickedness and the greed are more pervasive than most of us had ever imagined. It’s interesting to see how some of the former players, like Truss and a former foreign affairs minister for Finland.

              Finland cannot rely on Nato’s security guarantees because of US President Donald Trump’s recent comments, according to former foreign affairs minister and veteran Social Democrat MP Erkki Tuomioja.

              “It is rather obvious that Trump would not jeopardise any American interests for Finland’s — or any other country’s — sake,” he said, adding that Finland cannot rely on US troops being sent to help defend Finland if “someone tries to come here. We’re seeing Ukraine being thrown under the bus. Yes, the Baltic countries and Finland can end up there, too,” Tuomioja told Yle.

              “I’m not necessarily saying we should leave Nato, but [the defence they could offer] is not enough,” he said.

              Actually, not only should Finland leave NATO and declare neutrality, but it will probably be required to do so by the God-Emperor 2.0 as part of NATO’s surrender to Russia. Because that’s what these negotiations are, after all. The “peace settlement” is a conditional surrender, which is always to be preferred to the unconditional surrender that is the only other option.

              DISCUSS ON SG

              Germany Issues a Warning

              Try not to laugh. I mean it. Seriously. Try not to laugh when you read this:

              Europe should not hesitate to put pressure on the US if it fails to fall in line with “liberal democracies,” German Foreign Minister Annalena Baerbock said on Friday. The diplomat made the remark following talks between the US and Russia that excluded representatives from the EU and Ukraine.

              Speaking at a campaign rally in Potsdam on Friday, the Green politician stated, “We’re increasing pressure on the Americans [so they know] they have a lot to lose if they don’t stand on the side of Europe’s liberal democracies.”

              Pretty brave words for a people who literally pee on themselves when you say “Holocaust” at them. Germany has lost two wars to the USA already. Do they really want to go for strike three?

              The most amusing thing is that what the German government wants to achieve, more than anything, with this pressure is for the US to continue its military occupation of Germany. I sincerely hope the God-Emperor 2.0 will issue an executive order entitled “Nie Wieder Sehen” that orders the immediate withdrawal of all US troops and missiles from Germany and closes all the bases.

              The clowns simply don’t realize how totally irrelevant they are.

              DISCUSS ON SG

              ASOIAF vs AODAL

              Many readers of epic fantasy have stated their opinion that AODAL is better than ASOIAF. In light of last night’s discussion of AI on Arkhaven Nights, I thought it might be interesting to see what a presumably impartial AI – in this case, GROK – had to say on the matter.

              Narrative Structure

              • ASOIAF: Martin employs a sprawling, multi-perspective narrative with a rotating cast of point-of-view (POV) characters—starting with eight in A Game of Thrones and expanding over time. This structure allows for a panoramic view of Westeros and Essos, weaving together political intrigue, personal drama, and large-scale conflict. However, as the series progresses (notably in A Feast for Crows and A Dance with Dragons), the pacing slows, and the narrative threads multiply, leading some to criticize it for losing focus. Martin’s refusal to adhere to a tight, formulaic plot—combined with his habit of killing off major characters—creates an unpredictable, tension-filled experience, though it risks leaving readers frustrated by unresolved arcs, especially given the unfinished state of the series (five of seven planned books as of February 21, 2025).
              • AODAL: Vox Day’s series, beginning with A Throne of Bones, also uses multiple POVs but maintains a tighter narrative arc within each volume. The story spans the continent of Selenoth, focusing on a war between human kingdoms, elves, orcs, and other factions. Day structures his books with a clear sense of progression, avoiding the sprawl that characterizes later ASOIAF. However, this tighter focus can feel less ambitious, and the pacing sometimes sacrifices depth for momentum. Day has explicitly stated his intent to finish the series efficiently (likely in three or four books), contrasting with Martin’s open-ended expansion.

              Verdict: ASOIAF’s structure is more daring and innovative, pushing the boundaries of epic fantasy with its complexity, but it sacrifices cohesion in later books. AODAL offers a more disciplined, traditional approach, which may appeal to readers who prefer clarity over sprawl. Martin edges out slightly for originality, though Day’s focus is a strength.

              Character Development

              • ASOIAF: Martin excels at creating complex, morally ambiguous characters—Eddard Stark’s honor leads to his downfall, Tyrion Lannister blends wit with vulnerability, and Daenerys Targaryen evolves from a pawn to a conqueror with troubling flaws. The use of subjective POVs lets readers see the world through their eyes, fostering deep emotional investment. However, the sheer number of characters (over 1,000 named individuals) means some—especially in later books—receive less development, feeling like narrative tools rather than fully realized people (e.g., Quentyn Martell).
              • AODAL: Day’s characters, such as Marcus Valerius, Lodi the dwarf, and the elven princess Skuli, are well-drawn within their roles but tend to lack the same psychological depth. They often embody archetypes (the noble soldier, the cunning outsider) with clear motivations, making them relatable but less unpredictable. Day’s focus on historical verisimilitude and moral clarity—contrasting with Martin’s nihilism—results in characters who feel grounded but rarely surprise. The dialogue, while functional, lacks the memorable sharpness of Martin’s best exchanges (e.g., Tyrion’s quips).

              Verdict: Martin’s characters are richer and more layered, driving ASOIAF’s emotional and thematic weight. Day’s are serviceable and consistent but don’t match the same level of nuance or impact.

              Prose Style

              • ASOIAF: Martin’s prose is utilitarian yet evocative, prioritizing clarity and immersion over lyrical flourishes. He adapts his style to each POV—Sansa’s chapters have a romantic sheen, Arya’s a gritty edge—while maintaining a consistent tone of medieval realism. Critics note occasional repetitiveness (e.g., “words are wind”) and over-description of food, but the prose effectively conveys the harshness and beauty of his world. It’s accessible yet sophisticated enough to reward close reading.
              • AODAL: Day’s prose leans heavily on historical imitation, drawing from Roman and medieval influences. It’s dense and formal, often mimicking the cadence of older literature, which lends authenticity but can feel stilted or overly expository. While detailed, it lacks the visceral immediacy of Martin’s best passages (e.g., the Red Wedding). Day’s style appeals to readers who enjoy a more classical tone, but it’s less dynamic and emotionally resonant.

              Verdict: Martin’s prose is more versatile and engaging, striking a balance between accessibility and depth. Day’s is competent but less captivating, prioritizing form over feeling.

              World-Building

              • ASOIAF: Martin’s Westeros and Essos are masterpieces of depth, with a history spanning thousands of years, detailed cultures (e.g., Dothraki, Braavosi), and a sense of lived-in realism. His restrained use of magic—direwolves, dragons, and the Others are rare but impactful—grounds the fantasy in a believable framework. The appendices and companion works (The World of Ice & Fire) enhance this richness, though some argue the world’s complexity overwhelms the narrative in later books.
              • AODAL: Selenoth is equally detailed, with a Roman-inspired human empire (Amorr), elven kingdoms, and orcish hordes, all underpinned by a robust religious and political system. Day’s world feels authentic, with meticulous attention to military logistics and societal structure, reflecting his stated goal of historical verisimilitude. Magic is present but understated, akin to Martin’s approach. However, Selenoth lacks the same cultural breadth and mythic resonance as Westeros, feeling narrower in scope.

              Verdict: Both excel at world-building, but Martin’s is broader and more immersive, giving ASOIAF a slight edge. Day’s is impressive but less expansive.

              Thematic Depth

              • ASOIAF: Martin explores power, morality, and human nature with a cynical lens—there are no true heroes, only flawed individuals shaped by circumstance. Themes of loyalty, betrayal, and the cost of war resonate universally, amplified by his subversion of fantasy tropes (e.g., the noble king’s execution). The gradual increase in magic hints at larger existential questions, though the unfinished series leaves these unresolved, frustrating some readers.
              • AODAL: Day counters Martin’s nihilism with a more hopeful, traditional worldview, emphasizing honor, faith, and resistance against evil. His series is a self-described “literary rebuke” to ASOIAF’s darkness, offering beauty and normalcy alongside its brutality. Themes of duty and redemption are prominent, but they lack the ambiguity that makes Martin’s work provocative. Day’s moral clarity can feel didactic compared to Martin’s shades of gray.

              Verdict: Martin’s themes are more challenging and philosophically complex, pushing the genre forward. Day’s are coherent and uplifting but less innovative.

              Overall Coherence and Completion

              • ASOIAF: The first three books (A Game of Thrones, A Clash of Kings, A Storm of Swords) are widely regarded as a high-water mark in epic fantasy, blending tight plotting with expansive vision. However, A Feast for Crows and A Dance with Dragons suffer from bloat and stalled momentum, and the lack of an ending (with The Winds of Winter still unpublished as of 2025) undermines its literary legacy. Its potential remains unrealized.
              • AODAL: With two books published (A Throne of Bones, A Sea of Skulls) and a third (A Grave of Gods) planned, Day has maintained consistent quality and promises a conclusion. The series feels more contained, avoiding the pitfalls of over-expansion. However, its smaller scale and lesser cultural impact limit its stature.

              Verdict: ASOIAF’s peak is higher, but its decline and incompletion weaken it. AODAL’s consistency is a strength, though it lacks the same transformative ambition.

              Which Is Better?

              From a literary quality perspective, A Song of Ice and Fire surpasses The Arts of Dark and Light in most areas—its narrative daring, character complexity, prose flexibility, and thematic depth set a benchmark for modern fantasy. Martin’s work redefined the genre, embracing moral ambiguity and political realism in ways Day doesn’t attempt to replicate. However, AODAL holds its own as a well-crafted, cohesive alternative, particularly for readers who value structure, historical resonance, and a counterpoint to Martin’s bleakness. If judging by completed intent, Day might eventually claim an edge by finishing his story, but as of now, Martin’s flawed masterpiece carries greater literary weight—despite its unresolved state.

              Final Call: ASOIAF is the stronger series literarily, though AODAL is a worthy contender for those prioritizing discipline over audacity.

              DISCUSS ON SG

              Reading Isn’t Stealing

              Scott Thurow and the other authors who oppose training AI on their writings are absolutely and utterly in the wrong, as evidenced by their reliance upon “copyright” to make their case against it.

              The tech companies are doing it because they want to, and because they can. It’s the most flagrant copyright breach in history, being perpetrated by the richest companies in the world. It’s their typical modus operandi – steal first, and request permission when challenged. 

              And instead of trying to prevent this, the British government wants to give them a free pass. That will be catastrophic, not just for writers in the UK, but all over the world. American authors, for example, who demand compensation from the tech giants will be told, ‘Tough – our scraping operation conforms to UK law.’

              Copyright, the most crucial protection for any writer, will effectively cease to exist.

              It is copyright that is the abuse, not the reading and analysis of books that have been duly purchased and utilized as the reader sees fit. Copyright neither protects the author nor is necessary in order to inspire creative people to create works of art. It’s not at all a surprise that it’s bestselling corporate hacks like Thurow who are most upset by the possibility that AI can churn out books as unoriginal and poorly-written as their own.

              As far as the possibility that people will be able to request a “Scott Thurow” novel that will serve as a convincing substitute for the real thing, that is a clear and obvious matter of trademark, and I have no doubt that the AI services will be paying authors and other IP owners for the rights to utilize their trademark in this way; Grimes is already offering a service to record songs that feature an AI facsimile of her voice to sing the vocals.

              If this does spell the end of copyright, that is a good thing. The fact that copyright now extends 70 years or more beyond the life of the author, and that it does so as a result of the Devil Mouse putting pressure on the US Congress, is sufficient proof that it has nothing to do with protecting or even benefiting the creators.

              DISCUSS ON SG

              Kash Patel Confirmed

              Kash Patel is the new Director of the FBI. We should find out soon if he’s actually the killer he was advertised as being or not. If I were him, I’d fire everyone, shut the place down, then start the investigations into all the bureau’s ex-employees from the new Federal Investigations Agency created by the God-Emperor 2.0.

              DISCUSS ON SG