The Three Twists GRRM Originally Planned to End ADWD On (And the One He Planned to Start TWOW On), Part 3: The Kraken Saves the Day

George RR Martin originally planned for Victarion Greyjoy to show up "out of nowhere" at the Battle of Fire, but then he wrote three Victarion chapters. We explore why GRRM abandoned this twist

Our Series So Far:

Introduction

This post contains spoilers for The Winds of Winter

At the approximate two-thirds mark of the published version of A Dance with Dragons, POV characters from A Feast for Crows reappear in the book. This was not the original plan. The original plan, well, it’s complicated. Regardless, the following POV characters from A Feast for Crows had chapters in A Dance with Dragons:

  • Asha Greyjoy

  • Jaime Lannister

  • Arya Stark

  • Cersei Lannister

  • Victarion Greyjoy

Additionally, George RR Martin wrote chapters from the POV of Aeron Greyjoy, Sansa Stark and Arianne Martell, intending them to be in A Dance with Dragons. He later cut these chapters to The Winds of Winter.

To better understand why these POV characters reappeared at the end of A Dance with Dragons, we’re going to focus primarily on one POV character: Victarion Greyjoy. Originally, Victarion Greyjoy was not going to have any chapters in A Dance with Dragons. It was quite late in the process when GRRM wrote Victarion’s Dance chapters. Why?

If we blend the meta of how GRRM developed A Dance with Dragons with the thematic, character and plot beats of Victarion’s story, the Iron Captain was originally going to show up either at the end of A Dance with Dragons or the start of The Winds of Winter as a major twist in the story until GRRM changed course late in the process of writing A Dance with Dragons.

Come with me on a journey of discovery.


The FEAST-DANCE Timeline

When George RR Martin decided on the split between A Feast for Crows and A Dance with Dragons in 2005, he genuinely thought it would only take one year to finish the book. A lot of people give GRRM a lot of shit for this, but he had a reason for thinking this as he explained in 2011:

Now, recall, it was June 2005 when I divided A FEAST FOR CROWS into two parallel books, and wrote my infamous (and, in retrospect, ill-considered) afterword "Meanwhile, Back at the Wall..." A FEAST FOR CROWS, as delivered, was 1063 pages in manuscript. At the time of the split, looking at all the Tyrion and Daenerys material that I'd removed, I figured I only had another 400 odd pages to go to have another book of equal length, which was likely what prompted me to say the next book would be along in a year.

For reference here, the "400 odd pages to go" refers to manuscript pages. A Feast for Crows was 1,063 total manuscript pages when completed. In that same post, GRRM said he had 542 finalized manuscript pages leftover with an additional 100-150 manuscript pages in draft form — all of which he intended to use as his starting point for A Dance with Dragons.

Why is this important? Because, originally, George was planning for A Dance with Dragons to parallel the timeline of A Feast for Crows. To accomplish this, George thought he would write Dance to the approximate same length as Feast. Hence, why GRRM thought he only needed "400 odd pages" to finish Dance. That would take him to about 1,050 manuscript pages in total. Easy to do in year, right? No.

As I covered previously, GRRM spent a ton of time rewriting those 542 manuscript pages — something like a year and a half. And by the time, he finished that rewrite, well, he had "unwritten" lots of work he had previously considered finalized as he stated in his retrospective on Dance in 2011:

The next partial I sent to Bantam is dated October 2007, and it is 472 pages long. Yes, in the year and a half between the two partials, I had managed to UNwrite some seventy pages. I was doing a lot more revision and rewriting -- and restructuring -- during this period than I was making forward progress.

It was around that point that George started making progress again, pushing the page count forward rather than backwards, finalizing three hundred (and two) additional manuscript pages in 2008. And given that Feast was 1,063 manuscript pages, he only had to write an additional 300 manuscript pages to get ADWD to the same length as AFFC -- hence why GRRM thought he could publish the book in 2008 and then in 2009. That didn't happen. Why?

The first thing was the Meereenese Knot which partially encompassed writing satisfactory Tyrion and Quentyn arcs to get to Meereen as covered in previous installments, but we're mostly going to bypass the Meereenese Knot in this piece.

The second thing is more interesting, because it's not something I've seen explored elsewhere. It's that at some point in late 2009/early 2010, GRRM made the decision that he wasn't going to simply parallel A Dance with Dragons to A Feast for Crows. He was going beyond the original timeline and bringing POV characters from Feast back into the book.

GRRM had flirted with reintroducing Feast characters into Dance in May 2008 when he talked about finishing an Arya and Sansa chapter for ADWD. But by early 2009, GRRM decided to cut the Sansa chapter to TWOW. But sometime after February 2009, GRRM abandoned the idea of ADWD occurring in tandem with AFFC.

Our first benchmark that GRRM was going beyond the A Feast for Crows timeline was him finishing Cersei’s arc for ADWD in September 2009. A month later at Fargo ValleyCon, GRRM stated that Arya would have two chapters in ADWD and one chapter in TWOW. Adam Feldman has written convincingly why Cersei was added to ADWD here. The inclusion of Arya’s chapters in ADWD is something else which might be worth tackling in a separate essay.

But that begs the question as to why GRRM was moving the timeline of ADWD beyond AFFC. GRRM's reasoning is fascinating. Here’s his reasoning from a 2010 notablog post:

Structurally you could make a good case for making DANCE a perfect parallel to FEAST; different cast of characters, but exactly the same time frame, so both books end on the same approximate date. Then WINDS could pick up the action for both sets of characters the following day. That’s not the way I have been doing it, however. As written, I’ve covered the FEAST time frame in the first 800 pages (manuscript pages, the printed book pages will be different) of DANCE. Everything that follows is post-FEAST, so that’s where some of the cast from the last book start popping up again. Not the most elegant structure, I admit… but given how late this one is, I wanted to resolve at least a few of the cliffhangers from FEAST… (if only to set up the new cliffhangers). So…

Okay. So, what does this have to do with the man who was not made for dancing, for the man who would sail the Dothraki Sea? What does this have to do with Lord Captain of the Iron Fleet Victarion Greyjoy? Victarion (and Arianne, Arya, Damphair and Cersei) were the likely trigger points for GRRM to shoot beyond the timeline of A Feast for Crows.


Victarion Greyjoy Re-Enters the Chat

In early 2010, GRRM wrote a short update about A Dance with Dragons, in which he stated:

Instead I’m floating off the Isle of Cedars, or racing across the sands of Dorne. Warm places, both of them, with nary a flake to be seen. But I’d better not change horses. If I keep on keeping on, I should finish one of those chapters this week. Maybe both.

Given what we know now, “Isle of Cedars” is a reference to Victarion’s “The Iron Suitor” from A Dance with Dragons. That George was writing this chapter in early 2010 might not seem like a change of plans for George, but if we suss out George’s original vision, it shows GRRM abandoning one way he planned to write A Dance with Dragons and The Winds of Winter.

Victarion's final chapter towards the end of A Feast for Crows had Euron ordering Victarion to set sail to claim Daenerys and her dragons for him. Victarion, though, plotted betrayal:

When Victarion opened his hand, his palm was red with blood. "I'll go to Slaver's Bay, aye. I'll find this dragon woman, and I'll bring her back." But not for you. You stole my wife and despoiled her, so I'll have yours. The fairest woman in the world, for me. (AFFC, The Reaver)

Chapter closes, and Victarion remained off-page until late in A Dance with Dragons. But what was the original plan for Victarion and the Iron Fleet? Were they always going to reappear towards the end of Dance? Maybe, but I don't think it was originally in the context of the two Victarion chapters we got at the end of A Dance with Dragons.

Originally, GRRM was not planning for a Meereenese Knot. Instead, Quentyn, Tyrion and Victarion would turn up in Meereen as twists in the narrative. One version of Quentyn’s arrival would have Prince Frog show up towards the end of A Dance with Dragons as a twist to complicate Dany’s plan to marry Hizdahr zo Loraq. Tyrion would arrive early in Meereen, rather than King’s Landing in The Winds of Winter. But what was the twist GRRM had in mind for Victarion?

I believe that GRRM's original idea was for Victarion Greyjoy and the Iron Fleet to show up in Slaver's Bay to save the day as a twist in the Battle of Fire. You can potentially see this as GRRM’s reprise of Tywin Lannister and Mace Tyrell arriving at the Blackwater to save the day in A Clash of Kings and also Stannis Baratheon showing up at the last minute at the Battle of the Wall to defeat the wildlings in A Storm of Swords.

In the case of Victarion and the Iron Fleet arriving in the middle of the Battle of Fire, a similar dynamic would play out from those earlier battles. Re-readers can trace the movements of Tywin and Stannis from the Riverlands and Dragonstone respectively to their eventual destinations: King’s Landing and Eastwatch-by-the-Sea through the references that GRRM sprinkles into the narrative. For instance with Tywin in Clash:

"They shall not cross, Cat," Edmure scrawled, "Lord Tywin is marching to the southeast. A feint perhaps, or full retreat, it matters not. They shall not cross." (ACOK, Catelyn V)

With Stannis in Storm:

"You are aware that Lord Varys has sent fishermen into the waters around Dragonstone. They report that only a token force remains to defend the island. The Lyseni are gone from the bay, and the great part of Lord Stannis's strength with them." (ASOS, Jaime IX)

In the case of Victarion sailing to Meereen, his endpoint was already established by the end of A Feast for Crows. So, one of the few (if not only) hint from Dance that Victarion was enroute to Meereen came from a solitary reference in a Jon Snow chapter from Tycho Nestoris:

"The narrow sea is perilous this time of year, and of late there have been troubling reports of strange ships seen amongst the Stepstones." (ADWD, Jon IX)

By that point in Dance, there were a plethora of strange sails in the Stepstones: like the Iron Fleet. But this was an oblique reference to Victarion’s travel path. Why the ambiguity in the Dance narrative?

The reason is the original twist GRRM had in mind for Victarion’s re-entry into the narrative. In order to pack the maximum narrative payoff, Victarion and the Iron Fleet showing up at the Battle of Fire would have to appear to “come out of nowhere.” Since GRRM already had Victarion state at the end of Feast that he was headed to Meereen, the original idea was probably that Victarion would stay completely off-page until his arrival in Slaver’s Bay. Of course, similar to Clash and Storm, the keen re-reader would be able to see the groundwork GRRM laid for Victarion’s sudden appearance at the Battle of Fire.

As George said at the Deeper Than Swords Event in 2013:

I mean, the best thing is when a unpredictable twist comes out of somewhere, but you've laid the groundwork for you. And then when the reader goes through on that reread and say, oh, he was playing fair with me.

GRRM was playing fair with his planned twist for Victarion to arrive at the Battle of Fire. But then like Quentyn and Tyrion before him, GRRM abandoned the twist of Victarion saving the day at the Battle of Fire. Why?


Story For Twist, Twist for Story

In a 2013 interview, GRRM talked about the way he writes his POV characters, talking about how he tries to get inside the head of his POV characters — like Victarion Greyjoy:

There's an empathy there that makes me love even people like Victarion Greyjoy, who is basically a dullard and a brute. But, he feels aggrieved and sees the world a certain way.

Aggrieved was a great way of describing Victarion Greyjoy. And how does his first chapter in A Dance with Dragons start?

Grief appeared alone at daybreak, her black sails stark against the pale pink skies of morning.

Fifty-four, Victarion thought sourly when they woke him, and she sails alone. Silently he cursed the Storm God for his malice, his rage a black stone in his belly. Where are my ships? (ADWD, The Iron Suitor)

Grief was the name of an Ironborn ship that had disappeared and then reappeared during the long journey to Slaver’s Bay. This was a potent, thematic way to start Victarion’s Dance story. Victarion’s Dance arc begins with a ship name that symbolizes the main theme of his story in Dance. That is a very similar dynamic to the start of Quentyn Martell’s arc in Dance:

Adventure stank.

She boasted sixty oars, a single sail, and a long lean hull that promised speed. Small, but she might serve, Quentyn thought when he saw her, but that was before he went aboard and got a good whiff of her. Pigs, was his first thought, but after a second sniff he changed his mind. Pigs had a cleaner smell. This stink was piss and rotting meat and nightsoil, this was the reek of corpse flesh and weeping sores and wounds gone bad, so strong that it overwhelmed the salt air and fish smell of the harbor. (ADWD, The Merchant’s Man)

The point in comparing the start of Quentyn and Victarion’s Dance arcs is that GRRM began their stories with a thematic note — one which would motivate their respective character arcs and drive their plots forward.

This is why I think GRRM abandoned the Victarion arrives at the Battle of Fire twist: he had an idea for a theme for Victarion’s story. Grief or aggrievement. As fucked up as it is, Victarion grieves for the wife he was “forced” to murdered. He is aggrieved over the insults that his brother Euron Greyjoy hoisted upon him: cuckolding him and forcing Victarion to murder his third wife.

It’s uncomfortable to engage with the subject matter, but Victarion spends a lot of time remembering his third wife and what he did to her in A Feast for Crows:

Victarion knew that to mean the girl did not have a hump. Yet when he tried to picture her, he only saw the wife he'd killed. He had sobbed each time he struck her, and afterward carried her down to the rocks to give her to the crabs. (AFFC, The Iron Captain)

Asha put her hand upon his arm. "And killed your wife as well . . . did he not?"

Balon had commanded them not to speak of it, but Balon was dead. "He put a baby in her belly and made me do the killing. I would have killed him too, but Balon would have no kinslaying in his hall. He sent Euron into exile, never to return . . ." (AFFC, The Iron Captain)

[Euron] shames Hewett as he once shamed me, the captain thought, remembering how his wife had sobbed as he was beating her. (AFFC, The Reaver)

And as we talked about before, his final Feast chapter concluded with Victarion deciding to steal Euron’s wife. He frames this as vengeance for what Euron made him do:

You stole my wife and despoiled her, so I'll have yours. The fairest woman in the world, for me. (AFFC, The Reaver)

Read from a certain way, the two Victarion chapters in A Feast for Crows serve as foundation for the outflow of plot action in A Dance with Dragons. As far as I can tell, Victarion does not mention his unnamed third wife or even think about her in Dance. The meta-reason why is that George established that dynamic in Victarion’s story in Feast. In Dance, Victarion has replaced the grief and aggrievement he feels over Euron and his third wife with his desire to avenge himself by stealing Euron’s bride: Daenerys.

But in GRRM writing grief into Victarion’s story, it opened up another vantage-point to explore Victarion’s character and the broader story. In attempting to avenge himself against Euron, Victarion became more like his brother Euron, and this allowed GRRM to highlight the rising threat from the Crow’s Eye.


The Brothers Greyjoy

In Victarion's Feast chapters, Victarion was a dumb, regular old pirate who was well-within Ironborn societal mean of evil-murder-rape shit. But he was not quite the nihilistic, probably-influenced-by-the-Others evil that Euron Greyjoy is. All of that changed in Victarion's Dance chapters.

In Victarion's ADWD chapters, our idiot pirate starts to engage in Euron-like behavior, drifting further and further into nihilistic, bone-chilling violence and thought patterns. It starts somewhat innocuously with a bit of Euron-esque blasphemy:

The Crow's Eye had sailed halfway across the world, reaving and plundering from Qarth to Tall Trees Town, calling at unholy ports beyond where only madmen went. Euron had even braved the Smoking Sea and lived to tell of it. And that with only one ship. If he can mock the gods, so can I. (ADWD, The Iron Suitor)

And then Victarion begins to fantasize about the punishments he might dole out to one of his subordinates, framing it in a Crow’s Eye context:

[Victarion] had slapped the Limper twice across the face and said, "The first is for the ships you lost, the second for your talk of curses. Speak of that again and I will nail your tongue to the mast. If the Crow's Eye can make mutes, so can I." (ADWD, The Iron Suitor)

When the priest Moqorro is brought aboard Victarion’s ship, Victarion takes Moqorro on and keeps him there, in part, because if Euron can have wizards, Victarion can have one too:

His brother Euron had his pet wizards. Perhaps the Drowned God meant for Victarion to have one too. (ADWD, The Iron Suitor)

Moqorro knew these strange shores in ways the ironborn did not, and secrets of the dragonkind as well. The Crow's Eye keeps wizards, why shouldn't I? (ADWD, Victarion)

When faced with a tactical decision on whether to proceed towards Meereen around the island of Yaros or sailing the straits between Yaros and the mainland, Victarion thinks through the pros and cons of taking the longer, safer way or the shorter, riskier way. He ends up choosing the course that Euron would pick:

What would the Crow's Eye do? He brooded on that for a time, then signaled to his captains. "We sail the straits." (ADWD, Victarion)

And then there was the whole reason Victarion has taken the Iron Fleet to Meereen is to steal Daenerys for his bride — which is what Euron Greyjoy wanted in the first place:

They had heard talk of the beauty of Daenerys Targaryen from the lips of pirates in the Stepstones and fat merchants in Old Volantis. It might be true. And Euron had not made Victarion a gift of her; the Crow's Eye meant to take her for himself. He sends me like a serving man to fetch her. How he will howl when I claim her for myself. Let the men mutter. They had sailed too far and lost too much for Victarion to turn west without his prize. (ADWD, The Iron Suitor)

Finally, the most horrifying way Victarion parallels Euron’s amoral and nihilistic outlook comes in his second chapter when he sacrifices female sex workers to both R’hllor and the Drowned God:

"With this gift of innocence and beauty, we honor both the gods," he proclaimed, as the warships of the Iron Fleet rowed past the burning ketch. "Let these girls be reborn in light, undefiled by mortal lust, or let them descend to the Drowned God's watery halls, to feast and dance and laugh until the seas dry up."

Near the end, before the smoking ketch was swallowed by the sea, the cries of the seven sweetlings changed to joyous song, it seemed to Victarion Greyjoy. A great wind came up then, a wind that filled their sails and swept them north and east and north again, toward Meereen and its pyramids of many-colored bricks. On wings of song I fly to you, Daenerys, the iron captain thought. (ADWD, Victarion)

Some fans believe that Victarion Greyjoy’s sudden turn towards becoming more Euron-like came as the result of Victarion’s close proximity to Dragonbinder: the hell-horn from Valyria which allegedly can bind dragons to the horn-owner’s will. But I think there’s a tell from GRRM that this isn’t exactly the case.

The tell is that Victarion’s final chapter in A Dance with Dragons along with his first chapter in The Winds of Winter are titled VICTARION. Though the horn does have some power and influence over Victarion, what I think the horn does more than anything is expose the underlying rot within a person. While I mentioned earlier that Victarion is within the Ironborn mean of evil, that’s still a man who beat his own pregnant wife to death to satisfy the evil honor system of the Ironborn.

Dragonbinder works as almost a form of permission structure which allows Victarion (and Euron before him) to indulge their sadism, the Old Way, their worst selves. I think that’s why Victarion’s final Dance and first Winds chapters are titled VICTARION. He’s not becoming someone else. He’s become more of himself.

And the true person inside of Victarion Greyjoy is another version of Euron Greyjoy: a character GRRM consciously kept off-page in A Dance with Dragons.


The Monster in the Margins

Beyond simply giving us a glimpses of Euron through Victarion’s actions, GRRM wanted to elevate Euron Greyjoy's narrative importance. Euron doesn't appear in A Dance with Dragons, but GRRM wanted to amplify his role in the story, and he chose to come at it sideways in the narrative — by not having Euron appear in the flesh but having his presence loom ominously over events in the story.

On one hand, Victarion's chapters show Victarion indulging in Euron-esque behavior. On the other hand, Euron shows up elsewhere — like in Dany's nightmare from ADWD, Daenerys VII:

Beneath her coverlets she tossed and turned, dreaming that Hizdahr was kissing her … but his lips were blue and bruised, and when he thrust himself inside her, his manhood was cold as ice.

For our Victarion purposes, I believe the second and more important reason GRRM wrote those Victarion chapters in Dance is that he wanted to subtly elevate the threat of Euron Greyjoy in A Dance with Dragons so that when Euron came into his own in Winds, it'd pack a tremendous punch to the narrative.

This is what I call the monsters in the margin theory of how GRRM writes horror in ASOIAF. The general idea is that GRRM elevates the looming dread of something or someone by having them sparingly appear in-person in the narrative. Yet, their influence can be felt throughout the story while they themselves remain off-page. Think of the Others — the main supernatural villains of the story — and how GRRM had them appear in the A Game of Thrones Prologue. They don’t appear against until their final on-page appearance in Samwell Tarly’s first A Storm of Swords chapter.

Yet even as the Others appear rarely in the flesh, they hover over the narrative. They haunt Jeor Mormont’s dreams, appear in Old Nan’s stories, show up in the scrolls Samwell reads in the Castle Black Library, come to the reader via things that Osha, Ygritte, Mance Rayder and Tormund relate to POV characters and when Samwell shows up in Oldtown to warn the Citadel about the threat of the Others, Marwyn the Mage gets the hell out of Oldtown and makes a dead-sprint for Meereen to bring Dany and her dragons to Westeros. And, of course, the occasional appearance of undead, resurrected wights is yet another way the readers feel the presence of the Others in the narrative.

This literary technique amplifies the tension in the narrative, and I believe GRRM does something similar with the rise of Euron Greyjoy. In an earlier essay, I tried to trace Euron Greyjoy’s entry into the overall narrative of ASOIAF. In Dance, GRRM has already introduced Euron; so, he turns to elevating the threat surrounding the Crow’s Eye.

In an earlier Tyrion chapter, the red priest Moqorro tells Tyrion what he sees in his nightfires:

"Only their shadows, One most of all. A tall and twisted thing with one black eye and ten long arms, sailing on a sea of blood" (ADWD, Tyrion VIII)

The “one black eye” is a clear hint that Moqorro sees Euron Greyjoy in his nightfires. That Euron is sailing on a sea of blood is meant to unsettle, doing a lot of literary lifting to elevate the specter of Euron Greyjoy.

In Victarion’s first Dance chapter, Moqorro tells Victarion of another vision he’s had — another vision which references Euron Greyjoy:

"I have seen you in the nightfires, Victarion Greyjoy. You come striding through the flames stern and fierce, your great axe dripping blood, blind to the tentacles that grasp you at wrist and neck and ankle, the black strings that make you dance." (ADWD, The Iron Suitor)

Coupling Euron Greyjoy’s growing prominence along with Victarion Greyjoy’s indulgence of Euron’s methods seeded the narrative impact Euron will have in The Winds of Winter.


Conclusion

GRRM wrote three Victarion chapters during the timeline of Dance which tracked his exact movements towards Meereen. Two of those chapters ended up in Dance, and the third was cut to Winds. In 2012, GRRM read that Victarion’s chapter from The Winds of Winter. There, GRRM starts to bring everything home for Victarion’s arc.

Victarion is still grieving over the wife that Euron Greyjoy “stole” and “soiled”:

The Seastone Chair should've been his when Balon died, but his brother Euron had stolen it from him, just as he had stolen his wife many years before. He stole her and he soiled her, but he left it for me to slay her. (TWOW, Victarion I)

And Victarion frames his scheme to have Dragonbinder blown by three thralls within a Euron-centric context:

“At the Kingsmoot on Old Wyk one of Euron’s mutes blew upon this horn. Some of you will remember. It was not a sound that any man who heard it will ever forget.”

“You will sail with me on Iron Victory,” he told them, “but you will not join the battle. Boy, you’re the youngest – you’ll sound the horn first. When the time comes you will blow it long and loud. They say you are strong. Blow the horn until you are too weak to stand, until the last bit of breath has been squeezed from you, until your lungs are burning. Let the freedmen hear you in Meereen, the slavers in Yunkai, the ghosts in Astapor. Let the monkeys shit themselves at the sound when it rolls across the Isle of Cedars. Then pass the horn along to the next man. Do you hear me? Do you know what to do?” (TWOW, Victarion I)

That’s Victarion manipulating his thralls in a crude, Euron-esque way. But the ultimate endpoint for Victarion’s plan for these thralls is death:

Victarion did not oft forgive a thrall for talking out of turn, but the Boy was young, no more than twenty, and soon to die besides. He let it pass. (TWOW, Victarion I)

Of course, Victarion Greyjoy and the Iron Fleet are still going to show up at the Battle of Fire to save the day. In fact, per the reading GRRM did of Barristan's second Winds chapter and the released Tyrion sample chapter from Winds. Victarion’s arrival comes as a shock for Barristan and Tyrion — a twist for the characters in-universe.

But it won't be a shock for readers. And that's okay. Writing Victarion's chapters allowed GRRM to explore Victarion's character evolution and the rise of Euron. It was made possible by GRRM foregoing the planned twist for the Iron Fleet to show up in the middle of the Battle of Fire to save the day for Dany's army. And that, in my opinion, led to very satisfying storytelling by George RR Martin.

Thanks for reading. I invite you to follow me on twitter at @BryndenBFish. Additionally, PoorQuentyn and I have an ASOIAF Re-Read Podcast called NotACast where we analyze every chapter in ASOIAF one chapter a week. Come listen to us on Apple Podcastspodbaysoundcloudgoogle playspotifypatreon everywhere you get your podcasts!

For further reading: I will never stop recommend PoorQuentyn’s “The Eldritch Apocalypse” essay!

Next Time: The Case of the Missing King