“Oh, you think he’s dead, do you?”- GRRM

ENTERTAINMENT WEEKLY: So why did you kill Jon Snow?

GEORGE R.R. MARTIN: Oh, you think he’s dead, do you?

The title of this page says it all. George has said that writing for television better honed his craft to create a better cliffhanger. *This page will be a companion page to the “who done the stabbing” page that is in the works.*

*editing in progress*

Martin told Time Magazine that writing for network TV (including Beauty and the Beast) taught him the importance of the “act break.” This means going to a commercial on a moment of “revelation, a twist, or a cliff-hanger.” He wanted the books to keep readers engaged, so he “tried to end every chapter with an act break.” This doesn’t mean he wanted to always end chapters with cliffhangers, though.

“A cliff hanger is a good act break certainly, but it’s not the only kind of act break. It can just be a moment… a character moment, a moment of revelation, it has to end with something that makes you want to read more about this character.”

If we keep in mind that A Dance of Dragons was the transition from act two to act three, as discussed here, what we witnessed with Jon on page was most likely an act break. So far we have plenty of “living dead” in A Song of Ice and Fire, but they are not all the same. I think most, if not all, A Song of Ice and Fire fans know GRRM’s thoughts on death and return:

Yeah, maybe. That may have been part of it. Part of it was also, it’s the dialogue that I was talking about. And here I’ve got to get back to Tolkien again. And I’m going to seem like I’m criticizing him, which I guess I am. It’s always bothered me that Gandalf comes back from the dead. The Red Wedding for me in Lord of the Rings is the mines of Moria, and when Gandalf falls — it’s a devastating moment! I didn’t see it coming at 13 years old, it just totally took me by surprise. Gandalf can’t die! He’s the guy that knows all of the things that are happening! He’s one of the main heroes here! Oh god, what are they going to do without Gandalf? Now it’s just the hobbits?! And Boromir, and Aragorn? Well, maybe Aragorn will do, but it’s just a huge moment. A huge emotional investment.

And then in the next book, he shows up again, and it was six months between the American publications of those books, which seemed like a million years to me. So all that time I thought Gandalf was dead, and now he’s back and now he’s Gandalf the White. And, ehh, he’s more or less the same as always, except he’s more powerful. It always felt a little bit like a cheat to me. And as I got older and considered it more, it also seemed to me that death doesn’t make you more powerful. That’s, in some ways, me talking to Tolkien in the dialogue, saying, “Yeah, if someone comes back from being dead, especially if they suffer a violent, traumatic death, they’re not going to come back as nice as ever.” That’s what I was trying to do, and am still trying to do, with the Lady Stoneheart character.


The thing is, it makes total sense if Jon were to die then he should stay dead. But Jon did not die… not yet anyway, so this “cheat” to give Jon more power is averted. Jon Snow is a major character in the story, and since this blog follows clues from all over GRRM’s work, the main “Jon” type of hero character always has a near death experience first, and then he gains knowledge and insight during the process, returns with this knowledge to do better, and then may or may not die at the end. If this character lives, he usually survives and lives alone, but if he dies then his loved one spreads his knowledge, his tenets, into the rebuilding society.

And just to add a bit more to the above interview, GRRM’s next question and statement is about Jon on the show… big difference than in the books.

And Jon Snow, too, is drained by the experience of coming back from the dead on the show.

Right. And poor Beric Dondarrion, who was set up as the foreshadowing of all this, every time he’s a little less Beric. His memories are fading, he’s got all these scars, he’s becoming more and more physically hideous, because he’s not a living human being anymore. His heart isn’t beating, his blood isn’t flowing in his veins, he’s a wight, but a wight animated by fire instead of by ice, now we’re getting back to the whole fire and ice thing.

This is the same interview where Martin just said this:

You’re in unusual territory, with your characters very much still in your hands but also out in the world being interpreted for TV. Are you able to have walls in your mind such that your Daenerys, say, is your Daenerys, and Emilia Clarke’s Daenerys is hers and the show’s?

I’ve arrived at that point. The walls are up in my mind. I don’t know that I was necessarily there from the beginning. At some points, when David and Dan and I had discussions about what way we should go in, I would always favor sticking with the books, while they would favor making changes. I think one of the biggest ones would probably be when they made the decision not to bring Catelyn Stark back as Lady Stoneheart. That was probably the first major diversion of the show from the books and, you know, I argued against that, and David and Dan made that decision.


The best stories of GRRM’s to read to see this near death experience are as listed as best as my memory can remember. In each and every one of these stories, the main icy “Jon” archetype is on the literary path of gained knowledge through experience. And also in each and every one of these stories the main Jon-archetype has a near death experience where his protector, usually his love interest, stands over his body protecting him until he heals (and sometimes later dies).

  • Nightflyers. One of the strongest Jon and Val against a fiery dragon prototype stories George has written. Melantha, the Val-type, stands over Royd Eris as he is near mortally wounded and she protects him until he can “save the day”. So, so many shared themes in this story with ASOAIF.
  • Fevre Dream. The main protagonist, Joshua/Josh York, is injured and in danger of being overpowered by the dark lord type antagonist (yes, George has dark lords). Joshua’s protector stands over him and urges him on so Josh can “save the day”.
  • *The Skin Trade. I cannot recommend enough the importance of reading this story to get a clear idea of how GRRM’s writing process in this werewolf story is already translating into ASOIAF, right down to the Val & Jon relationship, the wall of mirrors, blood on the mirrors called the Skinner, the Roose, Ramsay, Reek plot lines, the killing of the Frey boy at Winterfell, and incest causes madness. For this topic, the last stand between the protagonist Willie Flambeaux and the “thing that hunts the hunters” and how Willie is stabbed is crucial.

A Dance with Dragons – Jon XIII

Wun Weg Wun Dar Wun howled again and gave Ser Patrek’s other arm a twist and pull. It tore loose from his shoulder with a spray of bright red blood. Like a child pulling petals off a daisy, thought Jon. “Leathers, talk to him, calm him. The Old Tongue, he understands the Old Tongue. Keep back, the rest of you. Put away your steel, we’re scaring him.” Couldn’t they see the giant had been cut? Jon had to put an end to this or more men would die. They had no idea of Wun Wun’s strength. A horn, I need a horn. He saw the glint of steel, turned toward it. “No blades!” he screamed. “Wick, put that knife …”

… away, he meant to say. When Wick Whittlestick slashed at his throat, the word turned into a grunt. Jon twisted from the knife, just enough so it barely grazed his skin. He cut me. When he put his hand to the side of his neck, blood welled between his fingers. “Why?”

“For the Watch.” Wick slashed at him again. This time Jon caught his wrist and bent his arm back until he dropped the dagger. The gangling steward backed away, his hands upraised as if to say, Not me, it was not me. Men were screaming. Jon reached for Longclaw, but his fingers had grown stiff and clumsy. Somehow he could not seem to get the sword free of its scabbard.

Then Bowen Marsh stood there before him, tears running down his cheeks. “For the Watch.” He punched Jon in the belly. When he pulled his hand away, the dagger stayed where he had buried it.

Jon fell to his knees. He found the dagger’s hilt and wrenched it free. In the cold night air the wound was smoking. “Ghost,” he whispered. Pain washed over him. Stick them with the pointy end. When the third dagger took him between the shoulder blades, he gave a grunt and fell face-first into the snow. He never felt the fourth knife. Only the cold …

So, let’s discuss the,” blood welled between his fingers,” line as this seems to be the most frequent line used to “prove” Jon is bleeding out and dying. I disagree with this idea because we don’t know that Jon is bleeding out because he still has the strength to do other things like:

  1. Ask Wick “why”.
  2. Grab at Wick’s wrist during a second slicing attempt and twist.
  3. Jon reaching for Longclaw. Sure he couldn’t get it free, but that could be a separate issue because he was then…
  4. … able to pull the “buried” dagger from his gut.
  5. Jon felt “only the cold,” as opposed to feeling cold in his own person. Remember, in this story there are two types of cold, and the coldest cold is on the northern side of the wall. Marsh and Wick just “brought down the wall” metaphorically by stabbing their Lord Commander. In doing so they invited the cold of the Others. They got blood on the mirrors and brought the Skinner (re: The Skin Trade), or rather more precisely, the Great Other.

George uses blood welling at least eight times in A Song of Ice and Fire, and none of them are the killing blow. Some people have their blood well, and then another killing strike comes that finishes them. While some others have their blood well as just an injury. I am of the opinion that GRRM would be very specific, if not graphic, about blood from a fatal jugular wound to be more active in description, not a passive “welled”. I would imagine blood from a jugular enough to kill a man within seconds would gush, or spurt, or pulse with each beat of the dying heart.

  • A Game of Thrones prologue [With the Jon-ish Waymar being hunted in a Jon foreshadowing. Not even Waymar dies from his blood welling]: Then Royce’s parry came a beat too late. The pale sword bit through the ringmail beneath his arm. The young lord cried out in pain. Blood welled between the rings. It steamed in the cold, and the droplets seemed red as fire where they touched the snow. Ser Waymar’s fingers brushed his side. His moleskin glove came away soaked with red.  [and then]
    When the blades touched, the steel shattered. A scream echoed through the forest night, and the longsword shivered into a hundred brittle pieces, the shards scattering like a rain of needles. Royce went to his knees, shrieking, and covered his eyes. Blood welled between his fingers. The watchers moved forward together, as if some signal had been given. Swords rose and fell, all in a deathly silence. It was cold butchery. The pale blades sliced through ringmail as if it were silk. Will closed his eyes. Far beneath him, he heard their voices and laughter sharp as icicles.
  • 7 more ASOIAF book quotes with “welling blood” are on their way! In the meantime if you are eager to peek… https://asearchoficeandfire.com/?q=blood+welled

George also uses the term or action of blood welling in a few of his other stories (not as many as I expected, sadly). None of them are the “killing blow”, but rather a serious wound, or part of a larger fight. This seems to be another example of the author using his own themes the way he sees fit for his stories.

  • Fevre Dream [Emily dies, but only because she is fed on by the fiery Damon Julian]:
    Sour Billy reached behind him, and pulled the knife from the sheath in the small of his back. Emily’s dark eyes bulged wide and frightened and she tried to pull away, but he had a firm grip on her and he was fast, very fast. The blade had scarcely come into view and suddenly it was wet; a single swift slash across the inside of her wrist, where Julian had planted his lips. Blood welled from the wound and began to drip onto the floor, the patters loud in the stillness of the ballroom. Briefly the girl whimpered, but before she quite knew what was happening Sour Billy had sheathed his knife and stepped away and Julian had taken her hand again. He raised her slim arm up once more, and bent his lips to her wrist, and began to suck.
  • Fevre Dream [Damon Julian acting a little more like fire-woman Catelyn Stark before she transforms into Lady Stoneheart. Still, the blood welling does not mean death]: Julian’s dressing gown hung from him in bloody tatters, but he wasn’t dead. “I am not so easy to kill as poor Billy,” he said. Blood welled in his eye socket and dripped down his cheek. Already it was crusting, clotting. “Nor as easy as you will be.” He came toward Marsh with languid inevitable slowness.
  • Sandkings [Lissandra is a “good guy” fire woman brought in to kill the Sandking bugs, but she fails. Yes, Melissandre is the literary opposite with the Mel prefix added. This Lissandra does die, but not by her blood welling. No, rather she is later consumed.]:She stepped into the door, shifted the laser to her left hand, and reached up with her right, fumbling inside for the light panel. Nothing happened. “I feel it,” Lissandra said, “but it doesn’t seem to …” Then she was screaming, and she stumbled backward. A great white sandking had clamped itself around her wrist. Blood welled through her skinthins where its mandibles had sunk in. It was fully as large as her hand. Lissandra did a horrible little jig across the room and began to smash her hand against the nearest wall. Again and again and again. It landed with a heavy, meaty thud. Finally the sandking fell away. She whimpered and fell to her knees. “I think my fingers are broken,” she said softly. The blood was still flowing freely. She had dropped the laser near the cellar door.
  • *The Skin Trade [Sooo very much goodness in this passage. I love this story]:

And then, dimly, he heard Steven screaming, screaming in a high shrill thin voice, a little boy’s voice. “No, Daddy,” he was whining, over and over again. “No, please, don’t bite me, Daddy, don’t bite me anymore.”

Willie let him go and backed away.

Steven sat on the floor, sobbing. He was bleeding like a sonofabitch. Pieces were missing from thigh, calf, shoulder, and foot. His legs were drenched in blood. Three fingers were gone off his right hand. His cheeks were slimy with gore.

Suddenly Willie was scared.

For a moment he didn’t understand. Steven was beaten, he could see that; he could rip out his throat or let him live, it didn’t matter, it was over. But something was wrong, something was terribly, sickeningly wrong. It felt as though the temperature had dropped a hundred degrees, and every hair on his body was prickling and standing on end. What the hell was going on? He growled low in his throat and backed away, toward the door, keeping a careful eye on Steven.

Steven giggled. “You’ll get it now,” he said. “You called it. You got blood on the mirrors. You called it back again.”

The room seemed to spin. Moonlight ran from mirror to mirror to mirror, dizzyingly. Or maybe it wasn’t moonlight.

Willie looked into the mirrors.

The reflections were gone. Willie, Steven, the moon, all gone. There was blood on the mirrors and they were full of fog, a silvery pale fog that shimmered as it moved.

Something was moving through the fog, sliding from mirror to mirror to mirror, around and around. Something hungry that wanted to get out.

He saw it, lost it, saw it again. It was in front of him, behind him, off to the side. It was a hound, gaunt and terrible; it was a snake, scaled and foul; it was a man, with eyes like pits and knives for its fingers. It wouldn’t hold still, every time he looked its shape seemed to change, and each shape was worse than the last, more twisted and obscene. Everything about it was lean and cruel. Its fingers were sharp, so sharp, and he looked at them and felt their caress sliding beneath his skin, tingling along the nerves, pain and blood and fire trailing behind them. It was black, blacker than black, a black that drank all light forever, and it was all shining silver too. It was a nightmare that lived in a funhouse mirror, the thing that hunts the hunters.

He could feel the evil throbbing through the glass.

“Skinner,” Steven called.

The surface of the mirrors seemed to ripple and bulge, like a wave cresting on some quicksilver sea. The fog was thinning, Willie realized with sudden terror; he could see it clearer now, and he knew it could see him. And suddenly Willie Flambeaux knew what was happening, knew that when the fog cleared the mirrors wouldn’t be mirrors anymore; they’d be doors, doors, and the skinner would come …

[and then]

Willie changed.

He was running on instinct now; he didn’t know why he did it, he just did. The pain was there waiting for him along with his humanity, as he’d known it would be. It shrieked through him like a gale wind, and sent him whimpering to the floor. He could feel the glass shard under his ribs, dangerously close to a lung, and his left arm bent sickeningly downward at a place it was never meant to bend, and when he tried to move it, he screamed and bit his tongue and felt his mouth fill with blood.

The fog was a pale thin haze now, and the mirror closest to him bulged outward, throbbing like something alive.

Steven sat against the wall, his blue eyes bright and avid, sucking his own blood from the stumps of his fingers. “Changing won’t help,” he said in that weird flat tone of his. “Skinner don’t care. It knows what you are. Once it’s called, it’s got to have a skin.” Willie’s vision was blurry with tears, but he saw it again then, in the mirror behind Steven, pushing at the fading fog, pushing, pushing, trying to get through.

He staggered to his feet. Pain roared through his head. He cradled his broken arm against his body, took a step toward the stairs, and felt broken glass grind against his bare feet. He looked down. Pieces of the shattered mirror were everywhere.

Willie’s head snapped up. He looked around wildly, dizzy, counting. Six, seven, eight, nine … the tenth was broken. Nine then. He threw himself forward, slammed all his body weight into the nearest mirror. It shattered under the impact, disintegrated into a thousand pieces. Willie crunched the biggest shards underfoot, stamped on them until his heels ran wet with blood. He was moving without thought. He caromed around the room, using his own body as a weapon, hearing the sweet tinkling music of breaking glass. The world turned into a red fog of pain and a thousand little knives sliced at him everywhere, and he wondered, if the skinner came through and got him, whether he’d even be able to tell the difference.

Then he was staggering away from another mirror, and white-hot needles were stabbing through his feet with every step, turning into fire as they lanced up his calves. He stumbled and fell, hard. Flying glass had cut his face to ribbons, and the blood ran down into his eyes.

Willie blinked, and wiped the blood away with his good hand. His old raincoat was underneath him, blood-soaked and covered with ground glass and shards of mirror. Steven stood over him, staring down. Behind him was a mirror. Or was it a door?

“You missed one,” Steven said flatly.

Something hard was digging into his gut, Willie realized. His hand fumbled around beneath him, slid into the pocket of his raincoat, closed on cold metal.

“Skinner’s coming for you now,” Steven said.

Willie couldn’t see. The blood had filled his eyes again. But he could still feel. He got his fingers through the loops and rolled and brought his hand up fast and hard, with all the strength he had left, and put Mr. Scissors right through the meat of Steven’s groin.

The last thing he heard was a scream, and the sound of breaking glass.

* * *

I do believe Jon is deeply injured, and that maybe this is his “wake the ice dragon” moment where he survives an event where he should have died, much like Bran and his fall and Daenerys and her Drogo fire pyre. Martin has said Bran is the “most magical”, while he also admits the Jon and Daenerys chapters also have the most magic in them. Jon just being dead doesn’t fit. For what it’s worth, I do think Jon dies dead in the very end.

Raven-Tree-Wolf. Artist: berserk

Jon and Bran are being set up to work as one- Bran the tree of knowledge will have Jon as the knight. Compare these scenes below. Bran asks some very interesting questions about his possible death and warging experience and this is just a few chapters before Jon and his mutiny stabbing, Bran even thinks of his family in the mess because he mistakes someone for his sister Arya like Jon did with Jeyne Poole.

Jon literally sacrificed his life to save the wildlings, something which he sees as important to the future of Westeros and humanity and even desires one. :

  • A Dance with Dragons – Bran II

The wights, Bran realized. Someone set the wights on fire.

Summer was snarling and snapping as he danced around the closest, a great ruin of a man wreathed in swirling flame. He shouldn’t get so close, what is he doing? Then he saw himself, sprawled facedown in the snow. Summer was trying to drive the thing away from him. What will happen if it kills me? the boy wondered. Will I be Hodor for good or all? Will I go back into Summer’s skin? Or will I just be dead?The world moved dizzily around him. White trees, black sky, red flames, everything was whirling, shifting, spinning. He felt himself stumbling. He could hear Hodor screaming, “Hodor hodor hodor hodor. Hodor hodor hodor hodor. Hodor hodor hodor hodor hodor.” A cloud of ravens was pouring from the cave, and he saw a little girl with a torch in hand, darting this way and that. For a moment Bran thought it was his sister Arya … madly, for he knew his little sister was a thousand leagues away, or dead. And yet there she was, whirling, a scrawny thing, ragged, wild, her hair atangle. Tears filled Hodor’s eyes and froze there.

Summer was trying to drive the thing away from him.” Could this be a clue that someone had released Ghost during the mutiny, and that is why Jon called to him when he did? Did Jon see Ghost running to the rescue and call to him to actively make his first conscious warging? A loyal Raynald Westerling did release Greywind at Robb’s mutiny. Was Ghost going after a snark or grumkin?

a cloud of ravens pouring from the cave.” Could this be a hint that the men loyal to Jon-Odin will come to his defense when he is stabbed? The NW are crows, but the raven is the symbol associated with Odin and the cave could be Shieldhall. The free folk and Night’s Watch brothers are flocking to Jon like ravens from a cave.

he saw a little girl with a torch in hand, darting this way and that.” Could this be a hint that Val, or Melisandre with Shireen and the fire, will have an immediate impact after the mutiny?

  • A Dance with Dragons – Jon XIII

Jon fell to his knees. He found the dagger’s hilt and wrenched it free. In the cold night air the wound was smoking. “Ghost,” he whispered. Pain washed over him. Stick them with the pointy end. When the third dagger took him between the shoulder blades, he gave a grunt and fell face-first into the snow. He never felt the fourth knife. Only the cold …

Then compare Jon to what he has already experienced with his first Odin-like eye sacrifice where after this, back at Castle Black, he realizes that the wildlings are not as “bad” as people claim. Jon’s second Odin-like sacrifice is the big mutiny stabbing, but here is the first sacrifice for knowledge. :

  • A Storm of Swords – Jon II

… And still the eagle clung to his face, its talons tearing at him as it flapped and shrieked and pecked. The world turned upside down in a chaos of feathers and horseflesh and blood, and then the ground came up to smash him.

The next he knew, he was on his face with the taste of mud and blood in his mouth and Ygritte kneeling over him protectively, a bone dagger in her hand. He could still hear wings, though the eagle was not in sight. Half his world was black. “My eye,” he said in sudden panic, raising a hand to his face.

“It’s only blood, Jon Snow. He missed the eye, just ripped your skin up some.”

  • A Dance with Dragons – Jon XI

“She won’t mind. Will you, girl?”

Val patted the long bone knife on her hip. “Lord Crow is welcome to steal into my bed any night he dares. Once he’s been gelded, keeping those vows will come much easier for him.”

“Har!” Tormund snorted again. “You hear that, Toregg? Stay away from this one. I have one daughter, don’t need another.” Shaking his head, the wildling chief ducked back inside his tent.

With this information, it is within reason to say that with the free folk (who outnumber the Night’s Watch 5 to 1 per Jon at Shieldhall) and still most of the Night’s Watch brothers still loyal to Jon, and the fact that everyone sees Val as a princess, or high ranking, it is plausible that Val will come to aid Jon after he is stabbed. I am sure if this happens then Morna, Borroq (who called Jon brother, as in skinchanger brother) and Tormund will be there as well to assist.

  • A Game of Thrones – Daenerys III

“He told me the moon was an egg, Khaleesi,” the Lysene girl said. “Once there were two moons in the sky, but one wandered too close to the sun and cracked from the heat. A thousand thousand dragons poured forth, and drank the fire of the sun. That is why dragons breathe flame. One day the other moon will kiss the sun too, and then it will crack and the dragons will return.”

The two Dothraki girls giggled and laughed. “You are foolish strawhead slave,” Irri said. “Moon is no egg. Moon is god, woman wife of sun. It is known.”

“It is known,” Jhiqui agreed.

In a way, both girls are correct. One is Lysene and the other Dothraki. The common lesson in this tale is that a moon and sun will come together and birth a dragon. This is another obvious overlap with Daenerys and what happened to her out on the Dothraki sea with her Drogo pyre and her baby dragons.

We have also seen the many links to Val and her being a moon maiden figure, healer, and snow bear warrior. Ygritte was the first moon for duty, Val is the second moon for love and “prophecy”, just as Elia was for duty and Lyanna was for love/prophecy.

Pasting this here from another thread so I can go back and edit it in:

There was a plan to play politics and try to influence the choosing of the LC at Castle Black a long time ago. Some of these conspirators openly hated Jon and Starks, some hated being at the wall, some hated Jon because they are misunderstanding the meaning of the Night’s Watch purpose. As described by a few others, there was talk of plans to try and control the decision making process. Jon was able to get rid of many of the four conspirators, except for the one that has the literal description of being duplicitous- the Pomegranate.

What it seems some posters are doing is lumping every death together in one big pile without realizing that Catelyn, Beric, the Hound, Varamyr, etc. all die for different reasons. Details matter. Some are linked to others for the purpose of foreshadowing within their own sub-plot, others are only linked because it gives a glimpse of just one aspect. George describes three other (symbolically connected) deaths that directly link to Jon almost the exact same way each, down to the body positions and last words.

Jon and Catelyn’s death are not comparable. Jon and Cat had no connection in life, why would they have one in death?

There was someone else who died at the Red Wedding that does have a deep connection to Jon on both a personal, bonded level and also has a direwolf and warg abilities. Robb is the death connection… but only for the cause and beginning.

Jon’s own mutiny stabbing is related to the main characters in his physical life- Rhaegar, Bran, Robb. Jon honors Eddard by way of his life teachings. Jon is keeping Ned’s spirit alive that way. One of those ways is shown in his conversation with Stannis about how Jon agrees he wants to repopulate the Gift with wildlings, because repopulating the Gift was something Ned (and Benjen) wanted to do.

Rhaegar= the past at the Trident, which also carries on Jon’s connection to water. Rhaegar dies, falls to his knees which would be into mud at the Trident, and whispers his last word, “Lyanna”. (yes, that has been confirmed)

Robb= the present. Robb is also mutiny arrowed/stabbed like Jon, but Robb has a wolf to warg into and Cat tells Robb to go to Greywind. Robb’s last word is “Greywind.” Greywind was also released by Robb’s squire, Raynald, and chances are Ghost was released as well and Jon sees him and has his first conscious warg into Ghost as Jon’s last word is, “Ghost.”

Bran= the future. There is the scene outside BR’s cave where Bran saw himself laying face down in the snow (as Jon did when he was stabbed), and Bran saw Summer defending his body (as Ghost probably is), and then Bran gets help from a female who is connected to the old gods (of which Jon realizes Ghost is also of, and Jon realizes he and Ghost are one). Bran at this time is looking at his body and wonders what could happen to it, and that is when Leaf shows up to help. We also saw this foreshadowing of someone (a female) coming to help Jon when he was wounded when Jon was attacked by the eagle that came for his eyes, and Jon was face down in the mud, and Ygritte came to stand over his body to defend it with her bone knife. Well, there is another woman at Castle Black with a bone knife, and a connection to Ghost, and many reasons to defend John at this time during his second fall into snow.

Even Melisandre sees a man-wolf connection:

  • The flames crackled softly, and in their crackling she heard the whispered name Jon Snow. His long face floated before her, limned in tongues of red and orange, appearing and disappearing again, a shadow half-seen behind a fluttering curtain. Now he was a man, now a wolf, now a man again. But the skulls were here as well, the skulls were all around him. Melisandre had seen his danger before, had tried to warn the boy of it. Enemies all around him, daggers in the dark. He would not listen.