I Was Just Thinking About How In Later Discworld Books, Even As Its An Unspoken Understanding Among Everyone

i was just thinking about how in later Discworld books, even as its an unspoken understanding among everyone in Ankh-Morpork that Carrot is the King of the city and he's probably the last descendant of the original ruling line, not only does Carrot avoid pushing the narrative to exploit it unless absolutely necessary, but it never de-emphasizes the fact that he's a dwarf by adoption

Even in later books Carrot is still regularly writing letters to his family in their mine; he thinks of himself as a dwarf, he is CONSIDERED to be a dwarf by all except the most hardliners of dwarf society (and even they can't outright deny him dwarf status, the best they can do is say he is an anomaly); he might USE his narrative status as the One True King, but in his heart, to himself, he is still the child of the Ironfounderssons.

His human heritage is functionally irrelevant to him unless he needs to make use of it, much like his ancestral sword. And it occured to me, what if he actively chose to distance himself from his human heritage because he learned about them in later books and found nothing worth acknowledging?

Carrot is in a weird place because he is the One True King, a narrative status that makes him the good and wise king who knows only truth and justice and comes bringing goodness to all, and this is quite a contrast to the ACTUAL kings of Ankh-Morpork, who were universally at BEST a bunch of horribly useless and inept absolute rulers that are living embodiments of 'the aristocracy are dumber than a sack of doorknobs' the series leans into, and at worst are implcitly some of the most horribly sadistic and cruel people in the setting.

One particular example is Lorenzo the Kind, the last king of Ankh-Morpork, whose name was deliberately ironic; he was so horrifically sadistic that he spelled the end of the kingship because he's the one who was killed by Suffer-Not-Injustice Vimes, who because no one was willing to judge him because kings were considered Special, just dragged him off his throne, cut off his head, and the surviving family members were exiled from the city.

Lorenzo is the last member of Carrot's biological ancestry we have definitive information on, off the top of my head, and he paints a dark, horrific image. He's painted as the absolute nadir of horror from the ruling classes, and is heavily implied to have been a sadistic pedophile with a penchant for torture (at the very least Carrot and Vimes both note that he was apparently fond of children and was painted with a lot of them nearby at all times, discussing it in a way that suggests a DEEPLY uncomfortable topic neither of them wants them to address, and later in Feet Of Clay Vimes points out that Lorenzo had unspecified but horrific machines in the basement).

Carrot is very strongly implied to, at least starting from Men At Arms (in which he discovers he is the king), have investigated his ancestry, and he's able to elaborate on their actions and history, and this also marks the point where he carefully but firmly emphasizes his dwarf heritage for the rest of the series.

He found out who his ancestors were, and discovered they were horrifically evil people, and that Mister Vimes was fully justified in being proud of his ancestor putting them down like rabid beasts, and it leads to him firmly emphasizing that his family are the Ironfoundersson dwarfs.

Do you remember?

y'know having read them multiple times i don't understand why people say that Night Watch is the darkest City Watch book when Thud! is right there.

like, Night Watch is pretty grim when you focus on the inevitability of it, but throughout the book the whole like... THING of it is "being told something is inevitable, and fighting it anyway." it's a story about hope and inspiring it in others even when you're not sure you're going to make it through either way. right up until the final melee with Carcer, Vimes does what he can to forestall the inevitable, and for most of the book, he *wins.*

Thud! on the other hand is about fighting against the weight of deep ancient grudges, and the outcome of it SEEMS inevitable. Koom Valley Will Happen Again, and throughout the book there seems no way to stop it. the resolution comes right at the very end, although the book 100% earns the reveal. but it's one man and a small team fighting against bigotry and hatred and figureheads stoking war.

that's not even TOUCHING on the actual Events in the book, which include a hit squad armed with flamethrowers very nearly torching Sam Vimes' infant son to fucking death. then there's the whole thing with the Summoning Dark which keeps trying to push Vimes' rage to the point of murder, there's the part where it *succeeds* and drives him into an unstoppable berserker rage, there's people dying slowly in dark tunnels, and the Vurms which feasting on putrefied corpses.

it's also the first time we've seen Vimes in an actual Murderous rage. every time beforehand he's been angry but it's been "oh i'm gonna arrest the SHIT out of you. i might put the boot in for good measure but you're coming with ME, sunshine." but no, this time he's literally chasing down a hitman screaming "i'll kill you" over and over again.

Thud! is a properly dark book. and yet despite it's unrelenting horribleness... Love Still Wins. Love for your fellow "man." Love wins in all Pterry's books, you can tell, it shines off the page when you read them just how much that man loved humanity, warts 'n' all, but in this one it feels like it's the most optimistic ending. it's the one that goes "in spite of it all, the bigots and warmongers and the narrow minded Will Lose, because there are always people willing to go to the ends of the earth for Love, Love of one another."

i think that's why it's my favourite book in the series.

A collection, for a well loved garf

A bonus picture for anyone who wants it

Heres a little video i put together of making this drawing.

As always, tips appreciated ♥️