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A Song of Ice and Fire: Game of Thrones!


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ribadisco, siccome so che vi punge il c*lo e su quel link manco c'avete cliccato su; LEGGETELO.

breve excerpt:

 

Citazione

 

WHY GOT PAUSED KILLING MAJOR CHARACTERS

Tellingly, season eight shocked many viewers by … not initially killing off the main characters. It was the first big indicator of their shift—that they were putting the weight of the story on the individual and abandoning the sociological. In that vein, they had fan-favorite characters pull off stunts we could root and cheer for, like Arya Stark killing the Night King in a somewhat improbable fashion.

For seven seasons, the show had focused on the sociology of what an external, otherized threat—such as the Night King, the Army of the Undead and the Winter to Come—would do to competing rivalries within the opposing camp. Having killed one of the main sociological tensions that had animated the whole series with one well-placed knife-stab, Benioff and Weiss then turned to ruining the other sociological tension: the story of the corruption of power.

This corruption of power was crucially illustrated in Cersei Lannister’s rise and evolution from victim (if a selfish one) to evil actor, and this was clearly meant also to be the story of her main challenger, Daenerys Targaryen. Dany had started out wanting to be the breaker of chains, with moral choices weighing heavily on her, and season by season, we have witnessed her, however reluctantly, being shaped by the tools that were available to her and that she embraced: war, dragons, fire.

Done right, it would have been a fascinating and dynamic story: rivals transforming into each other as they seek absolute power with murderous tools, one starting from a selfish perspective (her desire to have her children rule) and the other from an altruistic one (her desire to free slaves and captive people, of which she was once one).

The corruption of power is one of the most important psychosocial dynamics behind many important turning points in history, and in how the ills of society arise. In response, we have created elections, checks and balances, and laws and mechanisms that constrain the executive.

Destructive historical figures often believe that they must stay in power because it is they, and only they, who can lead the people—and that any alternative would be calamitous. Leaders tend to get isolated, become surrounded by sycophants and succumb easily to the human tendency to self-rationalize. There are several examples in history of a leader who starts in opposition with the best of intentions, like Dany, and ends up acting brutally and turning into a tyrant if they take power.

Told sociologically, Dany’s descent into a cruel mass-murderer would have been a strong and riveting story. Yet in the hands of two writers who do not understand how to advance the narrative in that lane, it became ridiculous. She attacks King’s Landing with Drogon, her dragon, and wins, with the bells of the city ringing in surrender. Then, suddenly, she goes on a rampage because, somehow, her tyrannical genes turn on.

Varys, the advisor who will die for trying to stop Dany, says to Tyrion that “every time a Targaryen is born, the gods toss a coin in the air and the world holds its breath to see how it will land.” That is straight-up and simplistic genetic determinism, rather than what we had been witnessing for the past seven seasons. Again, sociological stories don’t discount the personal, psychological and even the genetic, but the key point is that they are more than “coin tosses”—they are complex interactions with emergent consequences: the way the world actually works.

In interviews after that episode, Benioff and Weiss confess that they turned it into a spontaneous moment. Weiss says, “ I don’t think she decided ahead of time that she was going to do what she did. And then she sees the Red Keep, which is, to her, the home that her family built when they first came over to this country 300 years ago. It’s in that moment, on the walls of King’s Landing, when she’s looking at that symbol of everything that was taken from her, when she makes the decision to make this personal.”

Benioff and Weiss were almost certainly given the “Mad Queen” ending to Game of Thrones by the original writer, George R. R. Martin. For them, however, this was the eating-ice-cream-with-a-fork problem I mentioned above. They could keep the story, but not the storytelling method. They could only make it into a momentary turn that is part spontaneous psychology and part deterministic genetics.

 

 

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Ok, ero giunto al punto di pensare che Danana avesse avuto quell'idea fin dall'inizio dopo la morte della sorca riccioluta, e che il momento "hells bells" fosse semplicemente un "lo faccio davvero o mi fermo?"e poi continuasse nel suo proposito. Ma per fortuna gli sceneggiatori ci tolgono ogni dubbio di scrittura coerente e ci confermano il loro ritardo.

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1 ora fa, Lord Gara ha scritto:

Ma alla Troisi viene ancora data voce?

per ridere direi di si

59 minuti fa, Lord Gara ha scritto:

Sogno un internet liberato da personaggi come lei e Recchioni

magara

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mah. se confrontata con le precedenti questa stagione raggiunge, a più livelli, indici di incoerenza impressionati e proprio il finale dimostra quello più alto. per me è tutto voluto perchè non può essere stato casuale il mettere in scena quei personaggi dandogli una personalità opposta a quella che possedevano o rispetto alle esperienze vissute (perchè le situazioni attraversate hanno la funzione di "regolare", non importa che si parli di buoni o malvagi, entro un certo limite il carattere... non di rimbambire); altrimenti, dubito però sia questo il caso, chi ha scritto questi episodi è un idiota lasciato libero di fare l'idiota.

insomma una delusione. che poi il drago fosse così intelligente da squagliare il trono per resettare la questione, visto che i potenti combattevano a causa di quello...

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  • 5 months later...
  • 1 year later...
2 hours ago, Shuji said:

Non vedo l'ora di vedere il prequel di un libro che sarebbe dovuto finire da anni.

O e' uno spinoff? Tanto, QUALUNQUE cosa che non sia il continuo della storia del libro, esce

Da quello che ho capito (non seguivo la serie madre, mi faceva venire su due maroni grandi come una casa), è un prequel collocato duecento anni prima.
Se esce nello stesso periodo della serie del Signore degli Anelli ci sarà da ridere.

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