Game of Thrones Archives - Page 7 of 7

Monday

27

October 2014

0

COMMENTS

Thoughts on George R. R. Martin’s 92Y World of Ice and Fire Talk

Written by Ian Thomas Malone, Posted in Blog, Game of Thrones

Last night I attended a talk regarding The World of Ice and Fire with George R. R. Martin at the 92Y in NYC. The event was crowded, though not sold out, and Martin supplied an evening of observations concerning the world of Westeros and the kind of work that goes into creating a book like this. For this article, I wanted to highlight some of the parts of the event that stood out.

Martin was quick to distance the moderator’s suggestion that The World of Ice and Fire was his answer to Tolkien’s The Silmarillion, reminding the audience that the GRRMillion is still to come. Instead, Martin compared TWOIAF to the numerous illustrated fantasy series that have come before. He also discussed the process that went into making a book like this, crediting Elio Garcia and Linda Antonsson with the initial rough draft before deadlines at years of delay and excessive word counts clouded the picture.

Martin also talked about the difficulties he found when it came to revealing certain parts of the history that haven’t been covered in the books or the novellas. Summerhall was specifically singled out as an event he wanted to save for a future book and orchestrated a careful dodging of the event. He did say that both Garcia and his editors persuaded him to include more new material than he initially intended.

While there was no mention of The Winds of Winter, the notion that there will be seven or eight Tales of Dunk & Egg was reaffirmed. D&E actually got a surprising number of mentions, including an illustration of Ser Duncan the Tall fighting as a member of the Kingsguard. The GRRMillion was also talked about many times, though it appears to be at this point largely theoretical.

Mentions of Game of Thrones were kept to a minimum. At one point, the moderator suggested that this was intentional. Martin was complimentary of the show’s decision, including the placing of the Eeyrie’s moon door in the floor rather than the wall. The show served as a contrast to the artwork of TWOIAF, which was able to capture Martin’s own vision in a way that television simply cannot realistically achieve.

All in all, it was an enjoyable evening that supplied more information than was to be expected from that type of event. Questions like “who is your favorite character” were excluded and the general tone didn’t shy away from spoilers though there were few to be had. Martin is a living legend and it was a treat to see him in person.

Sunday

19

October 2014

1

COMMENTS

The Importance of George R.R. Martin’s Anthology Work

Written by Ian Thomas Malone, Posted in Blog, Game of Thrones

“Finish the book” is a phrase that’s become intrinsically linked to George R.R. Martin in the wake of Game of Thrones’ success in 2011. The long wait for The Winds of Winter has many fans angry, though it’s worth noting that the delays are neither surprising nor unprecedented. Five year gaps have become the norm with A Song of Ice and Fire and that was before Martin became one of, if not, the most famous author on the planet. But Martin hasn’t been away from writing while he’s traveled the world giving interviews and attending launch parties.

Since A Dance With Dragon’s release in 2011, Martin has scripted four Game of Thrones episodes, served as the coeditor of five anthologies (also a contributor to two), and as a coauthor of The World of Ice and Fire, which comes out next week. He’s also released several TWOW chapters, though it’s still pretty unclear as to how far along he is with the book. For a man in his sixties who famously detests writing on the road, that’s a pretty heavy workload.

As expected, his work on other projects takes a backseat in the media to ASOIAF. That’s what happens when you author a worldwide phenomenon. While anthologies don’t create the kind of buzz that garners much mainstream attention, it can be easy to overlook the value of the work he’s doing on them.

Martin’s rise to fame is much different from other celebrity authors like Stephen King and J.K. Rowling, who achieved mainstream success quite early on in their careers. Martin’s first novel was released twenty years before A Game of Thrones, which in turn was released nine years before A Feast for Crows debuted at number one on the New York Times Best Seller list in 2005, placing him in the upper echelon of fantasy writers. That being six years before GOT premiered on HBO, showing us the long and unusual journey he took to stardom.

So what does this have to do with anthologies? Let’s look at Robert Silverberg’s Legends, the anthology that housed The Hedge Knight, the first Tales of Dunk and Egg novella. It’s certainly possible to make the case that Legends has the most star power of any fantasy anthology ever written with contributions from King, Robert Jordan, Terry Goodkind, Anne McCaffrey, Orson Scott Card, Terry Pratchett, and Raymond E. Feist among others. Legends II includes Terry Brooks, Neil Gaiman, and Diana Gabaldon, adding to the series’ immense name recognition.

The funny thing about Legends in the year 2014 is that Martin wasn’t even famous enough to be featured on the front cover when it came out in 1998. He didn’t get that accolade until the sequel in 2003. To your average consumer, Martin would likely be placed second behind King if the book came out today for the first time.

The success of Legends contributed to the fortunes of the lesser-known writers, who benefited from the exposure that they received from being featured alongside established names like King and Jordan. Many copies of A Game of Thrones still feature Jordan’s stamp of approval. While that’s something that’s easy to overlook, that sort of quote can be a tremendous boost for unknown writers.

Which is why Martin’s work on anthologies is not only important to the literary world, it also shows his true character. This is a guy who busted his ass for decades to get where he is now. But he didn’t make his fortune without some help and he remembers that. Pay it forward at its finest.

Martin’s name recognition changes the lives of the authors in his anthologies. His name headlining collections like Dangerous Women and Rogues is huge, even for the writers featured on the back of the book, like Martin once was. The literary world is as large and dense as Westeros and it’s very difficult to get exposure for books if you’re an unknown. Being featured in an anthology with someone like Martin’s name of the cover is practically a gift from R’hllor himself.

While “finish the book” is a catchy phrase, it’s important to remember that Martin is a man who achieved his dream late in life is and doing what he needs to do to get his creative vibes in order. That process serves as a tremendous benefit to the literary world as a whole, which needs people like Martin to champion works that might otherwise go unnoticed.

The wait for The Winds of Winter is certainly annoying and perhaps even more so now that the show is starting to catch up with the books, but there are still plenty of other Martin related works to enjoy. Who knows, you might even discover a new author. Anthologies might not be what the masses want from Martin, but he’s doing work that represents his continued devotion to maintaining interest in books as a whole. As Tyrion once said, “a mind needs books as a sword needs a whetstone, if it is to keep its edge.”

Thank you for reading. If you enjoyed this article, there’s a Game of Thrones category under the blog section. I also have a Facebook page and would appreciate a “like” if you feel so inclined.

Monday

21

July 2014

1

COMMENTS

Game of Thrones Finally Acknowledges The One True King Stannis Baratheon

Written by Ian Thomas Malone, Posted in Blog, Game of Thrones

One of the downsides, perhaps the primary one, of adapting an epic book series is that certain characters are naturally going to get less screen time than they deserve. Game of Thrones has taken this to a whole new level, mostly out of necessity. While George R.R. Martin is content to have characters disappear for multiple books at a time, this isn’t really realistic for a television program.

The biggest victim of this so far has been Stannis Baratheon, King Robert’s rightful heir. His prominence in season two and the splitting of A Storm of Swords into two seasons makes a statement like this puzzling, especially since Stannis isn’t even a POV character. The problem is that the show has hardly done the one true King justice, while allotting large amounts of screen time to characters who are just as absent from chunks of the source material.

The main problem is that Stannis’ portrayal in season two doesn’t do the character justice, though Stephen Dilane was a strong casting choice. Book Stannis is a strong leader with a firm sense of right and wrong who helps uncover the Lannisters’ deception along with Jon Arryn. In the show, he’s introduced as an easily manipulated power hungry religious loon. The show backs off of this a bit in season three, but the much of the damage is done. At least in the viewers’ mind.

Until the season four finale, it was difficult to talk to fans of the show who hadn’t read the books about the one true king. Using strictly television logic, Stannis’ survival past the Battle of the Blackwater is puzzling. He’s portrayed as the “big bad” to Tyrion and Renly and those types of characters tend to die in season finales. And yet Stannis prevails.

The show’s lax characterization of Stannis deprives the character of his rich personality, which makes him one of the books’ strongest characters. While it’s easy to judge Stannis solely by Ned’s characterization, his maiming of Ser Davos, and his devotion to Melisandre, that just scratches the surface of his personality.

Stannis’ defense of Storm’s End during Robert’s Rebellion is consistently referred to as indicative of the middle Baratheon’s personality as a whole. He had it far worse than any of the other commanding usurpers and was perhaps the only one other than Ned Stark who could’ve held off the Tyrell’s under such dire circumstances. His rigidness proved to be an asset.

Which explains why he’s considered unlikable, but it’s easy to forget how little that actually matters. Stannis might not have been a friend of either Ned Stark or Jon Arryn, but he commanded their respect. The Tyrell’s were the only significant supporter of Renly who didn’t defect to his cause and that was a foregone conclusion anyway.

Stannis commands loyalty even in places where the reader/viewer isn’t supposed to expect it from. Ned refused to back Renly because Stannis was the rightful heir, a move that cost him his life. Davos supports him even after Stannis maimed his hand. He works with Jon Snow even after he was rebuffed on his offer to legitimize him as the heir to Winterfell.

Stannis grows quite a bit as he grapples with his sense of duty to the realm. We see him as more than a man seeking his right to rule, but rather as someone who understands that he is the only person who could actually bring order to Westeros. This point is eloquently featured in the show when Davos and Stannis visit the Iron Bank of Braavos in perhaps the show’s only deviation from the books that served to benefit his character.

While it’s slightly upsetting that the episode dedicated to the Wall didn’t end with Stannis’ arrival, it was great to see him have his moment of triumph after a turbulent two seasons. Since season four didn’t fully catch up with Jon’s plotline, this can sort of be excused. Fans have much to be excited for in the upcoming season as Stannis’ relationship with Jon Snow supplies the meatiest storyline of A Dance With Dragons. By saving The Wall, he shows that he’s the only one who doesn’t crave power solely for the sake of power. He chases justice.

Games of Thrones has an opportunity to let Stannis shine opposite one of the series’ most popular characters, which in turn should raise his image in the eyes of the fans of the shows. Hopefully the show won’t use him as a foil for Snow, who is occasionally at odds with Stannis but manages to gain his respect and eventually helps him rally northmen to his cause. I wouldn’t put it past the show to elevate the Snow legitimization conflict, but that in it of itself would be a further bastardization of Stannis’ character.

Looking to the future of the series, it appears as though Stannis could find himself deeply involved in the eventual Targaryen conflict if the R + L = J theory holds up and if The Onion Knight is successful in retrieving Rickon Stark from the cannibal island. Preview chapters of The Winds of Winter show Stannis’ looming decision regarding the fate of one Theon “Reek” Greyjoy, which will undoubtedly shed more light on Stannis’ overall sense of justice.

Stannis is a perfect example of the depth of characters in A Song of Ice and Fire. While Martin never goes too far out of his way to give the spotlight to the one true king, he’s much more of a three dimensional character than anyone at King’s Landing would have us believe in the first two books. While conventional logic would suggest that Stannis has about a zero percent chance at having a happy ending at the end of the series, Martin has a tendency to keep the reader guessing. Perhaps the Lord of Light will stand with Stannis. I know I will.

Sunday

8

June 2014

1

COMMENTS

The Case for Strong Belwas

Written by Ian Thomas Malone, Posted in Blog, Game of Thrones

As Ser Jorah took his leave from the service of Daenerys Targaryen, I found myself weeping for a reason unrelated to the fate of the exiled knight. With Grey Worm’s expanded storyline to include a peculiar and implausible romance with Missandei, it’s clear that the show has deviated from the books in an effort to expand the appeal of Daenerys’ supporting characters. Which makes the exclusion of one of her most interesting companions all the more puzzling.

In the Song of Ice and Fire books, Strong Belwas is clearly one of Daenerys’ better retainers. The massive eunuch former gladiator provides comic relief in a storyline that’s often desperate for it. And yet the show excludes him even though its elevated the humor in characters such as The Hound and Bronn.

The problem is that the show didn’t have a natural point for Strong Belwas to enter the fray. In the books, Strong Belwas arrives in Quarth in season two along with Ser Barristan, who is disguised as his squire. It’s hard to fault the show for doing away with Ser Barristan’s disguise given that it’s rather unnecessary in the grand scheme of things and would be hard to pull off on television. Introducing Strong Belwas alongside Ser Grandfather wouldn’t have been impossible, but it wasn’t entirely necessary either. Remember, the books have much more downtime with the Targaryen plotline than the show does.

That doesn’t mean that Strong Belwas couldn’t join the show at any given point. His association with Illyrio Mopantis gives him a fair bit of leeway to join the show far later than he did in the books. The show could simply have him come at the bequest of Mopantis. This of course could easily be worked into the show next season when Tyrion Lannister makes his escape from King’s Landing.

The big reason I think that the show doesn’t want Strong Belwas around is that he’s a eunuch. The show has two eunuchs already and has explored the horrors of that practice with Varys and Grey Worm. Strong Belwas is largely a comedic relief character who mostly wants to eat and kill things. He doesn’t care about being a eunuch. The show would care though.

The show has cut back on the importance of Daenerys’ party as a whole. Her Dothraki bloodriders and Brown Ben Plumm are absent from her storylines, choosing instead to focus on Ser Jorah, Ser Barristan, Grey Worm, and Daario Naharis. Given the fact that the show has limited time to devote to Daenerys, this isn’t surprising and it isn’t necessarily a bad thing either.

Strong Belwas isn’t a character who needs a lot of time devoted to his development. In the books, he doesn’t do much that isn’t involved with the aforementioned gluttony and lust to commit homicide. He doesn’t have a lot of depth. And yet, he’s a fan favorite.

It’s unclear as to how much of a void Ser Jorah’s departure really creates. But his absence is one less character involved with Daenerys that we care about. Given the slow pace of her story for the foreseeable future, it’s hard to argue that he wouldn’t have improved her storyline.

Deviations from the source material are to be expected, but those deviations should serve to improve the experience as it’s translated to screen. Excluding a beloved fan favorite doesn’t serve anyone. There’s simply no reason not to utilize the talents of Strong Belwas on Game of Thrones. The mother of dragons knows it and so do we the people.

Thursday

22

May 2014

1

COMMENTS

The Troubles of Book to Screen in Game Of Thrones

Written by Ian Thomas Malone, Posted in Blog, Game of Thrones

As a bibliophile and a TV/film fanatic, I’ve always tried to curtail my expectations for adaptation of books I enjoy. It’s always been my belief that a good adaptation tries to capture the essence of a book rather than mimic it. Blade Runner is a good example of this. The film bears little resemblance to Philip K. Dick’s novella, Do Androids Dream of Electric Sheep? but is excellent in its own right.

When it comes to George R. R. Martin’s epic Song of Ice and Fire, ten hours is simply not enough time to cover everything. More importantly, it would be foolish to even try even if more time was allotted. The show does cover most of the main points with min
or deviations, but that will likely change and the show progresses, even without taking into consideration that the final two books haven’t even been written yet.

There are many differences between TV and books, but the most important with regards to Game of Thrones is pacing. For a series that has hundreds of characters that covers thousands of pages, there’s a lot of downtime in A Song of Ice and Fire. We see this particularly with Daenerys Targaryen, who is given relatively little to do compared to the rest of the series’ major characters. The TV cannot have a character who sits around all season and thus deviation is required. We saw this in season two with the captured dragon plot in Quarth. People can criticize it for not being in the books, but without it we’d be left with a character who mostly roamed around with nothing to do all season.

The pacing also becomes increasingly more confusing with the fourth and fifth books, which take place over roughly the same amount of time and introduce several new POV characters. While the books can get away with this, keeping in mind that neither book received the kind of critical acclaim that the first three received, a TV show can’t. Television doesn’t just one day decide that the lead isn’t the lead anymore.

This requires the show to move certain plotlines along faster than the books do. Theon Grejoy is elevated to POV character in A Clash of Kings, only to disappear for the next two books before becoming important again inA Dance With Dragons. Game of Thrones can’t get away with this. If the producers tried to tell Alfie Allen that his character would be gone for two years, he would go find other work. Further more, people would naturally lose interest.

That’s part of what makes Game of Thrones such a groundbreaking show. Both the books and the show clearly have the Starks as the main protagonists when the story begins. The Starks are responsible for six of the eight POV characters (not counting the prologue) of A Game of Thrones, yet only three of the fourteen in A Dance With Dragons. The books show an increased effort to explore their depth and from the looks of season four, the show does as well.

As the depth expands, so will the deviation. For characters like Theon, Brienne, and Daenerys, we’re starting to get close to where they are in the series as a whole rather than just where they left off in A Storm of Swords.That’s going to anger some fan purists, who want a strict adaptation of the series. But it shouldn’t, especially since the show is going to catch up with the books sooner rather than later.

Game of Thrones should make plot decisions that work for the show and not strictly because that’s the way things happened in the book. Performances from actors like Charles Dance, Diana Rigg, and Richard Madden elevated their character’s significance and that’s not necessarily a bad thing. Robb Stark may not have been a POV character, but it’s hard to argue that he isn’t a more interesting character to watch than his brother Bran.

The big advantage of having POV characters is that the reader is given access to the inner thoughts of a wide spread of characters. We get to see what the Starks and the Lannisters are thinking. In TV, we only get to see what they do. That’s not to say that the POV system isn’t without flaws either. Characters like Sansa are often passive characters in specific scenes between non-POV characters. We have to view these scenes through a biased source. The show doesn’t have those limitations.

The biggest problems with deviations occur when they don’t work. Talisa Stark wasn’t a figure of controversy, but Jamie’s rape of Cersei was a whole different story. While, “it didn’t happen in the book,” is far from the only point of objection to the latter scene, things like that are when the differences between book and show are fully exposed.

While personally, I’ll almost always prefer the book to the screen adaptation, I don’t make a comparison between the two a deciding factor. Book purists should avoid the show entirely, because anger at something for not limiting itself strictly to the confines of what came before it isn’t really fair. Books, movies, and television are all very different mediums that don’t flawlessly translate into one another and that’s okay.

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