![]() It is entirely possible for a leader to be strategic on the battlefield and with the treasury (and there are historic examples of this). Because, I happen to think that if he’s capable enough to get an army of dead people on his side, then he’s perfectly capable of hiring some plumbers to set up a sewage system (and I have no idea why GRRM thinks otherwise). The critique of Aragorn becoming king, for example, is flawed. I for one don’t think every concept in GOT makes sense. Inevitably you may question the story that’s making you question everything. Because sometimes there can be narrative consequences when you try to challenge an existing idea. And that has its upsides… and its downsides. While we like to blame D&D for the subversive elements, subversion is pretty much woven into the fabric of the narrative. Rather, it’s designed to push boundaries, subvert our expectations and make us question the genre. Which is not so much tragic as it is depressing.Īs much as I can appreciate this for its uniqueness, it’s not exactly satisfying. No happy ending is/was ever possible in this series- for anyone. GRRM takes the morally relativistic view that all his characters will inevitably fall to the dark side… And frankly none of their struggles matter because of that. There is no objective truth- merely the matter of where you place your sympathy. In the world of Game of Thrones, there are no heroes and villains, there is no good vs evil, there is no right and wrong. It’s fundamentally endorsing the idea that meaning is found where you place its value. And that’s because it’s working from a principle of being *realistic in the postmodernist sense*. There’s a reason every moment of “happiness” is framed this way. Romantic moments are often told from another perspective or tarnished by the realities of the situation (eg Daenerys may fall in love with Khal Drogo, but she’s also raped by him first). Of course, we know this lovely moment cannot last, yet we can delude ourselves into thinking it will, and this gives us our catharsis. Think Tess and Angels’ blissful summer in Tess of the D’Urbervilles. In the usual ebb and flow of a tragedy, there is often a highpoint that alleviates the characters’ (and the readers’) suffering. That’s not to say all tragedies are disappointing. When we set out from the Shire we are assured of a safe(ish) resolution. Though it has tragic elements, it certainly does not hinge on them. ![]() Lord of the Rings, for instance, is famously hopeful, inspiring and the prime example of good triumphing over evil. The traditional fantasy that I, and many other mainstream audiences, love. Going off of Martin’s own interviews, much of the series is designed to be a counterbalance to traditional fantasy. And this is not an accident or merely the showrunner’s doing. Barely an episode could go by without some kind of critique or scandal. Game of Thrones was always a divisive series. However, speaking to my own personal taste, reflecting on some of the concepts does make me wonder if I was always going to wind up unhappy with the ending. Don’t get me wrong: I love the world building, the characters and fascinating themes. And it got me thinking a couple of things- 1) how did time fly so fast and 2) was GOT ruined or was it always designed to go up in wildfire? Obviously, I won’t be using this post to address the former, just the latter □īefore GRRM superfans tar and feather me- I’m not trying to take away the series’ merit. It’s the tenth anniversary of Game of Thrones… and I wouldn’t have noticed if not for this video on its ruined legacy.
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