If the content of the story can't keep up, the focus is on the form.
The phrase I see the most is "too much information". This sounds awkward.
When reading the book, old Martin said that he wanted to write a different book, so there was a light magic fantasy story "A Song of Ice and Fire" from the POV perspective. I remember watching the first season of "Game of Thrones" before, as if walking through the forest in the fog, I don't know what kind of intersection I will encounter, I don't know if the forest is a stream, the grass is a new forest.
The first episode of the eighth season is unbearable, but it is not that the filming is not precise. The details of "Game of Thrones" are obvious to all. The problem is with story progression. Everyone came out to explain some important things and push the plot forward. Even the meeting between Jon Snow and Erya seemed to be a formality, not very exciting, lacking the kind of strange feeling that has not been seen for many years, just to take care of the first season. Hugs and hugs.
I thought about it for a long time, and finally found that the problem is that too much information is the problem, and that is the reason why "Game of Thrones" seems bland. In general, the story of the drama is advanced, and it is "throwing problems - solving problems". The way to solve problems is to let the protagonist make a choice, and the protagonist who has grown up chooses an answer that can both reflect his heroic character and solve the problem. There is no problem. Game of Thrones is obviously a bit more complicated. The choice of characters is not worth the choice of fate. Thinking back to a few people, the beheading of the loyal and upright Ned sets the tone for the show to be different than before. In "Game of Thrones", character selection can only highlight the character of the character, but it may not solve the problem. The domineering five-star general, Corporal James, who is crazy about love, was tortured so that his hair was bald. The young wolf, the king of war, lost his head, and the conspiratorial old lion died in the hands of his son. The old sparrows were blown to pieces...these guys had their own way of thinking about things, all had a chance to be the "only" hero, and they all lost their lives as a result. (Except Corporal James, who lost more than his life.)
Personal choice is far from the trick of fate. I'm not saying this is an imitation of the Greek tragedy of fate. Old Martin wrote it more realistically. Everyone is struggling in the network of others. If you can't handle it a little bit, others are hell. We've never seen Littlefinger fail to smile at anyone, and even to Ned, he has real, actionable advice. We haven't seen Zhang Fei, the eunuch. He was wrong. The eight-clawed spider spoke loudly, but he protected the dragon girl Zhouquan.
Let's take a look at the first episode of the eighth season and let's count them one by one.
Sansa, the lord of Winterfell, who has gone through all kinds of experiences, faced absolute force majeure - the oppression of the dragon, and put a face of reluctance on her face. Is this really a strategist? Is he really a good apprentice trained by Littlefinger? Little Felkin's skin smiles without a smile, and Littlefinger smiles everywhere. Both of them are experts at hiding their emotions. Sansa can settle their emotions, but she can't settle them. Obviously, she grew up, in order to quickly create plot contradictions, the character set collapsed. (I only said appeared, not completely collapsed). Although she was disappointed in the little devil, I was also disappointed in her. It's not that the girls' dormitory is awkward and scare someone with a face.
Really smiling dragon mother. Daenerys, the humiliated vagabond mother of dragons, loved Khal Drogo when she was 16, a king of the prairie who treated her like a bastard. He was also loved by the old man, the spare tire, and the big bear. He also slept with the head of the mercenary. If Cersei used the theory to teach Sansa that "a woman's weapon is between her legs", then the dragon girl is a practitioner and understands this more deeply. Sex is one of the weights in the power game. Look at now, she is just a silly girl who is in love. The distrust in the north did not make her take timely measures, but instead fell in love and rode a dragon. Does the trust of the people matter? The experience of the first seven seasons was wiped out by artillery fire. She can liberate the Unsullied, but she can't say sorry to the little fat Tully family, she is really pampered. Unbearable is riding a dragon. Although we want to see dragons, we get tired of watching them for a long time. When the little devil led the mountain savages into battle, he was knocked unconscious by a hammer, and there was no fighting scene at all, but it did not affect the excitement of the show. And in order to emphasize Jon Snow's bloodline and Daenerys' pregnancy again, and let the dragons multiply, is it really unnecessary to take such a long flight?
So why? Weakness of literature. Dialogue requires more understanding of the characters and more information, lacking the support of the original work and only getting the outline of the plot, and had to rely on a large number of CG scenes to transition to promote the plot. The so-called "large amount of information" is nothing to say, so I have to pick the key points and bring them out.
Jon Snow, who was resurrected from the dead, became a scumbag. I know that the plot wants to make Jon Snow an image of general knowledge, but the seventh season is very rushed, and this image does not hold. Despite his death, the White Walkers, Snow is still Ned's son. But after dying once, he lost the stubborn character of the Northlander, (although Ned and the Young Wolf Lord, who had preserved this character, died tragically). He "reluctantly" became the king of the north, and then left the 'king of the north' to join the dragon girl. It seems that as long as there is the banner of "fighting the White Walkers", no principle is called a principle, and any decision is justified. This face seems to say again: "What's wrong with me? I'm patriotic and innocent!" Everything is smooth sailing, full of scumbags. So when he learned that he was a Targaryen and said, "My father is lying to me", it was not touching, but full of falsehood. The original Stark spirit in him was not sublimated, but erased.
In fact, we all know that Jon Snow and the Dragon Girl will be united, but when the proud northerners meet a queen with a series of titles, the conflicts, contradictions and dramatic tension between the two can be fully supported, and the last shot will be annihilated. Game of Thrones is not a game of love, and Song of Ice and Fire is not a song of harem brawl.
Originally, everyone in the show had their own things to stick to, but in the relationship network, such as religion, money, family, status, reputation and other intertwined factors and relationships, the things that stick to either become unimportant, or been hidden. The beginning of the first episode of the eighth season tells us that people here are very emotional, and they will fall in love at every turn, what "really match" and what "you love her". Feelings have become almost the first and even the only element. I didn't expect that the protagonists who have experienced so many changes still have the ability to love. I was really moved to cry by their simplicity.
At present, the best character is Cersei, she has maintained her character as always, and has sublimated. Originally arrogant, she lost her lover and younger brother, and also relied on a new man. In the past, she only slept with nobles, but now she slept with powerful men. In the matter of being pregnant in the humiliated belly, she kept silent, only showing a sad expression after the door was closed, which was really vivid.
Many people say that Cersei has a small vision and does not know the general situation. "Know the general" is the problem of other characters. From the perspective of God, the audience has experienced the tough battle and the horror of various White Walkers, but the people in the play are not. Many people are legends, rumors, and rarely seen. It’s like when we took the college entrance examination when we were young and told others how hard it was to study, others might respond, but they were only reconciled. How terrifying are the White Walkers in a fight where the slightest bit of carelessness can kill you? Cersei is the one who can resurrect the dead. (Three types of magic currently used to resurrect the dead: White Walkers, Lord of Light, and Citadel Black Magic) She has no reason to be afraid or appear to be overly concerned, and she wouldn't be Cersei that way.
On the contrary, Long Mu, who had experienced countless deceptions and betrayals, came to the north with all their belongings and made it clear that "I was sent by the crew to play the big scene". Originally, Jon Snow's urgency should have also constituted a conflict with the lack of attention from Dragon Mother and other southerners. If guns work so well, why negotiate? Headache. Everyone said "Okay, I know the big battle is coming, let's go north together, everyone show their faces, hurry up, don't ink", except Cersei.
Originally, everyone was involved in the rules of the game, trying to balance their own desires with the rules of the game. Emotions come first, righteousness comes first, and the complex rules of Game of Thrones are simplified. Everything is performed for the sake of acting, picking the key points and moving forward quickly. Just about to shake the finale directly.
In general, braised pork is also greasy, and this is the beginning of "Game of Thrones" becoming dull. Hope for a good ending.
(split line)
After watching the third episode, I dropped from four stars to three stars.
This episode was very emotionally controlled. The big scene at the beginning, extinguishing the fire in the cold air, the crowd fleeing in a hurry, the surging tide of the White Walkers fighting, and the people drowning in the corpses. In the sky, the moon and the sky are flying and dragons are roaring. In the ground, there are sarcophagi, women and children in fear. All the scenes are taken care of, there are loose and loose. For nearly an hour and a half, the atmosphere of depression and despair was pushed to the penultimate seventh minute, the heroic moment was completed in the music, and finally the mood was relieved in the morning light.
Really awesome! If it weren't for "Game of Thrones", I would give five stars to such a meticulously crafted restoration of the entire war.
Returning to the part of literary drama, what are the wonderful parts of the dialogue in the third episode, and which lines are repeated in the previous seven seasons?
We can say that in a real war, everyone fights with bated breath to restore reality. But this drama is just to restore reality, obviously not ours, at least not my expectation.
First, in Martin's book, the absurdity of people's choice is brought to an extreme. Originally, human nature was revealed by choices in desperate situations, but before that, it was the question of how to make choices in the face of sudden desperation. Although two episodes have been prepared, omitting how the Night's Watch and the Giant Slayer bypassed the White Walkers and returned to the city, the preparations at the beginning of this episode were too good - neat formations, dug trenches, and flames Enchanted. All of which make people see the director's careful preparation and dazzling war scenes. The victory in the scene exposed the dilemma in the plot. Since it is so calm, why can the tactics cause a huge debate among the audience? And the other direction of the plot - the White Walkers' surprise attack and the hasty response to the players, was obviously abandoned by the director. This also makes all the efforts to restore reality - the breath-holding and hard-fought struggles of the war become ridiculous.
It seems that a person said that I had prepared for the postgraduate entrance exam for a year, but only passed the pass line.
So Erya's highlight moment has become a downright "traditional trick". There is a one-minute theory in the movie, which is to set a dangerous time, such as a time bomb, and then complete the demolition in the last ten seconds. And yet we get back to Ned, the one-minute man, who explodes.
Martin also uses a one-minute technique, but it is more sophisticated, and I mean the sophistication of the plot, not the sophistication of the formal scenes.
Think back to the death of Young Wolf's main radish. The Young Wolf Lord went from adversity (internal disunity in the North, internal and external difficulties) to prosperity (capturing James, making Tywin devastated) to sudden beheading. This is probably the process. Before the finale, we saw Tywin's plot, said that some wars depended on ravens and pens, saw Lord Frey's tactful character, learned about the feud between Bolton and Stark, these clues Light or dark, eventually intertwined into the death of the young wolf, there is a famous scene - the bloody wedding.
What do we know about Erya? She played water dance in elementary school, trained in Black and White Academy, and the movie scenes show the library scene where she can't be discovered by the White Walkers. So apart from Er Ya, what about other clues? I need everyone's additions, anyway, I don't see why the Night King and the White Walkers are set up so that they can't find Erya in time, why Bran can provide an assassination place by sitting under a tree, why Erya can go out of the castle and come to the center Where there is only a fish heart tree.
The previous episodes gave clues, but this scene requires a lot of brain supplementation and discussion.
If you don't understand the meaning of the previous sentence, you can recall how Jon Snow joined the Savage. He killed Colin Severe, a man who was close to his own mentor and gained the wildling's trust. The people in the play are restricted from their own perspective and cannot understand each other's ideas and conspiracies, but they can clearly see it for the audience. In this episode, the director's design is all outside the play, and he does not dare to reveal a point to the audience, because if it is revealed, the emotions will be leaked, which not only exposes the weakness of the plot, but also makes the fight drama lack of surprises and boring.
So this episode really made a traditional classic, but for Game of Thrones, I want to ask for more, because I believe it can give me more.
However, the whole episode was like watching an extremely gorgeous fireworks display, with all the tricks and ingenuity (not derogatory), after watching it, after finishing the emotions in my mind, I found that only the smell of gunpowder was left.
It's clever, but it shouldn't be the best.
Watch episode four.
Found myself not quite keeping up with the director's narrative. The director probably shot it according to the two lines of the North and King's Landing, and then the person and the wolf should be separated.
Behind the northern border - between King's Landing, the naval line and the army line are derived. The naval line is opened directly, and the battle ratio of the two sides is adjusted. There are not many literary dramas in the army line. Looking at the trailer, it is estimated that the next episode will also be played directly.
"Game of Thrones", which has cut too many branches, can't be the same as in the past, filming the North, Dorn, King's Landing, and the other side of the Narrow Sea, so that people can watch one part, want to watch the next part, and look forward to another after reading the next part. part. This neat narrative structure is gone.
To reorganize the first three episodes and say that they are reduced to traditional dramas is not a generalization. To be precise, there is a lot of film awareness. (Neutral word, neither positive nor negative)
First, the extensive use of camera language has resulted in the omission of many delicate emotional changes.
For example, the most controversial Erya drama.
Logically, it's not that Erya and Daniel can't get a shot, the question is how to get a shot. The screenwriter's treatment is to give Erya a few shots of smiling faces after seeing Daniel in the first two episodes, and then to show a few girls looking back and falling in love when the two are in dialogue. Tell the audience through the language of the camera: These two have a play.
Generally in a ninety-minute film, concise and powerful lens language can provide a lot of believable information. Game of Thrones is a little different.
In the first seven seasons, we grew up with Erya, from exile in a foreign country, to training in black and white academies, to coming back for revenge, the death, separation, betrayal, and bullying we experienced during this period, even if we as adults think about it, it is difficult to think about it. Bear with it, the two have survived.
In what way should a girl who is constantly choosing between her "no one" and "Stark (not lady)" status fall in love with an old friend she hasn't seen in seven seasons (years)? The familiar unfamiliarity, suspicion, precaution, caution, longing, and wanting to get close cannot be expressed by just a few girly shots. We want to see how a girl who has experienced blood and fire experience re-triggers the girl's heart in a man, rather than the impulse of the girl's heart bursting.
The same is true for Erya's assassination.
Second, seeking change while remaining unchanged is limited by volume.
Maybe due to the size (only six episodes), the screenwriter wants to maintain the rhythm of the multifaceted characters in the past, that is, a character has a dominant character and other subordinate characters. For example, James, who is loved by everyone, was initially regarded as an infatuated playboy who dared to do anything for love. Anyway, his family had money and he was used to it. Later, it was found that he had his own chivalrous pursuit and regret for the past. Slowly, the chivalrous spirit took the lead, and the love-crazy side became subordinate. Of course, this is the character arc, and there is a change in it. Likewise, the character of Littlefinger's deviousness and his love for Aunt May and his thirst for power is fascinating.
Obviously, the screenwriters want this kind of constant change to reappear in the play, enrich the characters, and make the characters more three-dimensional and full. So James and Beauty had a shot.
According to the above logic, there is no problem in deducing such an operation - a beauty is a knight, and a beauty is also a woman worthy of perfect love.
The uncomfortable part is that I admit that most of the world are laity, men and women who eat and drink, and sleeping with someone they like is nothing but happiness. But I also admit that there are many supermen in this world. They are not without emotion and desire, but they express it differently from mediocrity like me.
There are already many down-to-earth people in the play, such as Raymond, Theon, the Queen, and the little devil. They have inherent desires and make no secrets of them. What I'm looking forward to is that Beauty's admiration for James, or the relationship between James and Beauty, can be expressed in different ways.
Obviously, the screenwriter has no other way of expressing it except "doing a shot and feeling deep". It seems to tell me that in this world, no matter who, love is expressed by guns. Even if it's true, I'd like to see something different in this legendary drama. Art comes from life and is higher than life. The screenwriters are completely stuck with life. Headache.
Finally, I want to say that all the scenes in the play are possible, but because they are too thin, people are unconvinced.
To illustrate this, I'm going to focus on the scene where the little devil negotiates with Cersei. The play is possible, and it can have unexpected effects.
In the past, our impression of the color queen was that Tywin said she was ambitious but not resourceful. So her performance is more like a crazy queen who wants to die. And she has a prophecy of dying brother. So when the little devil goes to the queen, we will have a vague expectation-the queen shoots the little devil.
But what happened to the color queen before this scene? Or what has changed? First of all, she and Long Ma both know their own destiny. The difference is that Long Ma obeys her own destiny and thinks that she is the chosen one (like Thanos), and Sehou has been resisting her destiny all her life. As a result, the prophecies were confirmed one by one. Did she wince during this time? Are you afraid? Are you desperate? Her emotions in the play are unknown. But it is conceivable that she still resists fate, but also fears prophecy. This inference is reasonable.
Then the next scene can be used - the Frey family is destroyed. Those who violate the principle of salt and bread will be punished by the "rat chef king". This is a custom in Westeros. The destruction of the Frey family is both a revenge and a fable. If this fact is revealed in the play, let the color queen know. Then her fear of killing people during negotiations will be one more point. Because "Blood Wedding" is happy, but the punishment revealed is equally terrifying.
Second, a change in identity leads to a change in mindset. She is a bit lower than Taiwen, but she is also a Game of Thrones player and has experience and growth. After being named the Queen of the Seventh King, rashly shoots the messenger sent by the "rebels" for peace talks, who is also her own younger brother. What kind of impact will it have? This consideration is also not reflected in the play. But it is something that the queen should take into account when she is fighting against the little devil and controlling her desire to kill.
Finally, there is the question of foreshadowing. A person with extreme hatred suddenly appeared in front of him, what was his state of mind? Do we still hate it so much? And what kind of changes in the relationship between the little devil and the queen caused by the previous conversation? They didn't explain it too deeply and scribbled in the past. This is the problem of the seventh season.
综合以上因素，命运、名誉、情感，三者对色后的限制，完全可以让小恶魔在万军从中走过来再走回去。而如果有了这个铺垫，毫无谈判资本的小恶魔也会在迈步的一瞬间体现出他的勇气和机变。
The result was a mess.
It seems that the screenwriter took an outline that said: "Long Ma negotiates with Sehou. Long Ma sends a little devil. Negotiations fail, Missandei is dead. Next scene."
Then the screenwriter said, "Okay! Let's take this photo!"
View more about Winterfell reviews
