sequence
Although this season is not blessed with magnificent battle scenes, the audience has gained a huge emotional experience from it. A plot that satisfies the visual experience can only be called a wonderful plot, and such a plot is often forgotten after seeing it. And the plot that can satisfy the emotional experience can make people remember it. Obviously this season did it, so I'm going to sort through the plot in this season to find out how the writers did it.
By sorting out the plot, the sequence of scenes in this season is as follows:
- Sansa gets married
- Robb's death
- Jon's love
- James breaks his palm
- Theon Retribution
Sansa gets married
After Tyrion created the image of a pure and good man in the last season, in this season, he will face the choice of love and family. Of course, for Tywin, Tyrion is essentially nothing more than a tool with a Lannister name on it. This time, the tool man's role has finally been found, that is, marriage.
Of course, in the face of family interests, Tyrion has no reason to refuse, because he also gains a lot from the family's halo. At this time, if you want to make him have a dilemma, the only option is love - Xueyi. There is no doubt that the answer is obvious, but from the plot point of view, Tyrion perfectly solved the problem of the main contradiction and the secondary contradiction, and I have to sigh that the name of his little devil is well-deserved.
For Sansa, there really isn't much wiggle room in her choice because of her political value. Maybe she can dream of love, but for a "hostage", it means nothing to the parties involved. And no one cares about your demands. But fortunately, Tyrion's respect and understanding for her is really rare.
As Baelish said, the kingdom is really worthless, chaos is just a ladder to climb up, some people can use chaos to harvest their dreams, but some people will never have this opportunity.
It can be seen from the above: in the face of political interests, anything can become a bargaining chip, but the importance of choice cannot be ignored.
Robb's death
The death of Robb was actually doomed, and the foreshadowing had been laid since he broke his oath to marry his beloved. What was in front of him at that time was victory in the war or emotional happiness, and he chose the latter. Humanly speaking, there is nothing wrong with such a choice, but the problem is the point in time when the choice occurs, by adding external pressure to such a choice at a specific point in time.
Ironically, however, when Robb accused Edmure of his desire to marry a beautiful girl despite the state of war, he forgot that he did. This is the most obvious double standard, revealing a strong irony.
As for Catherine, the same is true, but what she faces is the choice between the victory of the war and the affection of her family. She did not hesitate to release the opponent's chips for her daughter, which put her army in the most unfavorable situation. However, although Katherine's actions were strongly reacted by Robb, she could not control her subordinates to make their own choices, thus killing Lannister's prisoners.
The final result of the superposition of multiple choices is obviously easy to see, that is, isolation and helplessness, betrayal and separation.
So for Robb's death, I even think it's his own fault. He doesn't have a clear limit on what kind of choices he should make in what kind of situation. question. However, when the external situation changes, any perceptual decision may have irreversible consequences.
Finally, from the perspective of the audience, the audience can have the strongest empathy effect for death. Through this, it has undoubtedly added a strong stroke to the tragic fate of the Stark family, but the essence of the phenomenon is that the screenwriter uses death to explain to us what is hypocrisy. Although the process is too cruel, the result is too too heavy.
Jon's love
For Jon, the Night's Watch represented an oath. So no matter what happens, his position will not change, so his motivation and position are very important to his subsequent choices, and the screenwriter added the role of Yegritte here to create a dilemma. choice, and want to strengthen the characterization of Jon's character through this dilemma.
So unsurprisingly, he chose a political stance and abandoned love. There is no doubt about whether he loves Yegritte deeply, but choosing between love and political stance, for Jon, the answer will not be too biased.
On the contrary, Yegritte has a thorough understanding of the current situation, and she has clearly realized that in this battle, the two are just pawns on the opposing sides. Therefore, compared to Yegritte, between political stance and love, she is more inclined to choose the latter, which obviously conflicts with Jon's choice, and this conflict undoubtedly increases the drama of the plot.
So in this scene, what's on the table is the choice between political stance and love. Of course, both parties have made different choices, and the result, as the audience can see, may end with three arrows shot on Jon.
However, through the promotion of the above scenario, the shaping of the role of Jon will be more complete. From this, it can be seen that this role has a clear stand and has the characteristics of being more rational than emotional. This also undoubtedly contrasts with the character of Robb.
James breaks his palm
Before his palm was cut off, Jaime was portrayed as a proud kingslayer and Lannister heir. If you go back to the plot, its invincibility is expressed in the mockery of Jon's joining the Night's Watch, even at the expense of the country for Cersei's sake, Jaime's mockery of Brienne's feelings for Renly, and so on.
And when he was caught, the character of Locke was created at the beginning to shatter his proud capital. So in this sequence, Locke is the external force, and this external force directly caused an irreversible result - the capital that James was proud of was deprived.
And this is also symbolic, that is, power is not omnipotent, and the capital that relies on power will one day be lost .
At the same time, this event will also become an inspiring event for subsequent events. For Lannister's nature of repaying debts, the development of subsequent plots will be more intense.
Theon Retribution
In this season, Theon's punishment met the emotional expectations of the audience for what he did in the previous season. Audiences must expect people who are treacherous to be tortured. Through such a plot setting, the audience does gain psychological satisfaction. From this point of view, the screenwriter has done a very successful job.
But behind these cruel acts, the irreversible change of Theon's role is the purpose of this series of actions. From the perspective of the plot, the screenwriter has achieved the "remodeling" of Theon from the spirit to the body through multiple means. Including giving him hope and depriving him, letting him give up his name to destroy his self-identity, castrating his proud capital to destroy his self-confidence and self-esteem and so on. This series of actions takes one by one from every aspect of the personality, thereby completely destroying the character.
Whether Theon character should be treated that way, I think it's really too much. If we go to the bottom of the reason behind his betrayal, it is simply a failed attempt to seek self-identity . And when he really realizes that the attempt has failed, he is abandoned by his father again without even a chance to remedy, no doubt, this is a tragic role.
So for the audience, Theon's sins have been severely punished in the early actions, and they have already gained huge emotional satisfaction. When punishment exceeds the limit, hatred can easily be transformed into sympathy, because no matter what kind of sin should be deprived of its personality as a means, it has achieved the purpose of destroying its personality .
It is actually very risky for the screenwriter to use such a method to trigger an emotional transformation, because not every audience will be sympathetic, and some of them will go to the other extreme. And the sympathetic part of the audience will again have an emotional connection, that is, when and in what form Theon will be "reborn".
write at the end
First of all, from the plot point of view, if the development of the plot overlaps with the emotional curve of the audience, then the emotional curve of the last season is still at a low point, and this season has come to another climax after the death of Ned in the first season. The tragic fate of the Ke family has added a heavy weight. Then the next emotional climax must be stronger than this one, so what kind of emotional stimulation event will happen next time will become the most anticipated node for the audience.
Relative to the fluctuation of Stark's audience's emotional curve, Lannister's emotional curve is still on the rise, and Jaime's severed palm incident will undoubtedly exacerbate the curve to reach another peak faster, and when this peak arrives, it will be There will be a landmark event, and whether or not what kind of event will intersect with Stark's emotional curve will become a follow-up point of interest.
Therefore, it can be seen from the above that the plot must serve emotions, and the advancement of the plot must be created to meet the continuous enhancement of a certain emotion. The process of continuous enhancement of emotions is the process of continuous enhancement of the audience's empathy, and it is also the process of characterization becoming complete. Process.
This article was first published on the public account: Deconstruction Workshop, the full plot review of this season can be viewed on the public account, welcome to pay attention, thank you
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