Many years ago, I fixed "Game of Thrones" in the second episode of the third season. The episode in my memory is about the encounter between Barristan Selmi and Daenerys, and again there is a clear difference from the original. When I saw this, I couldn't bear the random rewriting of literary drama in the TV series, and abandoned it in anger.
Of course I understand the following truth: As a film and television work adapted from literature, it should be treated with an appropriate attitude. It has the right to form its own system, and it is not advisable to blindly compare with the original. In my impression, Bazin also wrote an essay to refute those who think that film adaptation is a low-level view. Of course, Bazin’s article is not mainly about the contradiction between the original work and the adaptation, but the opposite relationship between the so-called "pure film" and the adapted film. Nevertheless, his article spent a lot of time expressing his views on the original text and the second creation. His argument that "literature is higher than the film" and that the film should be faithful to the original seems to be inappropriate now, but some other points of view It still makes sense.
In principle, the correct attitude is to separate the original and adapted works. Whether it is a movie, a TV series or a stage play, they will form an independent semantic system. As long as the two expressions of different forms are effectively transformed within the narrative, the act of adaptation is established. Most of the adaptations we can currently see follow these three methods: translational adaptations, which are basically faithful to the original text and the context is transformed into images; loose adaptations, style and overall framework are based on the original, and some content and details are carried out. Tailoring or reconstruction; free adaptation, treating the original as unprocessed raw material, the director and screenwriter extracts its core images or emotions to create a push-through creation.
However, the special feature of "A Song of Ice and Fire" is that Martin's original volume is extremely large, the text is tough and solid, and the semantic system is very closed. The deeper we look at the play, the more unavoidable it is to compare it with the rich original text. Probably the reason for Ma's career as a screenwriter. His writing style is slightly biased towards visual presentation mode, that is, less direct expression of psychology and emotions, and he does not hesitate to spend a lot of words on the externalized behavior and environmental details of the characters. The POV technique clearly outlines multiple clues, which is essentially a non-God perspective of God. The information obtained by the reader is more comprehensive than that of the characters, like a space-time traveler possessed between the various story lines. But when we focus on a certain chapter, our perspective is immediately limited, and we experience a series of unknown events with the characters. This structure also fits the background characteristics of slow information dissemination.
At the beginning of its adaptation, "Game of Thrones" was somewhere between a faithful translation and a loose frame. I can fully understand that many battle scenes have been simplified due to the difficulty of investment and production. But I cannot agree with the choice of literary drama. Even though there are a few original scenes, the effect looks good, but from the perspective of the large structure, it seems unnecessary. More often, what I see is that TV shows are rude to some of the wonderful plots in the original works. These plots are innocuous on the surface, but they are very helpful for the construction of the worldview.
In the first season, for example, Caitlin’s attitude towards Eddy’s South King’s Landing, the TV series and the original book took a 180-degree turn. In the original book, Caitlin's support for going south is a very key psychological motivation. After Ed died, it was precisely because she recalled these events that she led to a series of sensible or irrational behaviors, including the release of James. The TV series removes this layer of motivation, although it will not make sense, but it will always make Caitlin's behavior appear more simplistic and lose a little complexity. If this example is not enough to illustrate the problem, then the scene in which Cersei goes to Bran’s room is unnecessary. This will not bring any deeper refinement to Cersei’s personality, because she later completely followed the original work. The road is shaped, so this scene is even more redundant, but when we think back, we will feel insincere at the level of the drama.
The TV series's rapid disposal of the bard Marellan is also a disintegration of the traditional fantasy style. Characters such as bards, or wandering singers, have always been a classic setting in fantasy literature. In order to reflect the charm of a kind of distant history, many fantasy works faintly envelop some poetry when they are written, essentially imitating these minstrels. Those ancient stories were passed down by poets, and some even evolved into myths and legends. This kind of brushwork is to make the story appear more authentic and believable, and it also has a sense of substitution, adding a sense of timelessness. Of course, from the plot point of view, it is undoubtedly more regrettable that Marrian was killed in the first season, which shows that he will no longer experience events such as the entanglement of Mrs. Ailin in Eagle's Nest and the trial of Tyrion. Although in the original work, the bard ended up miserably, the TV series lacked this "historical witness" and lost a lot of interest from the perspective of strengthening the style and enriching the plot.
Some other branch plots have been cut off, and the experiences and personality changes of some main characters have been changed. Many of them have not been recalled, so I will not give examples. In short, these adaptations left me with a lot of bad impressions and eventually exhausted my patience. Nevertheless, when the eighth season started this year, the powerful public opinion effect made me succumb. So, I spent two weeks picking up from the third season again, and I have been seeing the finale of today.
By mistake, I became a "fat-feeding party" and raised this drama for six years before consuming it in one bite. Throughout the story, I have eliminated a lot of prejudice against this epic masterpiece of HBO. The fourth season is unexpectedly wonderful, and dozens of hours of concentrated appreciation have also improved the level of coherence. Although there are still a lot of unbearable places, there is also a lot of fun in the entity.
I did not persist in the previous four seasons. Another reason is that for me, who has read the original several times, all the stories told in the series are known stories, and the narrative pleasure is naturally eliminated. Coupled with the simplification of many plots, and even some unnecessary scenes are filled in, the look and feel is further reduced. In the novel, POV is used to divide chapters, and TV dramas naturally use a lot of parallel editing. However, there are too many clues in each episode, which will make people feel a strong sense of division. The basic structure is ten minutes from King’s Landing, ten minutes from Winterfell, and ten minutes from Slave Bay. Various locations jump back and forth, and the transition is unimaginable. Force, almost all hard cuts. It may not be difficult for people who have read the book to understand, but those who are directly exposed to the drama may be more tired than watching "The Romance of the Three Kingdoms". So when I found out about the finale, many people had forgotten that the man who offered himself was Edmund Tully. All in all, the multi-line distribution of the drama is far from excellent, and the image expressiveness is relatively poor, and it loses its appeal to me over time.
However, since the fifth season, when there is no longer the original blessing, the drama actually has some new ideas. Seeing stories that are not in the novel, even if it is at the same level, it will at least have a sense of freshness. Including some clips is also more thoughtful. Occasionally, there will be interesting similar transitions from the sacrificial fire of the Lord of Light to candles or bonfires, from Sam's treatment of gray scale disease to eating bread. Although the series slowly began to become hollow and unassuming, the residual temperature of the previous four seasons did not decline quickly-this is mainly due to the rapid progress of the storyline and action scenes in the north.
From the fifth season to the sixth season, the most exciting places are in the north. The tragic retreat of the hard village is like Dunkirk in hell mode. The appearance of the alien ghosts as the four horsemen of the apocalypse is also quite imagery, although the performance of the night king in the end is quite puzzling. There are countless illegitimate battles, but the mirroring and scheduling are really beautiful. Cersei's two major events at the end of the two seasons are also remarkable. One was a naked parade to vent the resentment of the audience over the years. The other is the bombing of Baylor Cathedral, with countless main characters in one pot, cross-editing and soundtrack even faintly a bit of "The Godfather".
For the previous four seasons, although I understand the simplicity of the war scene, it does not mean that I am satisfied with it. The clumsiness of special effects and the lack of strength in scene scheduling made these battles that were supposed to be magnificent or tense to lose their charm. In particular, many one-on-one sword duels were just like child's play. The sense of speed and power were not reflected at all, and they were several grades worse than amateur cold weapon competitions. But the last three episodes of the fourth season are really outstanding. The perception of the battle between the Red Viper and the Devil Mountain has improved several levels than before. The decisive battle between the night watchman and the savages also used a long shot, and the editing and scheduling were also a lot better. Finally, some ideas for the war scene can be seen. In the last episode, Ding Laki showed all the shining points of Tyrion. He was betrayed by his lover at the trial and cursed Quan King’s Landing. The state of losing the last touch of tenderness and trust to his family during the killing of his father was in place. .
The whole "Game of Thrones" also made me criticize the choice of actors. The acting skills of many British and American actors are beyond reproach, but the image of the actors themselves, or the makeup and styling arranged by the crew, is really difficult to match my imagination of the original work. The protagonists in the absolute sense like Sansa, Snow, Cersei, James, Little Devil, and Dragon Mother are still good (of course Ed doesn't have to say), but those supporting roles are hard to say. Among them, Stannis and the Lightning King were the most violent.
Stannis's image can be said to be quite different from the original description. There is no kingly atmosphere at all, and the shape is quite decadent. The Lightning King is even more than a thousand miles away from the novel. I think the Brotherhood of the Flagless Brotherhood was the only light on the dark continent of Westeros, but Berry in the play hardly created the kind of sloppy heroes on the rivers and lakes. The disposition. The evil eye of the crow has also become a slightly wretched man in the play, and he doesn't even look like a serious pirate. The people on the Slave Bay basically abandoned the exaggerated depictions in the original work. Sitzdalla Zo Lorak’s red hair and amber skin were gone, replaced by a typical Middle Eastern appearance, which was a little too low-key. Dario Naharis, with a golden beard and blue hair, turned into a blonde ranger. Fortunately, he inherited a good character, but he changed actors in the middle, which inevitably was a bit embarrassing.
The horse face Alia is clever in the play, lacks edges and corners, and her face is not long at all. On the contrary, Bran’s actor grew up with a horse face, sitting in a wheelchair and loves to lift his neck, his face becomes more and more long. The two smartest people in the entire ice and fire world, Littlefinger and Varys, are also mixed. The actor of Littlefinger is very well-known, Aidan Gillen, but I personally don't agree with his acting style, especially the corners of his mouth always have a smirk, which always looks a little awkward. Varys is overly cute in the episode, and vaguely remembers his helplessness when he was hit in the forehead by passers-by at Joffrey's wedding banquet. But as a spy, he still doesn't fit our imagination, and some are too simple and burly. However, the Octopus Spider seems to be kinder and more loyal in the play. It has become the most sincere friend of the little devil, and it is also an interesting character.
The little devil is the most popular idol in both the book and the drama. But since the fifth season had to start the original, the little devil's wisdom and good words have become less and less, and eventually reduced to a mentally retarded character with empty slogans and ideas. Is it true that the screenwriter can't think of Lao Ma's lines? So it was destined that Tyrion Lannister, a dwarf who wanders between good and evil, humiliated, full of charm, and full of personality, was completely smashed in the eighth season.
But on the other hand, the war scenes in the next three seasons have risen to new heights. A representative example is the battle where Long Ma took the Dothraki cavalry into a sneak attack on James's squadron. This was a rare encounter in the daytime, and it was also Lannister's first experience of the horror of the dragon. The impact of the Dothraki people, the oppressive nature of the dragon as a nuclear weapon, and the discipline and resilience of the Lannister army (although it is meaningless in front of the dragon) are all well demonstrated. Among them is the feat of James Fury's spear rushing to the flying dragon, which is very epic overall. However, it is not logical enough to send a small team to catch the ghost in the future. Except for the purpose of sacrificing Soros and Vesselion, there is no textual meaning.
The five, six and seven seasons are so soft and collapsed, it doesn’t look much. The text is naturally not as solid as the previous four seasons where the original works are used as reference answers, but the audio-visual experience has improved than before, including the color palette. NS. As a result, the eighth season finally collapsed across the board. The two seasons of seven and eight are only 13 episodes long. The first thing the two screenwriters named DB did in the eighth season was to pronounce the death penalty for the show, as cleanly as the dragon flame emptied the Lannister army.
At the end of the seventh season, seeing the surviving children of the Stark family reunite one after another, I still have some expectations for the final season, including wanting to see how Dragon Mother fought Cersei. In terms of combat power, Cersei was not crushed as soon as she came up. Her ruthlessness allowed her to perform some very cruel tactics without burden. Or Cobain can come up with a little bit of black technology, and with the support of the Iron Treasury, it can be a battle. Because the previous four seasons were nothing new to me, I still have the motivation to witness the ending step by step in the face of the purely unknown story, and hope that it can form some ingenious intertext with the undecided ending of the original book.
It turns out that I think too much. Before the finale, I couldn't count how many clues the two screenwriters wasted. The main theme of "A Song of Ice and Fire" is the dispute between the Stark family and the Lannister family, and how Targaryen returns to the mainland. These two families basically brought together the most flesh-and-blood characters in the entire story system, and these characters supported the book and the show. At the beginning of the story, except for the adopted son Theon Greyjoy, all the children of the Stark family received an ice wolf, which is a symbolic relationship that can't be straightforward.
In the original book, the ice wolf is the best companion for the children, and at the same time they experience setbacks and hardships with them. But the ice wolves have not been deified. With the death of the wolf, it either implies the dark fate of the corresponding owner, or the innocent side of the character is erased, or the personality will undergo a huge transformation. The ice wolf symbol was almost abandoned in the TV series, and even the last remaining Bai Ling and Namelia were just props with no sense of existence. I can't see the intangible mutual induction and emotional fetters between the wolf and the owner in the play.
The two most representative examples are the difference between Jon Going South and Bai Ling. Regardless of whether it is a question of funding or arrangement, a single look is far from enough, not to mention that Bai Ling still lacks an ear. The other is that the exiled Alia finally meets Namelia. Of course they could be separated again, but the throbbing of reuniting after a long absence basically didn't show up. It is worth mentioning that Namelia has become the leader of the wild wolf, but Arya's subsequent choice has nothing to do with this result, so where is the role of this reunion?
If the Stark family is the party of absolute justice, and the personality of each character is very positive and traditional, then the Lannister family contains fierce conflict. Tai Wen and Cersei are actually typical villains. Even though Tai Wen has always claimed that he is for the family and Cersei has always claimed that he is for the children, their sins are still untold. In contrast, James and Tyrion have a particularly full character arc. The complexity of human nature is vividly reflected in them. The two brothers, like Tywin Cersei, are people who do not pay attention to secular ethics. They use all means for their ends. At the same time, they have their own bottom lines for the world, for all living beings, for family, and for honor.
The two have been in a certain anxiety and predicament for a long time. One is that they hope to be a great knight in their hearts, but they are dubbed the kingslayer by the world, and finally they lose the right-handed James, who represents his fighting spirit and soul. The other is a dwarf who is brilliant, kind and humorous, but is regarded as an evil monster by everyone. In the end, he was forced to become a father-slayer, a real monster and a traitor to the family. This kind of character in a dilemma is very easy to show off. The first seven seasons of novels and TV series did not fail in shaping, because the character and background are already there, and it is difficult to fail. As a result, the eighth season has completed this seemingly impossible task.
First press the brothers' final heart-wrenching collapse. There is a severely wasted figure in Stark and Lannister's house, namely Riken and Messara. The ending of the two children in the novel is not destined. Riken has been missing for a long time, and the Onion Knight is ordered to find him. Messiah was disfigured in Dorn, but did not die. In the episode, the two children were hurriedly killed. It's not that they can't die, but that this hasty method of death makes them really sorry for how long they survived. Messiah’s death is probably more acceptable, and she at least pushed Cersei’s hatred into the abyss again. But I am still very disgusted with this kind of purely instrumental character setting. This little girl has a lot to do, not to mention the selection of actors is still very beautiful.
Of course, the hurried death of Messala is also related to the drastic cut of the Dorn Line. In the novel, the entire Dorn line, the intricate relationship between the characters, the undercurrent surging under the peaceful garden of water, caused a wave of waves after Oberon's death, and there are really many wonderful things. The TV series treats it roughly, Arianne Martell disappears directly, Aralia and her three daughters involuntarily assassinated Prince Doran. Then came an alliance with Daenerys, and then was captured by Crow's Eye and locked up by Cersei in the dungeon. Until the end, Aralia didn't give a reasonable explanation. The three daughters were also batch processed, so what is the significance of the interaction with James, especially Bolong? Inside and out is another tragedy that wastes characters.
If Messiah and Donne had just made do with it, then the ending of Rickon Stark is really grieving. Co-authored he did not experience less than Bran, just to be teased by Xiao Peel as a toy in the end? In any case, he is a member of the Stark family, one of the surviving children of the Stark family after the bloody wedding and all kinds of hardships. In the end, he didn't have any other scenes. He lived for so long just to be shot to death in the battle of bastard sons? Although Riken's presence in the original book is also very low, I don't think the old horse will deal with this character so hastily. Coupled with the fact that the death of Rickon in the drama directly led to the complete failure of Jon Snow's characterization, I was even more unfair to this child.
A lot of supporting characters were wasted, including but not limited to the brutal and sick Robert Allyn, Kaivon Lannister, "Black Fish" Blindden Tully, Edmund Tully, Asha Ge Rejoy, Tristan Martel, Barristan Selmi, Dario Naharis, and Mans Reid, etc., they are either dead and very pale, or they are so good that they don’t have the following or Become a dragon set. The series also directly cut some important roles, the most regrettable is the absence of Mrs. Shi Xin. This also caused Brienne and Poderek’s trip to meet the hounds, and almost became a Westeros free tour, which reduced a lot of tension and helplessness, and also made the name of the Brotherhood without Flags. The number became useless in the later period. It is undeniable that there are also some minor roles that shine in the TV series, such as Laila Mormon, Onion Knight, Podric Pine and Rams Bolton. Especially Xiao Pei Pi, his villain image is built more complete than Cersei to some extent.
Starting from the fifth season, "Game of Thrones" has gradually declined. At first, relying on the story of the north, the drama still maintained a certain level. Ado's foreshadowing is simply shocking, he should have been dictated by the old horse himself. A few battles are also blameless in terms of expressiveness, especially when it is difficult to retreat from Tunda, the filming was very interesting. Tyrion met Daenerys within a short period of time, which also triggered a more interesting chemical reaction. But under these exquisite appearances, we can also detect many things that are not right. For example, Stannis was the first person to set the collapse. He finally burned his own daughter, but there was no use for eggs. Damn it or had to die. This is not in line with his nature, but it is not a serious collapse. .
Another example is that the son of the Harpy sieges the arena, and for the first time the editing of life-saving methods has appeared. The specific manifestation is that Zhuo Geng carried Long Ma to fly away alone. Although some enemies were burned, it did not trigger the retreat of the Harpy, so Choratrion Grey Worm still did not get out of trouble? It doesn't matter, they are safe and sound in the back shots. In the same way, we can also realize that Tyrion's witticism no longer seems so funny, full of sarcasm and full of wisdom.
The biggest failure is the battle of bastards. The mirroring and editing of this scene is not unskillful, but the logic is full of flaws, which directly reduces Jon Snow into a fool. Even if the drama has made some preparations, it reveals that Xue Nuo has long been unlovable after experiencing the betrayal of his comrades in arms, and being forced to resurrect does not make him much happy. But if you think about it, this kind of arrangement won't be round at all. The TV series took several years to portray Jon into a tough and unyielding man, ignoring fame and fortune, and knowing how to forbear and take risks. He is fully capable of dominating his own destiny, and he will not give up any opportunity. He has a natural leadership temperament and a benevolent heart, and his tactical qualities are also top-notch. The battle of the bastard shattered all of this, making Jon a foolish second. And his sudden mechanical stupidity has been carried out to the finale. Another inexplicable part of this battle is why Sansa didn't tell Snow that she had reinforcements in the valley? Concealing information directly caused Jon and Tormond's men to suffer heavy casualties. If there is distrust or any other gap between the two after the reunion, the TV series will at least not show it at all.
Speaking of Sansa, she had to mention her little finger again. Petir Bérich is the man behind almost all conspiracies. He has insight into the darkest aspects of human nature and uses them to mess up the world and fish in troubled waters to achieve his own goals. Sansa was portrayed as a character with a very steep growth curve in the later stage of the series, and gradually evolved from a silly white sweet girl to a scheming strategist. She and Alia didn't know if it was acting or they woke up when Little Finger calculated halfway through. In short, she suddenly gave Little Finger a shocking reversal and executed him directly under the eyes of everyone. This passage is refreshing emotionally, but it lacks too many necessary links to show, and its convincing power will inevitably be compromised. At least in my opinion, Littlefinger, a player who is one rank higher than Tyrion Varis, should not be easily overturned. The screenwriter is totally unable to control the high IQ political wit drama.
From the beginning of the battle of the bastard, the situation of the drama has taken a turn for the worse. The main creative team is obviously rushing for narrative purposes, completely disregarding the emotional accumulation of eight years, the previous characterization has all become farts. "A Song of Ice and Fire" is a typical character-driven narrative, and this is also the case at the beginning of the series. Everyone starts from their own values and political positions, and then leads to a series of events. But the latter two seasons quickly destroyed everything.
Characters are above everything else in "Game of Thrones". As long as the characters are given a true and credible soul, most of the subsequent things will be logical. So we think that the narrative thinking of the novel is very advanced, because it captures every character. Although the TV series has some choices, there are novels as the base, plus some good actors, after several years of long preparation, the characters have also stood up well. But in the last two seasons, in order to achieve the story revealed by Lao Ma, they began to push back on how to achieve such an ending, so they found that the efficient way is to achieve this through the reversal of the character's nature. Such reasoning games are extremely harmful to the drama. Since there were only 13 episodes left, the screenwriters did not have enough space to describe how they achieved the character transition step by step, so they chose to abandon the characters' existing personalities, and finally completed a series of brain-dead operations.
In the first episode of the seventh season, when the surviving children of the Stark family reunite, everyone will have tears in their eyes. This is the goal that the story has promoted for eight years. But the next series of developments can only be described as "the time left for us is running out". What makes 2DB better than pure junk screenwriters is that they have not forgotten to pave the way for the transformation of characters. But because these foreshadowings are derived from the results and completely deviate from the principle of character-driven narrative, the chain of causality is extremely fragile and decadent, emotionally untenable, and rationality is also full of flaws.
First of all, Jon Snow quickly turned into a brainless infatuated man. His previous courage and wisdom to ally with the freedmen were completely gone, and he really became the silly boy in Ygritte's mouth! Jon became a puppet completely in the next two seasons, but you are not sure whether he is extremely paranoid, or bewildered by Tyrion Sansa and others, or the result of a complete brainstorm. His lines have only become two lines, "She is my queen" and "I don't want to be king". He is frequently used as a gunman. The simplification of the characters to this point can be described as outrageous.
Tyrion is especially regrettable. If you take a screenwriting class in the future, the little devil in the seven and eight seasons can be used as a negative teaching material to show you how an extremely charming character is ruined by the play. It is a minor problem that the witticism becomes no longer vivid, and it is the most serious that the entire character's previous words, deeds and thoughts have been obliterated. Tyrion is a man with complex beliefs. He has completed his self-growth in the most crucial trial scenes and father-killing scenes. He hated his sister and father, and the family's betrayal and tyranny. Of course, he also hates people's discrimination, but he is still a character with a strong sense of morality. The little devil had ten million reasons to kill his father and sister, but there was no reason to kill civilians. So it is reasonable for him to persuade the dragon mother to spare the innocent people, but why suddenly choose to trust Cersei and persuade his queen to negotiate with him? This gave rise to another problem, that is, the little devil was forcibly given a series of strategic errors, delayed the fighters, and led to the destruction of the high court. In terms of his IQ, it seems to me unreasonable, just to make Daenerys no longer trust him? It is undoubtedly a very unscrupulous play technique.
The characterization of the simplified treatment of the little devil is to repeat "I believe she can build a beautiful new world." It's unbelievable that a person who talks about Jinlan's words is poor (repeating machine) to this point. And the two people related to it can't escape the "devil's hand" of the screenwriter. One is James, a character who wanders between the dilemma of good and evil. He once did everything for love, but his mood gradually changed and he became a decent character. In the novel, James basically doesn't love Cersei anymore, and is fed up with the coldness and absurdity of the latter. Although it is not so strong in the drama, it actually has this meaning, until James violated Cersei's instructions and went to Winterfell to take part in the battle alone. His younger brother and sister are in hostile camps, and James is the character caught in it. According to James’ experience along the way, he can betray Cersei, but he will not betray the kingship of King’s Landing in his heart. So he has reason to choose to return to King's Landing to defend the city after fighting the aliens, but there is no reason to save Cersei, let alone know that Cersei sent Bolong to assassinate him. Even if he really loves his sister, or for the child in her sister's belly, please don't arrange a sex scene with Brienne, okay? James Lannister, a single-minded, honorable and chivalry Yulin Tiewei who hasn't even looked for a prostitute for eight years, has he taken Tormund's love with two sips of wine? Surprised.
The other is Varys, a mysterious intelligence chief who has a life-long friendship with the little devil, and also went to Daenerys. After Dragon Mother finally arrived at Longshi Island, he seemed to forget his job. Maybe the little bird has been incorporated by Cobain, but I don't believe that it is impossible to quickly rebuild the intelligence network with his ability. Moreover, the dragon mother has brought considerable power, as well as the covenant of Gaoting, Dorn, and the Iron Islands. He didn't do the most needed intelligence reconnaissance during the war, and the only little bird left under his hand was used to calculate his own queen. This is very different from the eight-clawed spider that fled to the east.
Just like this, the people around Daenerys were damned to die, to be unfaithful to be unfaithful, to commit two crimes, forcibly dragging her mind to the end. But we have witnessed the process of her being betrayed and oppressed by her elder brother for eight years, to gradually becoming the king and winning the hearts of the people. How can it be possible for the audience to forget her character in just two or three episodes? The dragon mother can certainly inherit the family's crazy genes, but this factor should not be triggered in this way. Daenerys is obviously a distinct person, cruel and merciless towards enemies, showing love to slaves or people, and an extreme desire for power.
The entire "Game of Thrones" story, and Dany's contradictions to the Seven Kingdoms, has been built on the intrigue of the nobles and the competition for kingship. Daenerys obviously understood this too. In her conquest of Dothraki and Meerin, she has always killed the ruling class and sympathized with the slaves and the people at the bottom, and all of them were openly first declarations that she could survive as long as she surrendered. Because her dragon son ate the sheep of the shepherd and the children of the farmer, she did not hesitate to imprison them. She hated the usurper Baratheon and the Lannister family, and had no affection for the Stark family, but she still accepted the little devil as the queen's hand, and finally tried her best to fight alongside Stark. She couldn't accept Sir Jorah's betrayal, but after some twists and turns, she chose to forgive. She even named Long Vesselion in memory of her vicious brother. Although revenge was her original motivation, it eventually evolved into two positive goals: liberation and seizure of power-the so-called "big wheel that crushes the royal power" in her mouth.
Therefore, Daenerys's reason for killing the city seemed very inadequate, and it made no sense to reason. Although the series used some of the drama around her that betrayed and sacrificed, these are not driven by the characters. The essence is against the nature of the characters, and lacks the time and space to manage slowly. It is completely perfunctory by the screenwriters. Bad technique. The deaths of Jora and Vesselion were caused by the Night King Legion. Even if Daenerys was dizzy, she would blame the Stark family for dragging her down. Missandei and Lei Ge were killed by Cersei's legion. Even if she angered James and Tyrion, she couldn't bear the hatred of the people of King's Landing.
Of course, the screenwriter here explained Cersei's plot of opening the Red Fort and using the people as a shield. But this segment is also full of flaws. First of all, the episode does not explain that Cersei is locked in the city. Why don't the people escape from the city? Don’t all war refugees come from this way? Even if the city is shut down, Tyrion and Varys' abilities have given them a perfect opportunity to incite the people to directly overthrow Cersei's tyranny, not to mention the bombing of the huge sparrow and the little rose loved by the people at the bottom. , The people can completely hate Cersei. Then again, because this strategy is reasonable to delay the fighter plane, because the little devil blindly believes that the sister's delay in the fighter plane is a spoof.
Then is it impossible for the Dragon Mother to slaughter the city? of course not. In fact, the blackening of the dragon mother is very much in line with the tone of the style of "A Song of Ice and Fire", but to achieve this goal, it takes enough space and violent external contradictions to be achieved. After Daenerys boarded Dragonstone Island, using Varys’ vision and Tyrion’s ideas, or going out in person, she gradually understood the difference between Westeros and Esos. Slowly came up with the idea of destroying everything in the Seven Kingdoms.
For example, we can say that if Mirin and Astapo embody a rule of evil (slavery), then Westeros is a place where human nature is inherently evil, relatively speaking, the king is greedy and selfish, and the people are ignorant, and the people are stupid and ignorant. , Easy to be incited. For example, Cersei can use Cobain or Little Bird to spread Daenerys’s image of an evil invader (with a little benefit). The people themselves are afraid of dragons, and coupled with provocations, they are likely to stand firmly on Lannister’s side, even if Throw rotten eggs at the dragon statue, be a little grass man of the dragon mother, pierce the gu, post big-character posters, etc. Whatever you want to render, the key is to show it concretely, rather than just saying "I think the people here are not "Love me". Of course they don't love you anymore, because you didn't do anything! For another example, even with the alliance with the Iron Islands of Dorn High Court, Dany still noticed that these allies had their own ghosts, and wanted to wait for an opportunity to overthrow her after the war. Or against Sansa’s insistence on the independence of the northern border, Jon’s life experience was revealed, etc., which prompted Dany to finally decide to give up fighting the alien ghosts first, but to attack King’s Landing, resulting in alien ghosts occupying the northern border and so on. Sha talks and shares love with Jon, these gentle treatments are much better.
There are many ways to make Dani black, but in any case, a series of plots must be created to force her to abandon some of the core concepts and positive emotions before. For example, the pursuit of kingship made her finally turn against Jon, and even wanted to kill him. The previous history of marriages in the East proves that Daenerys can use love as a political tool. Another example is the disgust of Sansa, which can further reflect that Dany's possessive desire for the Iron Throne has become pathological and does not have the possibility of reconciliation. Including doubts and concerns about people around him... the screenwriter has every opportunity to create a profound contradiction between Danni and the entire Westeros, and finally it becomes a slaughter king. Or ask Dany to finish fighting King’s Landing first and find that the difficulty of guarding the country is beyond imagination, the city is unpopular, there are uprisings in various places, and there are strange ghosts in the north, so he establishes a regime similar to the cruel Meige and the mad king Elis. In the process of supporting the Northern Territory, she can eventually clashed with the independent Stark regime, and then reap cruelly. For us, it is unacceptable for the Stark family to be baptized again, and Daenerys's beautiful symbolism was also shattered.
Although the above are my immature thoughts, they are much better than the perfunctory things I am doing now. If the budget and space are really not enough, simply give up letting Danni blacken and give her a close-up of her face sitting on the Iron Throne with expressions of fear, confusion, anxiety, etc. as an open ending. In the case of insufficient foreshadowing, forcibly slaughtering the city is useless in narrative except for deviating from the character's nature again.
Throughout the eighth season, various loopholes and contradictions have been arduously deduced. The contradiction between the character’s current behavior and history, the contradiction between the character’s personality and external events, the contradiction between emotional motivation and narrative purpose, internal incentives and external results. The contradictions are varied. In order to express Daenerys' blackening quickly and quickly, the screenwriter weakened or even discarded the original motivation of the entire "A Song of Ice and Fire"-the threat of aliens.
In theory, the ghosts should be the final battle of the entire TV series. No matter how many forces on the human side ultimately participate in the war, this war is the ideal end of a story that lasts for eight years. "A Song of Ice and Fire" from the beginning of the prologue pave the way for this distant threat, and has always hinted that when human civilization is about to be overthrown by the forces of death, your power struggles are child's play. As a result, the decisive battle with the Night King was arranged before the finale, and the greatest threat to mankind was solved in one episode. The point is that this battle is arguably the worst episode of Game of Thrones.
First of all, from the tactical level, it is unreasonable to make trouble: the catapult is not arranged inside the city wall or behind the army, but is placed in front of it, and it is destroyed by the ghoul after shooting an average of two stones. The Dothraki rushed into the darkness inexplicably, wanting to have dinner with the ghouls? Sure enough, the whole army was wiped out. Only one trench was dug, and the cold Northland did not know that water was frozen on the wall. When the ghouls attacked the city gate, they had to adjust the archers from behind. The undead giant raised Laila Mormon to take a look, but was brutally killed. Sitting on the two bombers Lei Ge and Zhuo Geng did not make effective use of them, and they knew they were flopping around. If Dragon Flame needs effective time, I think it was pretty happy when it slaughtered the people of King's Landing. Why did it just spray three or four times and it disappeared?
What's more ridiculous is that Xue Nuo rides Lei Ge on the wall to watch the battle for a long time, does not help to set fires, and does not spray enemies. I have never seen such a way of thinking about life. In addition, since it is known that the Night King is the center of the army, no death squads are sent to sneak attacks, or Dany and Jon go straight to the rear to capture the Night King in order to reduce the casualty rate of the front cannon fodder, but it is not clear that they have been playing soy sauce. Finally, I finally saw the Night King, but the two dragons couldn't beat one Vesselion, and the strength of the battle went up and down. The Night King is also brainless. Since the CPU is still on the front line, even if Dragon Flame is useless to him, so many Dragon Crystals are transported as weapons, and a small archer might solve you. The most annoying is Bran, where is the bait? Obviously to die. Can more than a dozen iron people stop the army of ghouls? There are no traps at all in Shenmulin, just let the enemy drive so long. Originally thought that the Three-Eyed Crow had some ultimatum that hadn't been released, but in fact, he had no ability to fight back in front of the Night King and was completely useless. Even if Arya Stark really turned into a stranger, could she rush in from the encirclement of countless ghouls and ghosts? It really works. Anyway, a little girl who had never confronted a ghost, broke through the shackles of multi-line narrative, and resolved the battle with one blow.
Not to mention the blind low-light photography in this episode. I can only see the outlines of the characters when I go home at night and watch it on TV. The outstanding features of those war scenes in the May, Sixth and Seventh seasons have disappeared so far. Once in the arena of Mi Lin, the director did not forget to prepare and edit the life-saving Dafa, so this night king decisive battle was all used. We have seen Jon, James, Brienne, Podrick, and Samwell Tully surrounded by ghouls on the inside and the outside three levels countless times. As a result, the camera turned around and they survived like no one else. . The alienated Vesselion sprayed off the Great Wall in one gulp, but couldn't even spray the waste stone in front of Jon. Alia's scene in the library was also a complete disuse. Hounds and Bailey had to be dragged down to save him, and it would directly lead to the death of King Lightning.
This battle has been scolded all over the Internet from start to finish, so I won't talk about the extra. But when it comes to the little fat Sam, after learning that his father and brother were sprayed to death by the dragon flames, he should have a complex and angry stance towards the dragon mother, but it is obvious that the following text is missing. Indeed, in the cellar, he told Xuenuo’s life experience, which was barely a retaliatory psychological cause, but his external emotions were not in place at all, and his perception was more like running and telling the truth for the sake of the truth. The resentment of killing his father and brother did not show up at all. .
After the decisive battle with the strange ghosts, the show has so far been rotten, but the more bloody grooves are still to come. The matter of the massacre was already mentioned above. Before the massacre, what did the golden mercenary group that came across the sea and was rendered so vigorously? Burning out the dragon flames directly is the funny part of this episode. The vital power of the Dothraki and the Unsullied is also a silly account. After fighting the ghosts, there is no more people left. As a result, there are more and less people in front of King's Landing, thinking that you can play real-time strategy games at any time to create troops? The strangest thing is the battle between Euron and James's rivals in love. There is no sense of beauty, and there is no need for the drama. Basically, it is fought for the sake of fighting. So after James was stabbed so many knives, he could still travel a long distance to the Red Fort to find his dear sister, who was worthy of the name Yulin Tiewei.
By the end of the episode, the fluke audiences still hoped for a decent ending, but 2DB was all about making the episodes collapse to the end. Jon Snow didn't say anything. He was already a complete puppet with no self-will power to speak of. Two or three sentences were constrained to kill the dragon mother. In the end, the mother dragon was stabbed to death during a kiss. This doesn't show any cruel romance at all. Even Koreans don't shoot like that. What's even more amazing is that after the death of the Dragon Mother, the Grey Worm and the Dothraki did not take revenge for the Dragon Mother? The city is slaughtered, do you still care about killing these people? The previous episodes portrayed Grey Worm, trying to develop its relationship with Missandi to show the process from sexual awakening to the return of humanity. After Missandei died, this character was immediately frozen, and no more growth was seen. Or depraved, with head but no tail.
But Zhuo Geng is actually okay. Originally, the basic concept of Western fantasy is that the dragon is an inhuman creature, and its intelligence and will are not inferior to human beings. "A Song of Ice and Fire" does not seem to overturn this default setting. We can understand that Zhuo Geng has already known through his nose that Jon is a Targaryen, even if he killed his aunt, Long would not bear to kill him. It also knows that all tragedies are caused by the Iron Throne. It also knows that Bran will be a king, so it sprays the Iron Throne to get rid of the source of the tragedy. Secondly, it makes Bran wonder whether to sit in a wheelchair or sit on the throne. NS. Anyway, no matter how you read it, Jon Snow has faced Longkou (Veselian and Zhuo Geng) twice, and the protagonist's halo is unprecedented. Don't forget, "A Song of Ice and Fire" is famous for everyone without a protagonist halo. I don't know if the drama is filmed like this will make the old horse laugh.
The election of the king is the pinnacle of nonsense. Tyrion had already been imprisoned, and he was actually taken up to express his heartfelt words. The Grey Worm stood beside him like a coward. Apart from shouting his voice, he didn't even dare to move his hands. He also said a ridiculous line "Then you choose." So the funniest king selection meeting in Westeros history began. Edmund proposed that the burden was so exciting that even Sansa couldn't stand it anymore. Then Sam promoted democracy and was ridiculed by everyone. I can't figure out the meaning of such an arrangement in classical fantasy? Then there was an exciting speech by the little devil, "What will unite people? The army? The gold? The flag? It's the story."...Well, when I heard this, my first reaction was Robert McGee.
Could this be the fucking words of the little devil? What about your wisdom and vigor at the time of trial? As a result, when the little devil asked Bran if he wanted to be a king, Bran said, "Then what do you think I did until now?" He became an ambition in a second. Everyone was convinced by his words, and agreed that Brandon Stark, the broken Bran, and the three-eyed crow, would become the new King of the Seven Kingdoms. At this time, Sansa actually spoke in public. Although Bran is my younger brother, the Northern Territory still needs to be independent, because we are really fed up with the Iron Throne—but the Iron Throne has been burned by Zhuo Geng. In short, just one second after the king was elected, he was embarrassed by his sister, and he really couldn't get off the table.
How unreasonable is Bran’s administration? First of all, he has become an immortal. He has said that he has no desires and desires countless times before, and he has seen through all human history. He is a living library. Secondly, Bran claimed that the feeling of disobedience between the king and Alia in killing the Night King was almost the same, and they were all based on his own plot clues for the past eight years. Thirdly, there are no more reasonable candidates for the king. There are two people present in the election meeting. One is Gendley Baratheon, the illegitimate son of the former king Robert Baratheon, who is more pedigree. Lan is more suitable. The other is Sansa Stark, who has grown into an excellent female lord, and the most difficult Northern Territory after her ascendancy is no longer a problem. It is enough to ensure the unity of the country. In this way, let Bran go back to be the Northern Territory. Guarding is not unacceptable. At the same time, there is also a Jon Snow in the cell, namely Aegon Targaryen. Although this person's IQ has been murdered by the screenwriter, it is also very suitable in terms of descent and personality. And what the little devil and Varys discussed at the beginning was not to let Xue Nuo replace her after Dragon Mother really went crazy? What's more, it was the little devil who killed the dragon mother by Lu Xuenuo, so why forget the biggest hero now!
In the end, Tyrion, who had become mentally retarded, became the hand of the king again, the Onion Knight, who looked upright but made little contribution, became the Minister of the Navy, and Brienne, who had been ruined by James, became the captain of the Royal Forest Iron Guard. Jon was sent to the Great Wall again, but he still showed a reluctant expression. I don’t know what his reluctance is. He has no desires and desires for royal power. He has done so well as a man in black, and he has become a commander. There are savage friends and dear Bai Ling, which is simply the best. It's home! Sansa got her wish and became the Queen of the North, heading towards the pinnacle of her life. As for Alia, the previous sentence "Winter is here, lone wolves die, and wolves live together" became bullshit, and she ran to become the One Piece. Of course, this is in line with her tomboy's adventurous character, it is nothing more than the context appears very incoherent.
Paradoxically, from beginning to end, seeing the group of pustules that killed his own queen is still alive and kicking, but the Grey Worm has no complaints, and his mind returns to Missandei's hometown and grows lonely.
The biggest slot is Bolong, a mercenary who sees the wind and forgets what to do. Although he helped the Lannisters, especially James and Tyrion, he solved a lot of troubles, but he was a mercenary after all. . The little devil actually allowed him to enter the pre-imperial meeting, but actually gave him the entire high court? Therefore, the finale of "Game of Thrones" is essentially a fairytale ending-whether you were an enemy or a friend, a wicked person or a good person, how many evil deeds you have committed, and your character, it is ultimately Good friends are all people of justice in name. So when Sam took out a book of "A Song of Ice and Fire" to read to Tyrion in the play, we could only feel the deep irony, and could not feel any tribute. The drama is presented in a childish fairy tale style, and finally shattered the historical realism style and dark and sad story tone of the original novel. In this way, it is better to let the Night King rule the world...
The eighth season is really good and bad. Including the last episode is obviously nothing to shoot, so it fills a lot of status scenes. The characters either walk around in the ruins, look up at the sky and look down at the ground, or they are close-ups and close-ups with miserable faces. The characters in the script have all collapsed like this. What is the significance of these state dramas? What other valuable emotions can be brewed by the audience? I can only think of it as a drag on time.
In the 79-minute finale, the amount of lines is surprisingly small, and it completely violates the narrative rhythm before the episode, and the style is very inconsistent. In the face of such a large-scale collapse, we will discuss the reality mapping of "A Song of Ice and Fire" to the War of the Roses and the history of the British dynasty. Historical reality). In any case, we have once again witnessed how a drama that could have gone to greatness reduced to mediocrity and finally died suddenly. Without the original work as the answer, the editing team almost misread all the characters and stories. As a result, the show ended up resembling a ghoul outside the Great Wall, lifeless and odious.
View more about Winterfell reviews
