The success of Game of Thrones affords His Dark Materials a greater degree of freedom to tell Pullman’s story, demonstrating to the writers that these narrative subversions can work in television fantasy, while providing the audience with a framework they can use to parse the unfolding narrative. This mirrors the initial encounter with the White Walkers in the teaser to the Game of Thrones pilot “Winter is Coming.” The show’s opening credits are also obviously indebted to Game of Thrones, depicting the clockwork mechanics that keep the world operating as a literalization of the forces and systems at work in Lyra’s world. This is most obvious in the decision to close the teaser to “Lyra’s Jordan” with a world-shattering discovery made in the icy extremes of the far north. His Dark Materials is as informed by Game of Thrones as The Golden Compass was by The Lord of the Rings. It strips away the romanticizing of the medieval feudalist setting found in so many fantasy narratives. It undermines the assumption that a protagonist seeking to reclaim their throne should be assumed to be a hero. Game of Thrones questions the stability and viability of monarchy as a system of rule. The show also upended the genre’s narrative conventions. Game of Thrones redefined fantasy television, proving that the medium could offer spectacle on a week-to-week basis and allow literary adaptations more space to unfold.
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