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What the books do really, really well is world creation Martin has crafted a complex, free-standing fictional world with elaborate, millennia-old histories for every character lineage and geographic location. Netw3rk: If part of your reasoning for deciding to stop reading the Song of Ice and Fire books is because you find the delivery of the core narrative to be better executed by the Game of Thrones show, I’m not going to argue the point.
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Why would I want to wade around in the shallow end and thumb my nose at the people diving off the high board? Up until Season 3, I was always busy marking off similarities to the books, but now I’m free to be shocked and moved without precondition.īut you’ve read all the books.
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And yet Game of Thrones appears to be well on its way to being one of the top 10, if not top five, TV dramas ever. The very best that fiction has to offer - both from classic authors like Dostoevsky and Hemingway and current authors like McCarthy, Zadie Smith, Don DeLillo, and even genre writers like Richard Price - is just much, much better than what George R.R. Structurally, they’re bold in their departure from the conventions of fantasy literature with regard to goodness and honesty winning out in the end, but go talk to Cormac McCarthy about that shit.Īnd that’s the basic calculus for me here. And weirdly, it’s not done all that well in Martin’s books. This is quietly revolutionary for television, but it’s what has been at the heart of good fiction for generations. Although it doesn’t do everything exactly right, it does this thing better than any other show I’ve ever watched.
Events in Game of Thrones are like living things that die and leave their bones inside of characters, slowly fossilizing and then being ground into the shale and coal and oil that become a character’s fuel.
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With greater direction (which is, I admit, a byproduct of basing it on a series of novels) than The Wire or Breaking Bad, Game of Thrones is showing us how plotlines create character, not just reflect it. And with the conclusion of its third season, I think it’s now possible to say that Game of Thrones is doing that work better than any show that’s come before it. I’m certainly not the first to point out that these shows are doing the kind of work on the human character that used to be the province solely of the novel. And yes: This pushing often involves unspeakable violence and gratuitous sex, but to me that’s not what genuinely ties these shows together. Call The Sopranos the beginning of this, and then include The Wire and Breaking Bad and a few others along the way. Game of Thrones falls into a lineage of shows that have been gradually pressing at the boundaries of what we think television is capable of. That’s going to piss some people off, but I think the precedents are pretty easy to set.
I read the first book before I watched the first season of Game of Thrones, and then the second before the second, but by the time the credits rolled on “Valar Morghulis,” I realized something: I was ruining what was likely one of the best TV shows of all time by reading some pretty average books. Steve McPherson: I’ve stopped reading A Song of Ice and Fire. Avowed Westerosian tour guide netw3rk and unrepentant book-shunner Steve McPherson go all Ramsay Bolton on this problem to see if they can’t make it talk. But it’s not so clear that’s the case with HBO’s Game of Thrones and its source material, George R.R.
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And the movie is inevitably better than the video game, right? It’s an article of faith: The first thing is the best thing.
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