Showing posts with label Game of Thrones. Show all posts
Showing posts with label Game of Thrones. Show all posts

Monday, February 9, 2026

Game of Thrones Universe Watch Order Post.

When it comes to adaptations there are more potential watch orders then just Release Order vs Chronological order (or purely individual preference made up order), there's also the idea of watching the Adaptation in the Release Order of the source material which may not be the same.

I only recently learned as it was airing that The Hedge Knight, the first book of the Tales of Dunk and Egg series, was first published between the first two A Song of Ice and Fire books.  Meaning for future reference when it's done season one of A Knight of The Seven Kingdoms should perhaps by be watched right after season 1 of Game of Thrones and before season 2.

Of course this would become less useful in this example as the shows tend to depart from the books more as they go on, even in how the story is structured.

So here's the release order of The Books

A Game of Thrones (Game of Thrones Season 1)
The Hedge Knight (A Knight of The Seven Kingdoms Season 1)
A Clash of Kings (Game of Thrones Season 2)
A Storm of Swords (Game of Thrones Seasons 3-4)
The Sworn Sword (no adaptation yet, will be season 2 of AKotSK)
A Feast of Crows (kinda seasons 5-6 of Game of Thrones)
The Mystery Knight (no adaptation yet, will be season 3 of AKotSK)
A Dance with Dragons (kinda season 5-6 of Game of Thrones)
The Princess and The Queen (House of The Dragon, but not really)
The Rogue Prince (House of The Dragon, but not really)
Sons of The Dragon (House of The Dragon, but not really)
Fire and Blood (House of The Dragon, but not really)

Sunday, April 7, 2024

Study of Swords MIGHT be wrong about Deconstruction

 A YouTube channel named Study of Swords has a video titled You Are Wrong About Deconstruction, and I have very uniquely mixed feelings about this video.  Sometimes I feel like I agree with it entirely and sometimes I feel like it’s led astray by a myopic perspective on the subject.  I certainly agree with the general annoyance at people calling everything even slightly subversive or dark a Deconstruction.

The gist of the video’s thesis is that the modern Internet Culture understanding of Genre Deconstruction is entirely the invention of TVTropes and that it’s both unrelated to Derridean Deconstruction and not something that any work of fiction has ever truly done, certainly not intentionally.  And if one did it would be inherently bad.

Here’s the thing, all the specific examples of alleged Deconstruction they are annoyed by are Anime examples.  And their defense of that is that they are an Anime centric channel and that’s the discourse they are in dialogue with.  However the video isn’t titled “You are wrong about Deconstruction in Anime” or “Otaku are wrong about Deconstruction” and TVTropes didn’t build their concept of Deconstruction on primarily Anime examples, they built it primarily on Watchmen.

In 2003 The History Channel aired a documentary called Comic Book Superheroes Unmasked. I'd recorded it on VHS when it aired so I had watched the entire thing multiple times back then.  However I had gone years without rewatching it by the time I first discovered TV tropes in 2012 and still didn’t rewatch it again till after I’d watched this YouTube video.  It speaks to the unreliability of memory that I had basically incepted myself into thinking they actually used the word Deconstruction or Deconstruct in the segment on Watchmen when in fact they did not.  However the basic idea of what TVTropes means by Genre Deconstruction was there.

The quote they put at the start of their video is telling “Deconstruction is when a thing I like is a Genre I disrespect”.  Because within the Anime Community that definitely feels like it’s often the subtext, the community is now filled with Anti-Otaku like Noralities who can’t admit to liking an Isekai without going on about how it’s not like all the other Isekai, same with the Yandere.  And while this sentiment doesn’t get expressed much recently, there definitely were some early Madoka fans who were open about liking it and not the classic Shoujo Magical Girl shows.

Thing is that’s not really the case when it comes to Deconstruction outside of Anime.  No one who calls Watchmen a Deconstruction while explaining why they like it but hate the rest of the genre exists, rather everyone understands you need to love the genre in its standard forms to appreciate the Deconstruction.  Same with the relationship between GoT and Fantasy, or Scream and Slasher films.  Despite it’s technical etymological relation to the word Destroy it’s not actually meant to be malicious, it’s about taking it apart to assemble something new, like a Lego set.

Because I was a Normie Nerd for over a decade before Anime became my main interest, my perception of terms like Deconstruction isn’t as inherently filtered through Anime discourse.

Even among people using the word to describe an Anime they like I don’t think the intent is universally malicious.  I currently oppose labeling Madoka a Deconstruction, but early on I was different, I did defend calling it a deconstruction in the past, but it never went with some hostility towards other Magical Girl shows, rather I got into Madoka soon after I became mature enough to finally be willing to publicly admit I like Sailor Moon and always have.

This of course isn’t the only AniTube video that is in part about denying certain popular Anime qualify as a Deconstruction, others do know to make the comparison to Watchmen, and in so doing show their ignorance of the place Watchmen actually holds in the history of its Genre.  Like when Trixie The Golden Witch did a video on the subject arguing certain things aren’t Deconstructions because they didn’t do anything that hadn’t been done before, unlike Watchmen.  However Watchmen in fact did not do anything that hadn’t been done before, all through the 70s there were already Superhero Comics that were Dark and dealt with real world social issues and politics, there were already Antiheroes and Heroes turning into Villains and Villains turning into Heroes, already stories with moral complexity.  [Update: Even the specific world building plot point of the Golden Age Heroes being forced into Retirement or hiding by McCarthyism was done with the JSA in Adventure Comics #466 December 1979.]  Watchmen didn't do a single thing that was completely new, it was all in the complete picture it painted.  Madoka however did things that had rarely if ever been done before and that’s why it’s not a Deconstruction, none of what’s Dark about it feels like a commentary on prior stories because all of it is tied to what’s mechanically distinct about Madoka's universe.

But maybe this misunderstanding of how inherently critical a Deconstruction is supposed to be has seeped outside the Anime Community a little bit.  Consider all the Breadtubers who think it’s important to “Deconstruct” what’s Problematic about the Superhero and Fantasy genres. Consider the YouTuber Worm’s Hole who seems to think the Darker version of a Genre is always better because they expose what’s dark and ugly about the real world.

In discussions of both Watchmen and Game of Thrones I commonly see the phrase “Critique of Power” used to describe what both Alan Moore and George R. R. Martin are trying to do and that’s why no it isn’t Feminist to root for the Dragon Lady Girl Boss.  I don’t entirely agree with either side of those debates, but I do think the kinds of Leftists who put too much emphasis on critiquing Power as a concept need to rethink their priorities.  I’m neither a Tankie or an Anarchist, if I’m a Marxist at all I’m somewhere between Kautsky and Luxemburg.

We do not in the 21st Century need to worry about arguing against Feudal Style Monarchy anymore.  If anything the knee jerk reaction of many Liberals and even some Socialists to anything that even looks like Monarchy is a problem, whether Cuba or Vietnam qualify as a “Dictatorship” or not is irrelevant to if they are economically successful Communist experiments.  The Greek word Tyrant was not originally inherently derogatory, it was made derogatory by the same Laconophiles to whom the word Democracy was Derogatory.

So the title “You are wrong about Deconstruction” is probably increasingly correct when directed at a good number of people.  But the video’s understanding of why is flawed.

Saturday, February 24, 2024

What you already know can effect how you perceive a scene.

In the first episode of the first season of the HBO TV Series Game of Thrones which is adapted from the first book of A Song of Ice and Fire called A Game of Thrones, the first scene featuring Cersei and Jamie Lannister is an original scene not form the Book with them in King's Landing before leaving for the visit to Winterfell.

What I say next is going to Spoil some plot points from both the show and books.

I first watched this show not even knowing it was based on a book already over a decade old with 4 sequels.  I also didn't know we were supposed to be thinking of this as a Who Done It, it seemed not even up to debate that Cerise and Jamie killed John Arryn and sent the assassin after Brann.  If it was like a Detective Show at all it was the Columbo kind.  Ned's investigation is framed as about finding out why they did not if.

The reveal in later books that no they didn't do either of those things actually to me reads like a twist not answering a question.  It's like when people explain why Abrams is wrong and the original Star Wars Trilogy was never a "Mystery Box", the fate of Luke's father was never presented as a mystery so when we're told it wasn't what we were first told it didn't answer anything we were already asking, it simply changed our perspective.

So imagine my surprise when I'm watching multiple YouTube Videos from ASOIAF book fans talking about what the show changed even early on and they claim this extra Cersei and Jamie scene partly spoils the central mystery by revealing right away that they didn't kill John Arryn.  This is clearly a result of them interpreting the scene through the filter of what they already know.  To me that scene still only makes sense if they did kill him, making it a plot hole when season 4 reveals the truth.  They aren't wondering who did it, they are wondering if he told anyone what he knew with the clear subtext that they killed him over what he knew.

Friday, June 9, 2023

Mystery Box Storytelling can be good, J.J. Abrams is just bad at it.

Now I know the first response is gonna be that Abrams coined the term so how can he be the one doing it wrong?  Did he identify a type of storytelling but not fully understand it?

I myself in the past have sometimes gone along with those saying Mystery Boxes are inherently bad because that's how you get Disney Star Wars.  And I still agree that it shouldn't have been the approach taken to Star Wars, that the Original Trilogy was Absolutely not Mystery Box storytelling.  Abrams' problem seems to come from him seeing it everywhere.

But since I think this idea particularly is done dirty by it's very name it's perhaps necessary to define it.  It's not any Mystery at all, it's certainly not twists where we weren't expecting there to be one, nor even every twist where we were expecting there to be a twist, and it's not anytime a character isn't named in the very first scene they appear in.  

A Mystery Box is something the story presents as being an unanswered question early on and builds up to revealing, possibly for quite a long time relative to the story's total length.  But I would also argue it only truly exists in serialized storytelling and doesn't include any question both asked and answered in one self contained Episode or Movie.

I feel bad about claiming I agreed with Mystery Boxes being inherently bad in the past because I've absolutely loved plenty of TV Shows and Anime that Absolutely did this, and specifically enjoyed engaging in that mystery speculation.  And that includes ones where the answer to the Mystery can be considered disappointing because it was either very obvious or not something I ever had a fair chance at solving in advance.  Because I truly believe in the adage that it's about the journey rather then the destination.  But the thing is I can hold the view that the answer to the mystery doesn't really matter and still enjoy engaging in all that speculation and coming up with theories of my own anyway because it simply is fun.

There is no actual tangible rule that explains what the Mystery Box stories I like did differently from Abrams.  The closest I could come to is saying the good ones don't have that as the only thing going for them, they are stories where I was actually invested in the characters and so the investment in the Mystery is about how the Answer is relevant to them, or at least they think it is.

But the thing is that's subjective, plenty of the shows I'm about to talk about loving are hated by others, and plenty of people like Abrams's Star Wars Movies, even Rise of Skywalker, I know because depending on my mood I've been one of them.  Yes I just admitted that the last part of the title of this post is Subjective, in fact it's a subjective opinion I have based on very limited information because his Star ____ movies are the only Abrams things I've seen, I haven't watched any of Lost.  Maybe it's really more Abrams being bad at explaining it in that Ted Talk people meme on then actually bad at doing it, artists are like that sometimes.

My favorite Live Action TV show and my Favorite non Japanese TV show was Pretty Little Liars, it's Mystery is ridiculously convoluted and ultimately doesn't hold up under scrutiny, and I don't care, I enjoyed every stop of the ride to get there.  It means way more to me then any Star Wars does, even The Prequels.

But the Mystery Box approach is also core to Twin Peaks and Game of Thrones going back to it's books.  Deliberately withholding information is Absolutely vital to what they were doing.

But what I'm most into is Anime.  Right now the most well known Mystery Box style Anime is Attack on Titan, and I enjoyed the first "Three" seasons of that show.  I stopped enjoying it during the "Final" season but not because I found any reveals bad or disappointing, everything about the show had changed basically which isn't inherently bad but I just wasn't into it anymore.

However my personal Favorite Anime of all time is Noir.  And it too had a Mystery Box, who killed Mireille's parents and why does Kirka have their Watch.  If you think you've solved that mystery from just the information I provided you in that sentence you are correct, the answer is that simple and obvious but it didn't matter, I still love the scene where it was revealed and love that they pretended it wasn't obvious.

Witch Hunter Robin, Madlax, El Cazador de la Bruja are other fairly obscure 2000s Anime I enjoy in part for their Mystery Boxes.

Even Revolutionary Girl Utena and Neon Genesis Evangelion are Mystery Box shows, the objection you may make to explain why they are not are equally applicable to The Force Awakens as far as the people who still like that movie are concerned.

Basically the Mystery Box is one of those story telling devices that people insist on claiming is inherently Bad and then come up with endless excuses why the ones they like don't count.

Friday, May 12, 2023

Isekai and Lesser Nobility

There were a lot more layers to the Feudal Class system then people realize.  Something like Game of Thrones tends to focus on the Royal Families and those that would be equivalents to Prince or Arch-Dukes or maybe even Dukes.  

But below them are ranks like Marquess and Count/Earl which are often the titles claimed by those Pseudo Nobles of certain forgotten genres of 19th Century literature I've talked about before, as well as Vampires.  But further below them are ranks like Vicount, Baron and Baronet.  So it eventually gets to the point where depending on how wealthy or important the land you hold Peerage over is, holding that title may not actually make you anything more then the most famous person in your local area.

So I actually find it interesting that there is a subgenre of Isekai and Quasi-Isekai where the protagonist is born (or reborn) into one of these lesser Noble families.  My first exposure to this was the 8th Son show, but then I noticed it was a big part of Jobless Reincarnation as well as The Hidden Dungeon only I can Enter.  In that latter show just the difference between Baronet and Baron is treated as really significant to a degree I find kind of funny.

In Marxist terms I guess these kinds of Nobles were kind of the Feudal equivalent of the Petite bourgeoisie.  People who are nominally by the most technical definition part of the ruling or owning class, but Marx still considered their class interests ultimately aligned with the Proletariat even if they don't realize it.

I don't have anything profound to say about it, but it's interesting and maybe something Leftist Anime Fans more well read then I am should consider looking deeper into what they have to say about Class.

Thursday, December 8, 2022

Willow, finally a good Live Action Western Fantasy show

First I should explain that I'm new to this franchise as a whole, I watched both the original 88 movie and the first three episodes of the new Disney+ show today.

The original Willow is a satisfying charming 80s Fantasy film.  What's neat about it is while a lot of the influence Tolkien has had on the Fantasy Genre has been through LOTR and later the Silmarilion, Willow feels like George Lucas's take on The Hobbit with a little Narnia inspiration as well.

The new show however has proven to endear me personally even more.  After the late summer and early fall of 2022 being largely HOTD and ROP discourse, this show came along and frankly blew both out of the water.  It also easily beats all the SW shows Disney gave us this year.

HOTD is fine, it's what I'd expect from a GOT prequel, but GOT type shows are of limited appeal to me.  ROP I enjoyed plenty of, but I also hate how much it basically felt like a post GOT fantasy show wearing LOTR cosplay.

I made two posts in the last two years about why Fantasy Anime has generally been more appealing to me then any Western Fantasy shows of the last decade, one on how they look and one on the kinds of stories they tell.  Willow is finally a Fantasy Show taking the right approach to both those issues.

And comparison to Fantasy Anime isn't the only reason to recommend the show to Anime fans, Kit has a very Bifauxnen appeal, and her being canonically Gay seems to be where they're going, so it's something Yuri fans may like as well.

I'll be following the show every Wednesday till it's done.

Friday, August 19, 2022

Secret Targaryens and Blackfyres

I feel like I'm the only person who isn't a big fan of the Jon Snow is actually the son of Rheagar Targaryen and Lyanna Stark idea and is still hoping there is a chance it's not true in the books.

I'm not one of those people who confuses their fan theory preferences with the definition of good writing and so claims a series is pulling stuff out of it's @$$ when that's not what happens, in the books R+L=J is a plausible explanation of the clues we have so far, probably the most probable, whether one likes it or not.  I am less critical of how the TV show ended then most people in general, and the criticisms I do make have little to do with it going this route, and where it is relevant is more that they didn't do more with it.

The rising through the ranks real hero of the real battle most of the world is ignoring being the secret true heir to the throne all along is frankly way too conventional for what a Song of Fire and Ice's whole mission statement is supposed to be, it just turns Jon into Strider instead of the Bastard who overcomes all that anti-Bastard bigotry.

And then there's how his existence is supposed to be the proof that even Ned Stark is imperfect, peoples perceptions of Ned are originally the main reason so many felt there had to be more to it.  But the thing is we know that Ned and Cat were not in love at the start of their marriage, it was Brandon Stark who Cat had been in love with.  I don't think it's at all out of Ned's character that he may have loved someone else back then.

But perhaps my biggest problem over all those is the implications it has for Lyanna Stark's character.  The books even more then the show compare her to Arya Stark, and to me that comparison makes her being another woman who's crowning achievement is to die giving birth to a more important male character pretty unfortunate.  So I definitely do believe she should be the Laughing Tree Knight and that her relationship with Rheagar was consensual, but most importantly she really just didn't want to be forced to marry Robert.  Ned was keeping a secret about her from Robert, but what if it's that she didn't even really die?  What if Arya is going to meet her in Bravos, or Dany in Mareem?

The other main character somewhat popularly speculated to be a secret Targaryen is Tyrion, Alt Shift X has a video on that theory that covers the reasoning behind why it exists but also why it thematically doesn't fit.

But then there is the matter of Young Griff.  No one thinks he is actually a son of Rheagar and Elia as he is currently officially claiming, their kids were definitely all killed by The Mountain.  But the popular fan theory is that he's actually a Blackfyre, a rival branch of the Targyrens that is also assumed to be extinct now, think the Jacobite exiles during the 18th Century.

I find it such an odd theory, why would a legit Blackfyre claim to be something else?  The Blakcfyres already claim they were the real true royal line all along, and certainly have a better claim then the Baratheons.  It really is a much simpler explanation that Young Griff is just a fraud, like those who claimed to be a secretly survived Louis XVII, or who claim Bonnie Prince Charlie had a secret marriage, and there's even an example of this going back to the War of the Roses connection in Perkin Warbeck.

The main evidence for Young Griff having a Blackfyre connection is his having the support of the Golden Company, the argument is they were founded for the purpose of carrying on the Blackfyre cause and that their now supporting an alleged Heir to the Blackfyre's enemies therefore makes no sense.  But again in real life there have been similar quasi military organizations founded with a very specific purpose but who moved on to a new one when the original purpose became Obsolete, take all those Chivalrous Orders who's original purpose was dependent on the existence of the Outremer States, when those States ceased to exist they found new purposes.  

It could be that at this point the Golden Company just really wants to finally successfully conquer Westeros, or that they just became mercenaries and are doing it for the money Illyrio Mmopatis is paying them, or a combination of both.

Update December 2024: And I now know something I didn't when I first wrote this, the Golden Company was founded by Bittersteel, his vendetta was always the real motivation, the Blakcfyre claim to the throne was just a political smokescreen.  Bittersteel is also the last known holder of the sword Blackfyre, so if Illyrio does have it now it was probably passed down from him.

Update February 2026: Honestly wanting the Blackfyres to be relevant at all speaks to how fandoms for stories like this get too lost in the wider world building. The Blackyres can't be just be a piece world building flavor, they have to factor into the story at hand even though they are presented as a threat finished before the backstory of the main story even started. 

Wednesday, August 17, 2022

Unsullied Freedom

This can be considered a follow up of sorts to my last Game of Thrones post.

In my re-watch I'm early in season 3 now, they really are so brazenly telegraphing that Dany is ultimately a villain (but also already departing from the books in aspects of that).  But a lot of why that's so offensive to people is how much of the narrative had been about her Freeing Slaves and punishing Slave owners.

Here's the thing though, the claim that she Freed the Unsullied is absurd and we should never have bought it.

She says every one of them is free to go if they choose, and whether she meant that or not is irrelevant to the point I shall make.  Because where exactly would an Unsullied who choose to leave at that moment have to go?  With no family and no skills at anything other then being a mindless solider?

Because they aren't even normal Slaves, they are people mutilated and brainwashed from childhood to be functionally mindless drones.  It is absolutely an expression of Capitalist Liberalism to think simply legally declaring them Free is sufficient.  Truly freeing them required putting the work into building a new way of life for them, something Dany doesn't have the time to do while her real goal is building a army to conquer a continent that is foreign to her.

In a situation like what the Unsullied are presented as being, even allowing the option to continue being what they have been is functionally the same as not freeing them at all.  To a Neoliberal or Libertarian's simplistic understanding of "Freedom" that sounds like a contradiction in terms, but those of us on the True Left know it's the truth.

While the Unsullied are an over the top hyper specific Fantastical exaggeration, the basic lesson here can be compared to how real life Slavery Abolition has often been botched.  After the U.S. Civil War many of the newly freed slaves were trapped into situations like Sharecropping because they weren't provided for, they were "Freed" but left with nothing.  

Shockingly enough Tolkien understood this, at the end of LOTR when Aragorn Freed the Slaves in Mordor he also gave them that land, this fictional Medieval style Monarch did what Ulysses S Grant did not.

Tuesday, August 16, 2022

Ned Stark, deconstructing the deconstruction

I don't like the term "Deconstruction" as it's commonly used now, but people keep using that word for whatever they think the the early seasons of Game of Thrones did well.

One of the themes of stories like Game of Thrones is questioning narratives, and I think on some level it even wants us questioning it's own narrative.  And season 2 onwards has been repeating a narrative about Ned Stark that doesn't quite match what you see when you re-watch season 1.  That his downfall was because of his "Honor", that his compulsive Honesty and Mercy got in the way of his ablity to actually think logically or strategically.

Take the scene early in season 2 when Tyrion finds Varys talking to Shay and then when Varys leaves he accused him of threatening him and says "I'm not Ned Stark, I know how this game is played".  Was there any scene in season 1 where Ned is just flat out ignorant of a veiled threat?  No ,I'd argue it's Tyrion breaking the rules of the game here by breaking it's fourth wall.  But Tyrion wasn't there, he's making assumptions based on his personal attitude towards the concept of Honor.

Was Ned being overly Honest when he said Cat arrested Tyrion on his orders even though he actually told her not do anything yet?  Was he being overly honest when he deliberately changed the intended wording of Robert's will?  Was he overly Merciful when he executed that runaway for being scared?

Ned warned Cersie that he knew about her incest and was gonna tell Robert out of a desire to allow her to save her children.  But why did he think that was necessary?  The fact is because of the arguments about Dany he'd lost faith in Robert's character, he thought Robert would kill the children he'd been raising as his own for years if he learned they weren't biologically his, and frankly I doubt that was ever even true.  And in that kind of society assuming the worst about your King isn't very Honorable.

But is the repeated claim Robert wouldn't even have been killed at that time if Ned hadn't told Cersie true?  I'm unsure only because this may be something where maybe the TV version messed up the timeline, but on the TV show they'd already left on that hunt, it's heavily implied Lancel was already supplying the poisoned Wine.

But the real question is, once Ned felt he had no choice but to resort to a Coup, what was his practical mistake there?  It was trusting Little Finger, yet involving Little Finger was explicitly pointed out as the "dishonorable" part of Ned's plan, Little Finger himself egged him on about it.

Wednesday, January 12, 2022

Fantasy stories are better with a focused narrative.

Last year I did a post about one aesthetic problem I have with most Live Action Fantasy TV shows of the last Decade or so.  But there is also a narrative problem.

Game of Thrones had a structure that involved jumping around between various characters and plotlines that were not directly connected in any way yet apparent.  And for Game of Thrones it worked, in fact that show's downfall seemed to begin when it started rushing to tie everything together.  But the problem with so much post GoT Fantasy TV shows is emulating that aspect of GoT's structure.

I prefer my Fantasy Stories to be adventure stories, about one protagonist or group of protagonists on a journey, with the audience learning about the epic scale and lore of the world as they encounter it through those protagonists eyes.  This is why The Hobbit, The Fellowship of The Ring, the Narnia Books, the first Dragonlance book, and most Fantasy Anime (Isekai or not) I'm a fan of work so well.  And outside the realm of specifically medieval European style Fantasy I can add The Phantom Menace and A New Hope, even Star Trek when it intentionally or not starts to seem more Fantasy then SciFi, I think both Avatar The Last Airbender and Legend of Korra originally worked that way as well but I didn't watch them.  It's also essentially how Fantasy Video Games like JRPGs wind up being structured.

Now some of the sagas I just referred to will eventually split up the main cast or even jump away from them altogether.  But that's after doing a lot of build up, Peter Jackson's version gave us 3 to four hours before the Fellowship was broken, but the content of the book could have given us a full TV season with more episodes then a GoT season.  Also cutting away to villains occasionally is a different matter.

I'm well aware that the Wheel of Time books are older then the books Game of Thrones was based on, and so fans of that franchise will be annoyed at me referring to it's new Amazon Prime TV show as the product of a post GoT trend, but it was largely my thoughts on how that show played out that made me start working on this post.

However I suspect the TV show is only doing what I don't like here because of the decision to cram 4 novels into one 8 episode season.  The series splits it's initial party up at the end of episode 2, and it goes on to treat that split and their eventual reunion with a gravitas I do not feel was properly earned.  How it feels in TV form would be like if the Fellowship of the Ring split up before they even reached Rivendell.

I've referred to the film Maquia as being the fantasy Anime that most resembles the Aesthetic I would want for an Animated film or series set in the First Age of Middle Earth.  But I've also now watched 11 episodes of Record of Grancrest War, and I think in a weird way that Anime most resembles the Inklings ideologically.  It's also another example of an Anime that handles this issue better then any of these American TV shows, it only spends any significant time away from it's main couple after spending a lot of time establishing them.

Isekai Light Novel Adaptations naturally focus primarily on the POV of the Isekaied protagonist(s).

Update November 2022:  I have very mixed feelings on The Rings of Power series, most of what I don't like does come down to it forcing the GoT story structure on Tolkien. 

Thursday, August 12, 2021

Fantasy stories should look Fantastic

Lately there has been a lot of complaining about the over abundance of Medieval European Style Fantasy in Anime.  But I'm glad Anime gives me so much because even at it's most generic Anime takes on this Genre always look like a world I can believe someone would Fantasize about living in.  Even when the subject matter gets rather dark like in Berserk or Goblin Slayer it's still not afraid to actually have a bright and colorful look do it.

American Media has been approaching this genre the same way they have Historical fiction.  Besides the actual Tolkien and Lewis adaptations they are obsessed with looking "Gritty" and "Realistic", which I feel often results in looking uninspired and boring.  And some might think Jackson's approach to Middle Earth was too gritty, well it mostly was for The Hobbit.

For an example I watched the first episode of The Shannara Chronicles on Netflix recently, and it looks so dull, like they'd rather be making one of those YA Dystopian movies that was a trend in the 2010s.  Like you can have a culture in your fantasy setting have a "we're the Emos wearing black all the time" aesthetic, but that certainly shouldn't be the firggin Elves.

And every other Live Action Fantasy show I saw scrolling Netflix looked the same, The Witcher, Cursed, all of em.

Thing is you can be aesthetically dark in a way that's still visually interesting, like the Aesthetic Giger was hired to create for House Harkonnen in Jodorowsky's canceled Dune adaptation.  But that's not what we're getting in these shows, it feels like they're gritty because they think that's how to be taken seriously in a post Game of Thrones world.

The Gritty and Realistic approach worked for Game of Thrones because it had successfully positioned itself as the Watchmen of High Fantasy.  A show trying to look like Game of Thrones while not being so deconstructive in how it's written (Shannara's pilot seemed to be setting up some pretty standard heroes' Journeys) will clash far more then a dark story that looks bright and colorful will.

Let's take Narnia for example.  In the case of Prince Caspian I consider the film version an improvement over the book.  It is darker and even grittier in subject matter then the first movie, but still in fact operates with the exact same color pallet.  It doesn't clash because Narnia looking like a world someone might want to live in is what makes bad stuff happening to it effective.  And that is doubly true for why the original Berserk Anime worked.

But speaking of Anime, most of the Fantasy Anime of the last 10 or even 15 years is not stuff the Inklings would have been likely to like for other reasons, because of how much they run on Gamer logic.  However 2018's Maquia: When the Promised Flower Blooms is an exception to that, it's a High Fantasy Anime Film that is free of those Gamer elements and really is a pretty good reference point for how I would want an Animated Film or Series set in the First Age of Middle Earth to both look and feel.

The Superhero genre has learned that it doesn't always need to be dark and gritty.  To the point where now even most R Rated Superhero films are pretty bright and colorful like The Suicide Squad and the Deadpool movies.  And then Birds of Prey was a good example of being dark a lot of the time but still vibrant.  I wish both the Fantasy and Historical Epic genres could learn that lesson.

Perhaps some might argue the budget is to blame when I'm talking about TV shows.  Shannara wasn't even a Netflix exclusive but originally on MTV.  However I don't see how that so specifically effects Color.  You see the thing with Shannara is that everything else you could call cheap and bland about how the sets and costumes look I could have tolerated if it was colored differently, or maybe even if the colors they do have weren't so muted.  It might be because of my ADD but Bright Colors inherently hold my attention more.

Thursday, April 22, 2021

Fantasy stories where Royal Blood gives you Superpowers.

I find this topic interesting to analyze.

On the one hand if you're going to have genetically inherited Superpowers or Magical Affinities be a thing in your fictional setting, it actually seems far more plausible to me that they would become the ruling class rather then the X-Men based standard of making them oppressed minorities.

However on the other hand real world Hereditary Monarchies have been justified by claims that the Royal Bloodline descends from Demigods or when Christianized have some God granted miracle power to vindicate their Divine Right to Rule. So doing this in a Fantasy or Sci-Fi story can intentionally or not seem like vindication of actual Royalist beliefs.

A lot of old 19th Century Novels that don't have fantastical elements do involve lost heirs to titles of Nobility where the lost rightful heir is identified by some Heirloom or Birthmark.  I can see how it would make sense when translating those tropes into a Fantastical setting to use some sort of Super Power or Magical Ability instead.

"The hands of the king are the hands of a healer, and so shall the rightful king be known." from The Lord of The Rings is the most directly based on the real world equivalent.  The Royal Touch associated with both French and English Kings.  And yeah the Inklings more then any other famous writers of Fantasy were Medievalists in their real world politics.  More recently the Royal Touch has been cited by Da Vinci Code supporters as evidence that the Merovingians descended from Jesus.

In Game Of Thrones and the Novels it's based on the Targaryen ablity to control Dragons is the source of their Divine Right to rule.  People who liked how the final season ended tend to paint the complainers like Lindsay Ellis as the ultimate Girl Boss Feminists who suddenly support Hereditary Monarchy when it's a Woman.  Those critics have in fact made it clear it's about the character development, and suggesting Targaryen madness is simply biological determinism does not actually disagree with Eugenics.

In Attack On Titan those with royal blood can alter memories and it seems also command Titans, or help Titan Shifters control Titans.  And indeed Krista/Historia's arc over the course of Season 2 and the first part of season 3 is the best Return of The Queen arc I've seen so far.

But I want to talk last about something more obscure.  Aldnoah Zero an Anime from 2014 I watched recently on HBOMax.  

It's a Real Robots Mecha show using a lot of tropes codified by Gundam.  But in Gundam the super powers that exist for the purpose of limiting the ability to pilot Gundams to specific people are more like Childhood's End (even calling them Newtypes seems to play on language from that book).  But in this show it's an ability the Royal Family of the Martian Empire was given by some technology of an ancient lost Martian civilization, but that they can also loan to others making them Nobles.  When The Princess does this it tends to be by Kissing them on the Lips.

So this show unlike a lot of Mecha does wind up seeming like a straight forward endorsement of Royalism.  The key to making Peace in the end is getting the good Royal on the Throne.

It also reminds me how a lot of the concepts related to Courtly Love in old Chretien de Troyes style Medieval Romances kind of resemble the modern Internet concept of Simping.  In this Anime whether you're a good guy or a bad guy isn't determined by which side of the War you're on, but whether or not you're Simping for Princess Asseylum.

Those are the four that popped into my head right away as I decided to make this post.  Feel free to comment with other examples you find interesting.

Thursday, August 22, 2019

A Game of Endings

Avengers Endgame was great, I've already seen it twice now so I know it can hold up, historically second viewings have always been my most critical ones.  I wanted to celebrate that good news before getting into what this post is actually about.

I haven't watched Game of Thrones since season 4, but after watching a plurality of Video Essays and rants about the ending I get the sense that I'm generally inclined agree with mostly all of the criticisms.  People hating on letting the North be independent makes me uncomfortable but that's no where near the main event of all the complaining.

There are however two things that are a part of this discussion I feel inclined to disagree with.

The fact that I've seen more then one person say they can't enjoy the early seasons they used to love anymore.  This is something I've already talked about more directly in the context of Anime, my fundamental disagreement with Glass Reflection's The Ending is Paramount video.

Thing is I've never really been disappointed by a bad or imperfect ending because I know better then to expect it to be great.  I know that the longer it takes to get to the ending the more impossible it is it'll feel truly satisfying.  But even in the case of a single season 24 episode show like Romeo+Juliet my frustration with the last two episodes cannot take away how much I loved the first 22.

I do love great endings when they happen, and Avengers Endgame manages to top even the Anime Endings I find highly satisfying (Code Geass R2 is still the best ending I've ever seen in Anime) because it managed to pull it off even though it was over a Decade in building.

In order for my overall opinion of something I started out liking to become even mediocre much less bad the decline has to begin very early.  In the case of Neon Genesis Evangelion it was as soon as Asuka came in things started to decline, the literal End of Evangelion being utterly irredeemable was not enough on it's own.

The second Issue I have is everyone feeling so confident the eventual ending of the A Song of Ice and Fire books will be very well executed even if at first glance it looks like the same basic ending. I'm certain their ending will also be unsatisfying.  I'm not even confident the final book will ever get written at all.

It's possible of course that now people will praise the books' ending just for being different then how the show ended, or that even if it is genuinely better executed it'll be because it had the benefit of seeing how the show's ending was critiqued. Which means Martin should perhaps be eternally grateful the TV show ended how it did.

I do think Martin has a basic idea of where he wants the story to go, and maybe he gave the gist of it to the show's writers.  But his taking forever to write even the second to last book tells me he has no idea of how to actually get there.  And I feel the same way about Berserk, the insane confidence of some Otaku who think the Mangaka has some brilliant ending perfectly mapped out when it's taking him over 30 years to get there is laughable to me.

Meaning much of the core criticism of the show's ending could easily be equally applicable to the books, forcing the characters to a predetermined end even if it doesn't organically fit their journey, it's just the specifics that would be different.  This problem has never been unique to adaptations, Star Trek Voyager's finale had the same core issue, as SFDebris explained they stubbornly stuck to a finale they wrote at the same time they wrote the pilot.

Of course part of why I doubt I'd like the Books' ending any better is how for me Game of Thrones went wrong a lot sooner then it did for them.  I loved the first 2 seasons, even mostly liked season 3, which is more then enough to indefinitely give my mind an overall positive association for the brand.  But season 4 is where the show lost me.  Most people at the soonest see the very end of season 4 as the first warning sign, but overall it's when the show ran out of book material they started not liking it.

The show had some differences from the books even in season 1, and from what I've heard I think I'm inclined to like the show better in at least that season/book's case.  I mean superficially I'd have preferred the books much more over-sized Iron Throne, but the more meaningful changes I'm glad they changed.

So it seems like if anything I'm inclined to prefer the show to the books.

Many critics of the final season say they are not in concept against Dani's heel turn and they are confident Martin is going to "character develop" it better.  For me Dani being set up as a righteous leader is core to what I was liking, and the seeds of her ruthlessness being planted was part of why season 4 turned me off.

If Martin saw "The Return of the King" trope turning out to be a bad thing as the core of his deconstructive narrative, then he shouldn't have made that King a Queen, because to me choosing to "deconstruct" the Messianic Archetype when you give it to a woman is inherently sexist.  I crave seeing that narrative played straight but with a Queen and that's why I loved Krista/Historia's story-line in Seasons 2 and 3 of Attack on Titan.

So even if Dani turning evil genocidal maniac makes more sense in the books I would still inherently hate it.

Honestly I'd like it if it's Jon Snow who turns evil after finding out he was the rightful heir all along, that would be a far better deconstruction of that trope to me.  He's the one who's journey in the first 4 seasons seems like what modern audiences are inclined to consider the most acceptable version of that Trope, like Aragon as a Ranger but with even more humility and hardship.  So deconstructing the expectation that that inherently makes a good person much less a good leader would be far more subversive.   It'd also Subvert the show's internal expectation that the Starks are always good.

But like with the Dani debate you'd have to execute it properly and not make it seem like a switch was flipped out of nowhere.

Saturday, September 29, 2018

Pokemon of The Great Houses of Westeros

Back in the early years of Game of Thrones dominating pop culture I made a thread on a Message Board, I think it was VGF, that I can't find anymore, where I equated the various Sigils of the Houses of Westeros with various Pokemon.

I tried to remake it from scratch and I'm pretty sure I've remembered what I chose for everyone but Martell which is kind of the hardest to chose one for anyway, heck maybe I just left them out originally, they probably hadn't appeared properly on the show yet when I made it.

This was made back during the Black and White era, but since I never got into those games I had pretty much limited myself to the first 4 generations.  The responses I remember getting most objected to Charizard for Targaryen with people saying it should be Hydreigon.  Once I learned about the Blackfyre rebellion I figured Hydreigon would be good for the Blackfyres.  But now I would instead chose Mega Charizard X for the Blackfyre Sigil.

The reason I think some preferred Hydreigon for the Targaryens is because it's three headed.  But in universe the Dragons associated with the Targaryens are not literally multi-headed creatures, the three heads of the Sigil represent there being three Dragons involved in the founding of the Targaryen Dynasty, one ridden by Aegon The First and the other two by his sisters who Ayra Stark talked about in season 2.

The most important thing about the Targaryen Dragons is that they breath fire (they are the Fire of the Song of Fire and Ice), meaning really no actual Dragon type Pokemon fits the bill.  The Dragon type in Pokemon is based on Eastern notions of what a Dragon is, which is why it combines with the Water type more often then fire. But to the Western perception Charizard has always been the only true Dragon in the Pokemon universe.  (The Biblical Leviathan I can't find a Pokemon to equate with since it's uniquely both Fire Breathing and a Sea serpent, if a hacker gave Fire type attacks to Gyarados you'd then have how I picture Leviathan).

I gave myself a rule against using Legendaries, which was most limiting for the Greyjoys since their Sigil is literally of the god they worship, The Drowned god, who is often compared to Cthulhu, which based on what I've said about Pokemon before can lead one to equating it with Kyogre.  However one thing that people forget is Cthulhu would not be a Water Type, the Water is imprisoning him.  But that distinction isn't part of how the Drowned god is described, so yeah the Ironborn are basically the Team Aqua of Westeros.  At any rate I decided on Octillery for the Greyjoys.

I had initially chosen Stantler for Baratheon, but have now decided Swashbuck can work equally as well.

Choosing Persian for Lannister was one of the easiest.  While today there are more Lion like Pokemon to chose from, Persian is still best because Pay Day is a good allegory for $h!ting gold.

Targaryen = Charizard

Stark = Mightyena

Lannister = Persian

Baratheon = Stantler or Swashbuck

Tyrel = Sunflora

Arryn = Pidgeot

Tully = Magikarp

Martell = Castform (Sunny Form) or Solrock

Greyjoy = Octillery

Blackfyre = Mega Charizard X

Thursday, January 18, 2018

I think 2011 was the beginning of my Era of Anime.

My top two favorite Anime may be shows much older then that, Noir and Lucky Star, as well as two other shows that had formally been up there before I watched more shows, Code Geass and Utena.  But those are shows I feel were ahead of their time.  And the main advantage they have over their modern equivalents is how less common it is for shows to be two core now.

I suspected this before I started going over 2011 on MAL and seeing even more basis for it then I first thought.  And some of the 2011 shows I haven't seen yet I'm very much wanting to check out now.  Perhaps that'll result in future updates to this post.  Plus I'm (mostly) not even gonna count here shows I started then put on hold.

None of these shows I watched at the time, or even when their Dubs were new.  This is stuff I was drawn to and really liked after getting more fully into Anime starting around late 2014 and early 2015.

In the Winter season of 2011 was Puella Magi Madoka Magica.  And the start of Suite Pretty Cure, the first PreCure pair I think is good after the OG team.

Spring 2011 had Steins;Gate, Aria of the Scarlet Ammo, C:The Money of Soul and Possibly Control,

Summer 2011 had Yuru Yuri season 1 and Mawaru Penguindrum.

And then the Fall had Mirai Nikki and season one of Fate/Zero.

It's not just that there was a lot of stuff I liked, not all those are even 10s.  It's that I don't think any year has more shows I like that were trend setters.

All these trends have precedent that came before.  With Madoka some people feel compelled to go and on about how there were dark Magical Girl shows before, but there were sort of slasher films before Halloween as well.  Madoka had something the Dark Magical Girl shows before it didn't, that shows since have inherited.  I don't feel qualified o explain what it was, but I definitely know it does.  Regardless of that debate however Madoka was indisputably what triggered the current trend, no one likes Yuki Yuna Is A Hero more then me (now that the Two Fat Guys Talk people are less happy with season 2 then I am) but I'm not gonna deny it wouldn't have gotten green-lite without Madoka.

Light Magical Girl shows also had a transition this year.  Suite Pretty Cure topped the previous PreCure sequels because it began the trend of giving each season a distinct hook, and this is what has kept PreCure shows since then fresh.  And I can't help but feel that musically Sailor Moon Crystal is indebted to Suite PreCure.

As I'd said before, the 2014 Sailor Moon revival is what brought me to Hulu, then Madoka was a recommended show on the Sailor Moon and SMC pages, and that's what sent me down a spiral towards Anime consuming my Nerdiness.

Fate/Zero wasn't the first Fate/ Anime, but it's the first that was a major hit and launched the Fate/Mania we've seen since.  And Mirai Nikki caused an upsurge in Yandere popularity.  Aria of the Scarlet Ammo is a show where I like it's spin off,  Aria of The Scarlet Ammo AA, even more.

A lot of people have considered it interesting how certain 2011 Anime came out the same year Game of Thrones started (to be exact, season 1 aired congruent with the Spring Anime season), given claims they appeal in a similar way.  But while GoT I grew tired of by some point in season 4.  Anime descended from these are still fresh to me.  The Martiness of some popular 2011 Anime kind of helped make SAO, Attack on Titan, The Woman Called Fujiko Mine, and Re:Zero possible in the following years.

But for me personally the more significant corresponding western media was Pretty Little Liars. It started the prior year but only half a season aired in 2010.  In 2011 aired the second half of season 1, the first half of season 2, and the first of it's infamous Halloween specials.  It caught my attention in 2010 but it was in 2011 is became a favorite.  And it overlaps with what I look for in Anime in a number of ways.  It's essentially a Four Girls show with a convoluted murder mystery, lots of pulpy Film Noir homages and Yuri.

Of course somethings in 2011 Anime can also be seen as the end of the era that came before.  Like the K-On movie which I didn't mention above as I was just going through TV Anime.  But while the K-On movie marked the end of one era of Cute Girls doing Cute Things Anime, the start of Yuru Yuri began a new era, that made shows like Is The Order A Rabbit and Engaged to the Unidentified possible.

Update September 12 2018: Some other 2011 Anime I should mention are the Carnival Phantasm shorts and the Kampfer OVA.  And the third PreCure Allstar movie.  Also the Toradora Bento Battle OVA and the Fate/Prototype OVA.  All these I had already seen before I first made this post.

On my MAL I currently have listed 291 Anime I've completed, I'm probably gonna soon add the Death Note Recap movies which I saw awhile ago but neglected to add.

140 are shows who's Air Star Date was after the end of 2010, so that's approaching half of all Anime I've completed.  And remember even most  post 2010 Anime I saw wasn't brand new when I first saw it, I only really started following seasonal currently airing Anime in the Winter of 2017.  I still only follow a handful of currently airing Anime at a time, usually favoring what gets Simuldubbed.

Only 58 of my completed Anime are pre 2000.  And when it comes to pre 2000 Anime I think I've nearly bottomed out on what interests me.  I'm eventually gonna watch more Lupin III and Gundam stuff, and if it ever gets available in English La Seine No Hoshi.  But generally speaking my attempts to try out 80s and 90s Anime leave me concluding their appeal is limited to my tastes.  For the so Bad it's good Dubs I find it more efficient to just watch Anime Abandon videos.

Sunday, March 26, 2017

Sword Art Online was never a Death Game anime

I want to start by saying there are lot of valid reasons to dislike SAO.  I enjoyed the Aincrad arc though it was flawed.  I had a lot of problems with Alfheim and Gungale though there were also good moments.  The two arcs that made up the second half of season 2 were great, Mother's Rosario especially is my favorite so far. I haven't seen Ordinal Scale yet, I will be waiting for the Dubs to watch either it or season 3.

A common theme I've seen among critics of SAO, especially those who hate even the original arc, including Digibro himself in the PCP Podcast on "Plebs", is a notion that it was somehow supposed to be a Death Game Anime, and that the show then ruined it's own sense of urgencey.

Mirai Nikki was a Death Game anime, Fate/Stay Night and Fate/Zero are Death Game animes.  Magical Girl Raising Project is a Death Game Anime (I just watched it and am still processing my thoughts on it).  It's a genre that has an inherently limited appeal to me.  I watched RP because I'm into Magical Girls, Mirai Nikki for the Yandere and Fate/ because I'm into Arthurian Legend and other mythologies.  But if SAO had been structured like a Death Game then it'd have had almost none of what I like about it.

A Death Game Anime is one where the situation encourages or forces the players of the game to kill each other.   The situation Kiba created encouraged working together and for the most part they did.  The people who became murderers were ones who had those tendencies already.

I don't care that character use the words "Death Game" in universe to describe their situation, that is irrelevant to what it means as an Anime sub genre.

Digibro said in the last episode of the DigiBros Super Mario 64 let's play, when they were speculating on Zelda BotW (it was recorded before the game came out) that he doesn't like when Video Games have a sense of urgency.  I agree with him on that, and that is why I like the very parts of SAO he considered the most useless.  Every Video Game he could praise for not having a sense of urgency still has a theoretical sense of urgency, if Link doesn't get to the end and defeat Ganon eventually then Hyrule is doomed.  And that is all the opening episodes of SAO were meant to do, establish a problem that they need to solve, eventually.

But the appeal to me was always about these character living in a digital fantasy world, not about them getting out of it, it appeals to me in a way that connects to how I feel Caprica was such a missed opportunity.  So my favorite episodes were largely the "Filler" which apparently came from the second Light Novel.

Digibro most hated the Murder Mystery two parter.  I loved those, for the most part.  As a fan of Holmesian stories I enjoyed seeing this speculation on how you'd apply Holmsian deductive reasoning in an MMO world.  And when they figured out the deaths had been faked I was quite satisfied.  Then the story dragged on adding some more twists and I soured on it a little.

I also agree that like in the original web novels Asuna should have killed that one guy.

Mother's Basement did a video on SAO where he said it was ruined by the Yui character turning out to be an AI, which he said destroyed the sense that anyone can die.  I have come to be quite personally annoyed by shows wanting to create that illusion, and viewers who ever buy into it.  If you're paying attention you can easily tell who isn't eligible to die on Game of Thrones, or the books it was based on.  Ned Stark was a character created specifically to die early on creating that illusion, and Mami Tomoe was Ned Stark as a Magical Girl, in more ways then one.

And I'm annoyed by the people who want a show where anyone can die.  Whenever I'm watching something and a character death happens that did not feel sufficiently built up to, it simply comes off as bad writing to me, even when it's a character I didn't much care for.  This is part of what slowly soured me to The Vampire Diaries, a show I loved at first.  And when it's done to a character I love, like my Waifu Anna (played by Malese Jow), it just enrages me.  I hate when shows do things just for shock value, and plenty of my favorite moments have been completely predictable ones.  And that is Why I Like Prequels.

As a Christian I like Adoption themes in my fiction, something I talked about in a Force Awakens post last year "Rey is a Skywalker but not by Blood".  So in this setting I quite like the idea of our protagonists adopting an AI character.  So Mother's Basement desire to say Yui ruined SAO by being an AI offends me, just as it offends me when people say Dawn (also my Waifu) ruined Buffy.

That is all for this post.  Expect maybe something in the future about SAO as a Gnostic Allegory, the first two arcs anyway.

Sunday, April 3, 2016

The War of The Roses, Game of Thrones and Final Fantasy Tactics

Game of Thrones, based on the Saga of Fire and Ice books, and Final Fantasy Tactics are two important parts of modern Nerdy Pop Culture (one is currently a bit more obscure then the other) that have in common drawing inspiration from the chapter of English history known as the War of the Roses.  But with some clear major liberties.

Both are also very dark pessimistic and arguably deconstructive takes on the High Fantasy Genre, I guess the War of the Roses isn't the most ideal piece of history to draw on if you wanna be Optimistic.

Both Ivalice and Westeros were originally Seven Kingdoms, just like England which was seven Anglo-Saxon Kingdoms united by Ælfrēd The Great's successors.  Aegon Targaryen being a conqueror from outside Westeros however would make a closer analogy to William The Conqueror then Ælfrēd.

One thing I wonder if anyone else has noticed is that when you apply how Westeros' geography equates to England's, The Wall that is such a big plot point is clearly inspired by Hadrian's Wall.

The scenario also involves an "Evil" Queen who's son may or may not be the son of her Kingly husband.  But how exactly she relates to the House that sides with her tends to be changed.

And both are a conflict between North and South.  Perhaps the least unique of the defining characteristics.  There was a North v South civil war in the history of my country also.  Bible scholars know that happens in the Bible twice (with Israel and with the division of Alexander's Empire in Daniel 11).  And it's part of Ancient Egypt's history.  And since we'll be talking some Japanese media here there was also a time when Japan was divided between rival branches of the Imperial Family, one based up North and the other down South.

There are some key differences in how the two draw inspiration from it.

The most superficial thing is the way Tactics geographically switches the scenario somewhat.  In both the History and GoT it's the Southern House that sides with the Queen, while in Tactics it's the North.

But the biggest distinction is that Martin was largely drawing on a popular perception of the war that viewed the Yorks as the good guys, at least before the Yorks internal conflicts messed everything up.  Richard 3rd Duke of York was largely the basis for Ned Stark, and Edward IV the basis for Robb Stark.

But in Tactics both Dukes are equally selfish pricks who care nothing for the suffering their war brings on the common people they're supposed to be responsible for.  And they're not even the most Evil characters in the story.

However, they also have a lot in common in how they change the story, which is perhaps the most interesting thing to look at.

In the real War of the Roses both houses were branches of the Royal Family.  Siding with Lancaster was by traditional standards siding with the rightful heir, they had been the main line for two generations by this point.  While the Dukes of York descended from a different son of one of the earlier Plantagenets.  The Duke of York held a relation to the Royal family comparable to the Duke of Orleans prior to the French Revolution.  The Noble who serves as leader of the Lancaster faction without sitting on the throne himself is actually Somerset and that's why their associated with the South.  [Update: So I originally wrote this not knowing about the whole Mortimer claim, the Yorks are the more senior line by Male-Preference rather then Male-Only Primogeniture.  But also Henry IV claimed the Throne by Conquest like Robert Baratheon.]

But in both GoT and Tactics the warring houses are separate Noble Houses, and the Royal family effectively going extinct is partly what causes the conflict.

In both the Queen is a member of one of the rival houses who married the King.  While historically the Queen was a foreign (French) royal who married the King of England, who was a Lancaster.

All three have in common a suspicion (though in Tactics it is very vaguely hinted at while in GoT it's blatantly confirmed) that the actual father of the Queen's son is a member of the House that sides with her.  But because of the above change this makes both fictional scenarios Incestuous, while historically it would not have been (I won't venture to guess if it's true or not).

As Fantasy stories it's not surprising that both add supernatural elements, but it's interesting how they both bring them in in a similar way.  An inhuman menace threatens to destroy the world and the internal selfish squabbling of the people who run it have them totally uninterested in dealing with that.  Like they're taking Reagan's whole "if Aliens attacked we'd all come together" slogan and saying, "no we wouldn't".

That's not necessarily the only way you could bring Cosmic Horrors into a story like this.  You could go further then Martin in siding with the North by having the Demons side with Lancaster and the Angels side with York.  But that would lack nuance I suppose.  In Homer's depiction of the Trojan War the gods all took sides in the conflict and often switched sides at random, I would probably emulate that.

Both are likely to be very different from history in how they end.  Martin's isn't over yet so we don't know for sure.  But it seems like there is hope that maybe eventually they will come together and deal with the real threat.  But as a Video Game FF Tactics has to be a story where the character you play and the party he forms save the world mostly on their own, the depressing part is in Universe no one knows what Ramza did and the biggest @##hole is remembered as a hero.

If whoever rules when the dust settles isn't exactly either side fighting each other when it all started.  Then that "winner" could be viewed as allegorically Henry VII to some extent.  In tactics this would be Delita Herial (and maybe Ovelia would be Elizabeth of York?).  But an important plot point of the game is that Delita was a complete commoner.  Henry Tudor had a distant connection to the Lancaster line, but more importantly he was a direct heir to the Princes of Wales and thus to the Kings of the Britons who ruled the Island before the Anglo-Saxons came.   Because of this he was heralded as the Mab Darodan and the return of King Arthur.

Who would make the most sense in that context in Game of Thrones?  Maybe a Targaryen since Pendragon means head of the Dragon.  And Henry Tudor was a direct descendant of Maelgwn who Gildas called "The Dragon of the Island".  Arthur means Bear but none of the houses of Westeros have a Bear as their symbol.  Henry Tudor invaded crossing the channel from France, which could fit what Daenerys is planning to do.

Also GoT doesn't have an allegorical vilification of Christianity.  It has religious themes, but not so blatantly anti-religious.

They are no doubt not the only works of fiction to draw inspiration from the War of the Roses.  Though I'm hardly an expert on the subject.  But I know that the first such example would actually be Le Morte d'Arthur, which has to a large extent defined Arthurian legend ever since.  Thomas Mallory was actually contemporary with the War of the Roses, so for his time the influence of that War on fiction was more like WWII and Vietnam are for us.  The actual geopolitical scenario in the story makes far less of a direct analogy, the parallels that do exist are ones you may have to be a contemporary to get.

There has also been fiction that directly depicts the history involved.  Starting with Shakespeare's Tetrology, (the Henry VI trilogy and Richard III).  I rather enjoyed The White Queen TV Series, haven't read the books.

Wednesday, March 4, 2015

Gotham is suffering from True Blood syndrome

I love watching Gotham every week, but I'm worried about it's long term sustainability.

True Blood and Game Thrones have/had the same basic flaw in common in my view.  They had too many characters in seemingly unconnected stories all over the place, and trying to include as many as possible every single week.

GoT is like that largely because of the Books it's adapted from, being all over the place is a bit more palpable in print.  TB is also theoretically based on a series of books, but not really.

I don't have a problem with there being a lot of characters and a lot of story-lines.  But we don't need to see everyone or even almost everyone every single week.  Not if you're having their stories this loosely connected.  Gordon and maybe Bullock are the only ones who need to appear every episode.

It doesn't help that no one in this fandom agrees on what stories are the expendable ones.

Some people hate Fish and think she's the worst most pointless character.  Others think she's the best Character on the show.  I like the character, but some characters are hurt by seeing them to much.  When Fish left Gotham after her plan against Falcone failed, that was a perfect time to simply have her be gone for awhile so her return latter could be a big deal.  Instead we have this pointless Dollmaker story-line that basically thrives on Shock Value.

Some don't like Barbara, I love Barbara.  Some don't like Tompkins, I like her but think her being a love interest for Gordon is a waste.  I'm really upset we're not seeing more of Renee Montoya lately, but I wouldn't want her there every single week either.  If the show had been an adaptation of Gotham Central she'd have been a perfect lead, but it's not.

The people at LadyGeekGirl think Gordon is the most useless character, but as much as I love them they're sometimes living caricatures of radical liberals who just hold a grudge over him being a "Cishet White Male lead".  I think Gordon's character has improved a great deal during the second part of the season, he's no longer a typical bland lead.

Gotham is still salvageable, here is why.

This all over the place structure can work out if by the Season finale everything comes together.  For Season 2 of True Blood that is what happened, the Texas stuff was wrapped up and the closing episodes were all about the Meaned.   I loved Season 2.

But for Season 3, the last one I watched to it's end, that didn't happen.  It ended on several separate cliff hangers.

You may be thinking," those shows lasted a really long time, why would it hurt Gotham?" a few key differences.

1. They had short seasons, 10-12 episodes, Gotham is getting 22, that makes a difference if your going to invest a lot of time in a story for things to never come together.

2. Gotham is a network show not a premium channel show, that makes the Ratings standards a lot different.

3. Neither of those shows seemed like followers of a Trend, rather they set trends.

4. Gotham has less respectability from the Critics and snobs to begin with for completely unfair reasons.

A season 2 for Gotham may seem like a sure thing right now, but many shows with strong first seasons drop quickly for season 2.  And next year Gotham will have more competition then just the CW in being a DC based TV show.