The Art of Storytelling: Game of Thrones
Some minor spoilers
If someone asked me to describe Game of Thrones and they hadn’t heard of it before, I would say “imagine the adult, non-censored version of Lord of the Rings”. George RR Martin’s epic book series A Song of Ice and Fire and its TV show adaption A Game of Thrones thrusts us into an alternative medieval world of Westeros with dragons, sex and magic.
From the beginning of this epic series, you are dragged into a world full of violence and treachery as families battle over the Iron Throne. The sheer vastness of the world at the fingertips of the creator is immense. We feel as though we are inhabitants of Westeros: living with Daenerys amongst the Dothraki, with Sansa as she tries to survive in King's Landing and alongside Tyrion as he outwits those who underestimate him. We love the characters and we experience their world; despite the numerous dangers, the story possesses an allure which compels us to keep reading and keep watching.
Game of Thrones is an example of sociological storytelling. The characters such as Ned Stark, Cersei Lannister, Stannis Baratheon and Daenerys Targaryen all have goals and desires. Their stories are personal but these stories are shaped by two fundamental things:
Political and social institutions: Within the world of Westeros, there are establishments and organisations which play a role in how character react and behave. This includes the Kingsguard, the Small Council, The Night’s Watch, The Brotherhood without Banners, The Sons of Harpy, Iron Bank of Bravos and many more.
Events: Within the narrative, events occur which influence character’s decisions and actions. This includes the Red Wedding, Purple Wedding, Robert’s Rebellion, Battle of the Blackwater, Lyanna Stark’s abduction, the trials of combat, executions of key characters and more (This list could go on forever).
Both of these are the key aspects of sociological storytelling. Characters are shaped by institutions which govern, support, destroy and finance the characters. They have tremendous impact on the choices characters make in the story. Events around the characters create external forces which influence the character’s lives and as a result shapes their character’s arc. We see the characters change in reaction to the conflict events create.
Game of Thrones is brutal, visceral and excruciatingly realistic of what medieval times were like. It never shies away from the gritty reality of the age the characters live in. Game of Thrones on some levels acts as a deconstruction of the fantasy genre. Martin takes some of the typical and expected fantasy tropes and deconstructs them to share a more painful and more accurate reality. Examples include a prince and princess falling in love and having a happily ever after, a typical trope of fantasy. Sansa loves Joffrey, the heir apparent to the Iron Throne but it quickly falls apart as Joffrey’s unstable and sadistic tendencies are revealed. The good people of this world do not win much of the time. There is no clear good and evil in the series, there are some truly despicable characters in Game of Thrones but many of the characters and their decisions fall into the grey and we the audience are left to come to our own conclusions.
World-building: The world is a chessboard for which the pieces move on, without this, they have nothing to play on. Westeros is a foundation, a structure on which the character's actions drive their pieces forward towards its epic conclusion. Vivid and detailed, Martin creates a world rich in history, geography, culture, monetary systems, religion and food. He creates a world for us the reader to dip our toes before we dive in.
Characterization: To call the cast of Game of Thrones colourful is an understatement. The TV show is well cast, the actors fully immerse themselves in the roles and bring key aspects of the book to life. Martin pulls off creating three dimensional characters who live and breathe off the page. We learn the character's wants, motivations and passions at quite a forensic level. We celebrate with them in their victories and commiserate with their losses. We feel the tensions which comes from the highly classist society of Westeros and its repercussions on the characters. We are plunged into their joy, shame, anger and heartbreak during the betrayals as well as the schemes and the plotting which threaten to tear Westeros apart as the characters work towards their goals and in some cases for the Throne itself. Through their characterizations, we develop a kinship with characters. They shift and change as they encounter new challenges and we go along with them for the ride.
Subverting tropes: Martin knows when to subvert stereotypes and when to keep those elements and tropes straight in order to ground us in the world and the story. When he chooses to deviate from the traditional norms of fantasy, he plays with the image of what we expect certain stereotypical characters to be. Knights are not all noble, villains can have highly redeemable qualities and the monarchy is inept (some of its members are seriously unhinged). Martin takes the concept of a hero and a villain and plays with it, giving them further motivations beyond the surface.
In conclusion, Games of Thrones understands the components of what makes a strong story and uses it in smart and often unpredictable way. Whether it is the compelling characters, dramatic relationships, the intrigue, dynamic plot points or the fully functional world, all of it comes together in a way which has a deep impact on the audience. The stakes are high throughout and for the audience, tension is increased, conflict is ever-present, we are kept on our toes as the story progresses, since we have no idea where things will go.
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— Davina Tijani (@dee_tijani)
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