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Sure, Moorcock's original concept for Elric was to be the anti-Conan, but at some point, he had to push his limits and move beyond difference for difference's sake--and he did. In similar gesture, Martin rejects the allegorical romance of epic fantasy, which basically means tearing out the guts of the genre: the wonder, the ideals, the heroism, and with them, the moral purpose. Fine, so he took out the rollicking fun and the social message--what did he replace them with? Like the post-Moore comics of the nineties, fantasy has already borne witness to a backlash against the upright, moral hero--and then a backlash against the grim antihero who succeeded him.
Hell, if all Martin wanted was grim and gritty antiheroes in an amoral world, he didn't have to reject the staples of fantasy, he could have gone to its roots: Howard, Leiber, and Anderson. Like many authors aiming for realism, he forgets 'truth is stranger than fiction'. The real world is full of unbelievable events, coincidences, and odd characters.
When authors remove these elements in an attempt to make their world seem real, they make their fiction duller than reality; after all, unexpected details are the heart of verisimilitude. When Chekhov and Peake eschewed the easy thrill of romance, they replaced it with the odd and absurd--moments strange enough to feel true. In comparison, Martin's world is dull and gray. Instead of innovating new, radical elements, he merely removes familiar staples--and any style defined by lack is going to end up feeling thin.
Yet, despite trying inject the book with history and realism, he does not reject the melodramatic characterization of his fantasy forefathers, as evidenced by his brooding bastard antihero protagonist with pet albino wolf. Apparently to him, 'grim realism' is 'Draco in Leather Pants'.
This produces a conflicted tone: a soap opera cast lost in an existentialist film. There's also lots of sex and misogyny, and 'wall-to-wall rape' --not that books should shy away from sex, or from any uncomfortable, unpleasant reality of life. The problem is when people who are not comfortable with their own sexuality start writing about it, which seems to plague every mainstream fantasy author. Their pen gets away from them, their own hangups start leaking into the scene, until it's not even about the characters anymore, it's just the author cybering about his favorite fetish--and if I cyber with a fat, bearded stranger, I expect to be paid for it.
I know a lot of fans probably get into it more than I do like night elf hunters humping away in WOW , but reading Goodkind, Jordan, and Martin--it's like seeing a Playboy at your uncle's where all the pages are wrinkled. That's not to say there isn't serviceable pop fantasy sex out there--it's just written by women. Though I didn't save any choice examples, I did come across this quote from a later book: " Her small breasts moved freely beneath a painted Dothraki vest.
How do I see and feel the world differently? My cultural role is defined by childbirth. I can be bought and sold in marriage by my own--Oh, hey! I've got tits! Man, look at those things go. There are a set of manboobs which perhaps Martin has some personal experience with but not until book five. Even then, it's not the dude being hyperaware of his own--they're just there to gross out a dwarf.
Not really a balanced depiction. If you're familiar with the show and its parodies on South Park and SNL this lack of dongs may surprise you. Apparently, he plots as well as your average NaNoWriMo author: sorry none of my characters chose to be gay, nothing I can do about it. And balance really is the problem here--if you only depict the dark, gritty stuff that you're into, that's not realism, it's just a fetish.
If you depict the grimness of war by having every female character threatened with rape, but the same thing never happens to a male character, despite the fact that more men get raped in the military than women , then your 'gritty realism card' definitely gets revoked. The books are notorious for the sudden, pointless deaths, which some suggest is another sign of realism--but, of course, nothing is pointless in fiction, because everything that shows up on the page is only there because the author put it there.
Sure, in real life, people suddenly die before finishing their life's work fantasy authors do it all the time , but there's a reason we don't tend to tell stories of people who die unexpectedly in the middle of things: they are boring and pointless. They build up for a while then eventually, lead nowhere. Novelists often write in isolation, so it's easy to forget the rule to which playwrights adhere: your story is always a fiction.
Any time you treat it as if it were real, you are working against yourself. The writing that feels the most natural is never effortless, it is carefully and painstakingly constructed to seem that way. A staple of Creative Writing is to 'listen to how people really talk', which is terrible advice. A transcript of any conversation will be so full of repetition, half-thoughts, and non-specific words 'stuff', 'thing' as to be incomprehensible--especially without the cues of tone and body language.
Written communication has its own rules, so making dialogue feel like speech is a trick writers play. It's the same with sudden character deaths: treat them like a history, and your plot will become choppy and hard to follow. Not that the deaths are truly unpredictable. Like in an action film, they are a plot convenience: kill off a villain, and you don't have to wrap up his arc. You don't have to defeat him psychologically--the finality of his death is the great equalizer.
You skip the hard work of demonstrating that the hero was morally right, because he's the only option left. Likewise, in Martin's book, death ties up loose threads--namely, plot threads. Often, this is the only ending we get to his plot arcs, which makes them rather predictable: any time a character is about to build up enough influence to make things better, or more stable, he will die. Any character who poses a threat to the continuing chaos which drives the action will first be built up, and then killed off.
The next predictable thing [someone] is going to rise up and avenge his [death] So immediately [killing view spoiler [Robb hide spoiler ]] became the next thing I had to do. He's not talking about the characters' motivations, or the ideas they represent, or their role in the story--he isn't laying out a well-structured plot, he's just killing them off for pure shock value. Yet the only reason we think these characters are important in the first place is because Martin treats them as central heroes, spending time and energy building them.
Then it all ends up being a red herring, a cheap twist, the equivalent of a horror movie jump scare. It's like mystery novels in the 70's, after all the good plots had been done, so authors added ghosts or secret twins in the last chapter--it's only surprising because the author has obliterated the story structure.
All plots are made up of arcs that grow and change, building tension and purpose. Normally, when an arc ends, the author must use all his skill to deal with themes and answer questions, providing a satisfying conclusion to a promising idea that his readers watched grow. Or just kill off a character central to the conflict and bury the plot arc with him.
Then you don't have to worry about closure, you can just hook your readers by focusing on the mess caused by the previous arc falling apart. Make the reader believe that things might get better, get them to believe in a character, then wave your arms in distraction, point and yell 'look at that terrible thing, over there! Igra prestola Knjigu sam dobio od prijatelja pre mesec dana. Sve sam vam rekao. Nisam verovala da je moguce procitati strana tako brzo.
Mislim da sam naucila da ne spavam, a kada mi se to slucajno desi putujem Kraljevskim drumom. Winter is coming Nikada ranije nisam citala epsku fantastiku, ali posle ove knjige apsolutno sam odusevljena ovim zanrom. Martinov stil pisanja je neverovatan. Igra prestola me oborila sa nogu, kao i sve ostale knjige iz serijala Pesma leda i vatre.
Posle prvog dela, prosto vas vuce da citate ostale delove i ne mozete da stanete. Svima bih preporucila da procitaju PLIV. Verujte mi, necete se pokajati. Mozda vam to postane omiljena knjiga kao i meni. Oduzimanje daha Ljubitelji knjiga svakoj prilaze sa nadom da je i ova jedna od onih sto oduzima dah! Igra prestola je delo koje je i vise nego ispunilo moja ocekivanja. Mastovito i zanimljivo delo koje me je nateralo da trazim jos i jos i jos Pregrst likova i dogadjaja povezani jedno sa dugim nekom cudnom niti.
Odmah nakon citanja ove usledila je i sledeca knjiga. Preporucujem je svim finim dusama! Martin svojim pisanjem uspeva da me odvede u Zemlju sedam kraljevstva,ali takodje me "tera" da ne prestano iscekujem nastavak. Svaka cast! Za razliku od ostatka serijala "Pesma leda i vatre" Igra prestola nema vjestackog odugovlacenja price. Ne bih bas mogao da je poredim sa Gospodarom prstenova, medjutim ne zbog kvalitete vec zbog samog statusa knjige. Zanimljivo je da ni jedan lik nije "dobrica" koji se bori protiv zla, vec svako ima svoje vrline i mane.
Takodje, glavni lik nije Edard, Tirion, Arja, niti jedan od likova u prici. Glavni lik je istorija sedam kraljevstva i ostatka svijeta u nastavcima i koliko god da se prica grana, u cjelini zadrzava jednu osnovnu nit koja privlaci citaoca da lista dalje i dalje. Naravno svako ce imati nekog lika koji ce mu biti drazi od ostalih, ali treba naglasiti posebno za prvi dio da se ne treba posebno vezivati ni za jednog od njih.
U sustini odlicno djelo epske fantastike koje u nastavcima poprima neke osobine "brazilskih serija". Gledala sam sve epizode prvog serijala, ne mogu da docekam da snime drugi. Knjigu nisam citala ali planiram da je kupim, jer ako je serija odlicna onda je knjiga jos bolja. Sve pohvale prevodiocu! Za mene je Tolkinov "Gospodar prstenova" uvek bio sveta knjiga!
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