Game of Throns: Tales in Hair

(just a mini-sponsor in first paragraph of writing)

A long TV series, “Game of Thrones”, followed around the world, is ending up, and the public, before the last episode appears, is expressing disappointment in various ways. “This is not the end we expected, as is not the end of the series's heroes” And you hear this opinion and read it almost everywhere, at all forums and levels of criticism; you even find it on the tides that exchange characters among them (“I hope of desert this, I really do”, says the Eunuch Warys, just before they execute it; being violently death at low cost, to get rid of an excessive character. )

Something like that the same eager expectation and the same disappointment has happened with other same successful serials in the past: from “soprano” in “Lost” Even though such productions attract the cream of screenwriter and directorial talent, it still seems impossible for the team of authors and producers to find satisfying solutions to the naturistic arch, such as to give viewers a catharsis comparable to what they feel when the tragedy of Shakespeare or Tolstous ends.

Evidently, the reasons have to do with the zanger's very structure, which is expounded according to relatively open narrative lines and with many characters, like the sagates and epic cycles in the folklore; but it is predicted end At one time, unlike the sagates and epic cycles, which usually do not have a specific beginning and end, but more are organized freely around a number of central heroes. If the world of such a work is more or less faithfully reflecting the structures and rhythms of the real world, it must once end, not only, but also end in a way Meaningful.

The end of a long multiplane novel or long television series is, in fact, a very present factor Enjoy of this work from the public (in the sense that you won't get up to go to the bathroom when the film's five minutes left to finish); although the end, in itself, or as the end of the Narrative world, is not (not) part of the narrative. But you, as a reader or as a viewer, from the moment when I know. That the series is about to end, you begin to perceive different stories, interpreting each of them as a staircase that draws to an end.

And this outcome distorts, even reflects events itself, and especially characters; unlike what happens in historical reality “”, where we rarely get to experience one day as if it were the last of our lives, or the universe. The world is naturally smaller and more economic than the reality; and necessarily more logical, even when it is irrational or fantastic. If a serial has spent several episodes, to show you like an ac character is being trained to become Killer, then you logically expect this character to commit murder sooner or later. It's like that. Chekhov's cobra, that should be fired in the final act, if the public sees him on stage during the first act.

If at the beginning of the drama, then, this cobra comes as a simple element of the decoration, during the final act its irradiative currency comes from growing up, until it distorts not only the status of the object but also the expectations of the public. And this change of status greatly reduces the distance to the end (at least with the expected end of the public). The characters on stage or on screen or in text “do not know” that the end is approaching; but the public (respector, reader) knows. Even when you're reading a 500-page novel and you see how few pages you have left, your expectations as readers change. When an eight-year-old serial has been left with two episodes, one thing is certain: your consumer disappointment.

In simple stories, such as fairy tales, they operate a relatively fixed formula: the youngest of brothers marries the king's daughter, or the orphan girl discovers that she is a princess, etc. A big man, I believe Tolstoy, said that many novels end up marrying protagonists, even though they should be there. start. However, epic narrators are always organized around priority events, such as births, deaths, murders, marriages, heritage, escapes, and arrivals. Traditionally, literature and theatre have managed to process a technique to include these events at the borders of a work that has beginning and ends. TV series, which otherwise represent a critical innovation in contemporary pop culture, still fail; in the sense that they still fail to build abnormal <x0-> relations with the end.

The end of such a work should be imagined as “irs are” or as a development point where cascad changes can neither be controlled nor predicted. Let's just say, a “Black destruction” that absorbs the Narrative world of the work. As the work itself draws closer to Assumption, the effects of this appear widely through the deformities of the characters, in the eyes of viewers who are aware of how to act, or of the fact that it is nearing its end.

Because of an illusion, let's call it interpretation, we often confuse the end of something with Select The Bible. Condemnation), which is just the last part of a play, a movie, or a literary story, where the strings of the fable combine together and the cases are explained or answered. That's the point. Punishment-in novels or in police movies, where the end corresponds to identifying the killers (and the Narrathia itself is an intellectual adventure aimed at lighting a mystery).

In real life, this one's role Punishment, especially in contexts with many involved, would be the end of war, or revolution, as an event that affects numerous people of all kinds, layers, and profiles simultaneously. For series like “Game of throns” you can think of as logical conclusion the moment someone sits down, legally, on the throne of swords. But the crowning of a king is not enough to address all the lines of darkness and to end the accompanying conflicts. The characters with which the viewer has been identified over the years also need individual closures; but all these individual conclusions need, in turn, a “theor” that unites.

The most natural end to these complex works would be in media resOr the end without punishment. The public would suddenly be given the news that the series will no longer continue or, rather, that “transmission live” of the Narrative World, for us around here, will not continue. This would make us admit, at least, that such years - long series resembles our world more than we remember. This unforeseen outcome sometimes occurs when production remains without financing or fails commercially. Let's imagine it's a novel that's lost to the latest bandages, which could be half as much as one chapter.

As I said, characters on screen or text don't know “that the work is coming to an end; but we as viewers or readers usually know and we experience this end as the metaphor of death. That may be the catastrophic death of an entire world; but it may also be your death, as the subject of worldly perception. After all, such series are nothing more than reproductions intensive i n Verbial Real narrative situations that we take into our daily lives; and that the solution can only come from your exit. This will probably be one more reason, which we have a hard time accepting the end unless this comes as conventional, in the form of “, fairy tales of our health”, or “and they live happily ever after. ”

How much more when we, as viewers, realize that the characters aren't all gone and the dirt wasted their black hole didn't absorb their existence, but only the virtue of being creatively reproduced. An old “episode Lost” or “Sopranos” we can always go back to see the heroes do the same things, saying the same words in the same places and with the same consequences; within these natural spaces, Death He shall be incarnated as unable to come out of the snare of repetition. Even when we have no doubt about the artificial nature of the object, we always experience a character differently, when we know that “s will come to an end”. This background effect certainly affects the following analysis of the work, and here I mean only those works that build their success on narrating tension, such as that. Police novels.

Taken from the web page Peizage.