A Game of Thrones (PDF). Topics Game of Thrones tv serial story. Collectionopensource. LanguageEnglish. Game of Thrones Ebooks. Lees „A Game of Thrones A Song of Ice and Fire: Book One“ door George R. R. Martin verkrijgbaar bij Rakuten Kobo. NOW THE ACCLAIMED HBO SERIES. Compre o livro A Game of Thrones na wm-greece.info: confira as ofertas para A Game e mais milhares de eBooks estão disponíveis na Loja Kindle.
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Por que a versão americana existe no Kindle e a versão em Português apenas em papel? Diga-se de passagem nem em capa dura é. Read more. 5 people. Game Of Thrones: Guia Completo da Serie da Hbo (Em Portugues do Brasil) [ George Martin] on wm-greece.info *FREE* shipping on qualifying offers. Com este . Book 1: A Game of Thrones. • Book 2: A Clash of Kings. • Book 3: A Storm of Swords. • Book 4: A Feast for Crows. • Book 5: A Dance with Dragons Part I.
Shelves: fantasy , reviewed , abandoned There are plenty of fantasy authors who claim to be doing something different with the genre.
Ironically, they often write the most predictable books of all, as evidenced by Goodkind and Paolini. Though I'm not sure why they protest so much--predictability is hardly a death sentence in genre fantasy.
The archetypal story of a hero, a villain, a profound love, and a world to be saved never seems to get old--it's a great story when it's told well. At the best, it's exciting, exotic, and builds to a There are plenty of fantasy authors who claim to be doing something different with the genre. At the best, it's exciting, exotic, and builds to a fulfilling climax. At the worst, it's just a bloodless rehash. Unfortunately, the worst are more common by far.
Perhaps it was this abundance of cliche romances that drove Martin to aim for something different. Unfortunately, you can't just choose to be different, any more than you can choose to be creative. 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.
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