DOCSLIB.ORG

Dynamics of Fantasy- Realism Exchange in the Game of Thrones

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dynamics of Fantasy- Realism Exchange in the Game of Thrones Dynamics of Fantasy- Realism Exchange in the Game of Thrones A Dissertation Submitted in Partial Fulfillment of the Requirements for the Award of the Degree of Master of Philosophy in English Studies by Jain Mary Sajeev (Reg. No: 1730023) Under the Supervision of Arya Aiyappan Assistant Professor Department of English Studies CHRIST (Deemed to be University) BENGALURU, INDIA December 2018 Approval of Dissertation Dissertation entitled Dynamics of Fantasy-Realism Exchange in the Game of Thrones, by Jain Mary Sajeev, Reg. No 1730023, is approved for the award of the degree of Master of Philosophy in English. Supervisor: ______________________________________ Chairman: ______________________________________ General Research Coordinator: ______________________________________ Date: Place: Bengaluru ii DECLARATION I Jain Mary Sajeev hereby declare that the dissertation, titled ‘Dynamics of Fantasy-Realism Exchange in the Game of Thrones’ is a record of original research work undertaken by me for the award of the degree of Master of Philosophy in English. I have completed this study under the supervision of Dr. Arya Aiyappan, Assistant Professor, Department of English. I also declare that this dissertation has not been submitted for the award of any degree, diploma, associateship, fellowship or other title. I hereby confirm the originality of the work and that there is no plagiarism in any part of the dissertation. Place: Bengaluru Date: Jain Mary Sajeev Reg No: 1730023 Department of English CHRIST (Deemed to be University), Bengaluru iii CERTIFICATE This is to certify that the dissertation submitted by Jain Mary Sajeev (Reg. No 1730023) titled ‘Dynamics of Fantasy- Realism Exchange in Game of Thrones’ is a record of research work done by her during the academic year 2017-2018 under my supervision in partial fulfillment for the award of Master of Philosophy in English. This dissertation has not been submitted for the award of any degree, diploma, associateship, fellowship or other title. I hereby confirm the originality of the work and that there is no plagiarism in any part of the dissertation. Place: Bengaluru Date: Dr. Arya Aiyyappan Assistant Professor Department of English CHRIST (Deemed to be University), Bengaluru Head of the Department Department of English CHRIST (Deemed to be University), Bengaluru iv Acknowledgements First and foremost I would like to thank Christ (Deemed to be University) for giving me an opportunity to pursue Master of Philosophy. My sincere gratitude goes to all the faculty members of Department of English, for their insightful comments, stimulation and for widening my research perspectives. I would like to express my sincere gratitude to my supervisor, Dr. Arya Aiyappan for her guidance, encouragement and patience throughout the course of this work. Her insights enlightened me to grow as a researcher and interactions with her were a truly wonderful experience. My special thanks to my internal examiner, Dr. Anupama Nayar for her valuable and thoughtful comments. Words cannot express how grateful I am to my family who always stood as a supporting pillar in all my endeavors. I would also like to extend my gratitude to my friends who were always a source of encouragement and stimulation. v Abstract George RR Martin’s bestselling novel series A Song of Ice and Fire revived the interest in the fantasy genre after J.R.R Tolkien’s The Lord of the Rings. In 2011, American channel HBO adapted it as a television series entitled Game of Thrones. This blockbuster show amasses a global audience and is critically acclaimed for its verisimilitude in representation and gritty realism. The series can be considered as a modern high fantasy for its alternative world construction and integration of various motifs of high fantasy. The series draws heavily from Medieval European history and the pseudo-medieval setting offers a non-fictionality to the series. Unlike other popular happy ending fantasy narratives, Game of Thrones provides a dystopian and cynical portrayal of the world we live in. The possibility of one fantasy narrative being deemed as more realistic and non-fictional requires further thought. The research attempts to establish the series as a Modern Realistic Fantasy by paying attention to realism and the six basic motifs of Modern Fantasy. The theoretical foundation for the research is laid by Modern Fantasy Theory by Linda Lee Madsen and Jacobs and Tunnels, Representation theory by Stuart Hall and Daniel Chandler, and Andre Bazin’s Realist Film Theory. Key words: Realism, Modern Fantasy, Game of Thrones, television series, Representation, Medievalism, gritty realism, dystopian fantasy vi CONTENTS Approval of the dissertation ii Declaration iii Certificate iv Acknowledgements v Abstract vi Contents vii Chapter 1 Introduction 1 Chapter 2 Magic, Fantastic Objects and Special Character Types in Game of Thrones 19 Chapter 3 Alternative World-building, Characterization and Good versus Evil Motif in Game of Thrones 40 Chapter 4 Conclusion 63 Select Bibliography 73 Appendices i-iv vii Chapter 1 Introduction “The best fantasy is written in the language of dreams. It is alive as dreams are alive, more real than real … for a moment at least … that long magic moment before we wake” (George RR Martin). Geoffrey Chaucer uses the word “Fantasye” (Stableford i) to describe bizarre events and strange concepts that do not happen in our everyday life. The meaning of this word is exactly same even in the modern context and as a genre, Fantasy generally encompass intriguing worlds and magic systems and demands the boundless creativity and imagination of the author. Fantasy stands in contradiction to the realistic or naturalistic literature as involves an imaginative process where simulacra of rational objects and images are replicated in our mind. (Stableford xxxv). Manlove explains fantasy as “A fiction evoking wonder and containing a substantial and irreducible element of the supernatural with which mortal characters in the story or the readers become on at least partly familiar terms”. (Manlove 1) Brian Stableford’s The Historical Dictionary of Fantasy and John Clute’s Encyclopedia of Fantasy tracks the evolution of fantasy from 8th Century B.C to 21st Century paying attention to the key motifs of fantasy, its subgenres, different types and technical terms associated with the fantasy theory and criticism. These works are an intellectual treatise on the subject of fantasy and provides a wonderful overview in a chronological manner. The foundation of modern fantasy theory originated in the form of a lecture in 1938 by Tolkien entitled On Fairy Stories which proposes that the three functions of fantasy as recovery, escape and consolation. Tolkien defines Sajeev 2 fantasy and fairytales and traces the root of fantasy genre to fairytales. He introduced the concept of alternative world which features both magical and internally consistent elements. The imaginative world represented in a fantasy provides ample space for the reader to recover a proper perspective of the real world. Fantasy is escapist in nature as it liberates the viewer from the mundane reality of everyday life. Consolation or a moral fortification happens when the reader witnesses the happy ending present in fantasy stories. The supernatural and fantasy elements were a part of literature from the beginning. The traditional fantasy tales were transmitted orally and are ingrained to the culture and tradition of a particular land. Fables, fairytales and folklore can be associated with traditional fantasy and it performed a psychological function by stressing on the clear demarcation between good and bad. In general, fantasy narratives follow a linear pattern and emphasizes mainly on the heroic quest and the struggle between good and bad. It transports the viewer into an imaginative world which totally breaks from our everyday reality. The immersive nature of fantasy thus provides an escape from the mundane reality and also grants the wish fulfillment of the viewer in a fantasy world where moral choices are rewarded and evil deeds are punished. Modern Fantasy is a much evolved genre which differentiates itself from folktales and children’s fantasy as it is directed towards an adult audience. J.R.R Tolkien is the key exemplar of Modern fantasy through his publication of Lord of the Rings trilogy in the 1950s, thus germinating a new found interest among adults for imagination. After Tolkien, American novelist and short story writer George Raymond Richard Martin renewed the interest in the fantasy genre with his epic fantasy series A Song of Ice and Fire. As of now, the book series comprises of seven volumes starting with the book A Game of Thrones published in 1991. Sajeev 3 Martin widened the boundaries of fantasy genre by introducing issues like sexual violence, rape, religious fanaticism and racism and by portraying the brutal realities of the middle ages. Different critics considered it as an example for grim dark fantasy for his depiction of grittiness in a medieval setting which was absent in his predecessors who always tried to valorize the middle ages. In 2011, the American premium cable channel HBO adapted A Song of Ice and Fire, to the mini screen under the title Game of Thrones, transforming television as a fitting medium to represent neo-medievalism. This blockbuster television series with a global audience is credited with changing the status of the genre of fantasy from a high brow intellectual culture to the mainstream box office and from a light, happy ending utopian genre to a dystopian and cynical world. The middle ages depicted in the series is grim-dark as it attempted to make a faithful representation of the gender politics, class system, power-mad rulers, sexual violence and racism. Fig 1: Game of Thrones title sequence (Art of the Title,2011) Sajeev 4 The HBO television series is directed by David Benioff and D.B Weiss. Compared to the filmic rendering, the serialized mode of narration involves increased viewer investment and adds more depth to the plotline.
Load more

Recommended publications
  • Hbo Premieres the Third Season of Game of Thrones
    HBO PREMIERES THE THIRD SEASON OF GAME OF THRONES The new season will premiere simultaneously with the United States on March 31st Miami, FL, March 18, 2013 – The battle for the Iron Throne among the families who rule the Seven Kingdoms of Westeros continues in the third season of the HBO original series, Game of Thrones. Winner of two Emmys® 2011 and six Golden Globes® 2012, the series is based on the famous fantasy books “A Song of Ice and Fire” by George R.R. Martin. HBO Latin America will premiere the third season simultaneously with the United States on March 31st. Many of the events that occurred in the first two seasons will culminate violently, with several of the main characters confronting their destinies. But new challengers for the Iron Throne rise from the most unexpected places. Characters old and new must navigate the demands of family, honor, ambition, love and – above all – survival, as the Westeros civil war rages into autumn. The Lannisters hold absolute dominion over King’s Landing after repelling Stannis Baratheon’s forces, yet Robb Stark –King of the North– still controls much of the South, having yet to lose a battle. In the Far North, Mance Rayder (new character portrayed by Ciaran Hinds) has united the wildlings into the largest army Westeros has ever seen. Only the Night’s Watch stands between him and the Seven Kingdoms. Across the Narrow Sea, Daenerys Targaryen – reunited with her three growing dragons – ventures into Slaver’s Bay in search of ships to take her home and allies to conquer it.
    [Show full text]
  • GAME of THRONES® the Follow Tours Include Guides with Special Interest and a Passion for the Game of Thrones
    GAME OF THRONES® The follow tours include guides with special interest and a passion for the Game of Thrones. However you can follow the route to explore the places featured in the series. Meet your Game of Thrones Tours Guide Adrian has been a tour guide for many years, with a passion for Game of Thrones®. During filming he was an extra in various scenes throughout the series, most noticeably, a stand in double for Ser Davos. He is also clearly seen guarding Littlefinger before his final demise at the hands of the Stark sisters in Winterfell. Adrian will be able to bring his passion alive through his experience, as well as his love of Northern Ireland. Cairncastle ~ The Neck & North of Winterfell 1 Photo stop of where Sansa learns of her marriage to Ramsay Bolton, and also where Ned beheads Will, the Night’s Watch deserter. Cairncastle Refreshment stop at Ballygally Castle, Ballygally Located on the scenic Antrim coast facing the soft, sandy beaches of Ballygally Bay. The Castle dates back to 1625 and is unique in that it is the only 17th Century building still used as a residence in Northern Ireland today. The hotel is reputedly haunted by a friendly ghost and brave guests can visit the ‘ghost room’ in one of the towers to see for themselves. View Door No. 9 of the Doors of Thrones and collect your first stamp in your Journey of Doors passport! In the hotel foyer you will be able to admire the display cabinets of the amazing Steensons Game of Thrones® inspired jewellery.
    [Show full text]
  • Game of Thrones Feature Matrix
    For Sales + Purchasing Info, Click Page To Visit BMI Gaming | www.bmigaming.com | + 561-391-7200 | (800) 746-2255 Game of Thrones Game Features Matrix Premium Limited Pro Game Game of Thrones - Defend The Iron Throne! Edition Edition Main Experience the greatest epic Game of Thrones battles in a World Under Glass Attractions Custom speech and narration by GOT actor Rory McCann as Sandor Clegane, aka "The Hound" Game of Thrones theme song and many more original songs Players choose to be a Knight of the Stark, Lannister, Greyjoy, Baratheon, Martell, or Tyrell family houses Players choose other houses to battle and include stacking battle choices for twice the challenge Players strive to rule the Seven Kingdoms of Westeros Game Animated interactive Dragon toy Features Motorized animated interactive Dragon toy Exciting Sword Fight display mode Castle Upper Playfield with 2 Flippers, Loop Shot, 3 .5" Targets, 2 Drop-Off Lanes and Moon Door Castle Upper Playfield embodies unique rules, Castle Multiball, and other surprises Battering Ram sliding Bash Target smashes Castle Gate for bonuses and needed weapons and features The Wall Elevator brings ball up 2 floors: (1) Upper Playfield, and (2) the Iron Throne Sword of Multiball Swinging Sword Device Dragon Kickback fires ball back at players in anger White Walker Kickback fires ball back at players in anger Spinning Target with Sync-Flash TM Super bright Flasher 2 Electric Gates 2 Superspeed Ramps 1 Up Post 1-1.5" Custom Castle Gate Stand Up target
    [Show full text]
  • El Ecosistema Narrativo Transmedia De Canción De Hielo Y Fuego”
    UNIVERSITAT POLITÈCNICA DE VALÈNCIA ESCOLA POLITE CNICA SUPERIOR DE GANDIA Grado en Comunicación Audiovisual “El ecosistema narrativo transmedia de Canción de Hielo y Fuego” TRABAJO FINAL DE GRADO Autor/a: Jaume Mora Ribera Tutor/a: Nadia Alonso López Raúl Terol Bolinches GANDIA, 2019 1 Resumen Sagas como Star Wars o Pokémon son mundialmente conocidas. Esta popularidad no es solo cuestión de extensión sino también de edad. Niñas/os, jóvenes y adultas/os han podido conocer estos mundos gracias a la diversidad de medios que acaparan. Sin embargo, esta diversidad mediática no consiste en una adaptación. Cada una de estas obras amplia el universo que se dio a conocer en un primer momento con otra historia. Este conjunto de historias en diversos medios ofrece una narrativa fragmentada que ayuda a conocer y sumergirse de lleno en el universo narrativo. Pero a su vez cada una de las historias no precisa de las demás para llegar al usuario. El mundo narrativo resultante también es atractivo para otros usuarios que toman parte de mismo creando sus propias aportaciones. A esto se le conoce como narrativa transmedia y lleva siendo objeto de estudio desde principios de siglo. Este trabajo consiste en el estudio de caso transmedia de Canción de Hielo y Fuego la saga de novelas que posteriormente se adaptó a la televisión como Juego de Tronos y que ha sido causa de un fenómeno fan durante la presente década. Palabras clave: Canción de Hielo y Fuego, Juego de Tronos, fenómeno fan, transmedia, narrativa Summary Star Wars or Pokémon are worldwide knowledge sagas. This popularity not just spreads all over the world but also over an age.
    [Show full text]
  • Archetypes in Female Characters of Game of Thrones
    Sveučilište u Zadru Odjel za anglistiku Preddiplomski sveučilišni studij engleskog jezika i književnosti (dvopredmetni) Gloria Makjanić Archetypes in Female Characters of Game of Thrones Završni rad Zadar, 2018. Sveučilište u Zadru Odjel za anglistiku Preddiplomski sveučilišni studij engleskog jezika i književnosti (dvopredmetni) Archetypes in Female Characters of Game of Thrones Završni rad Student/ica: Mentor/ica: Gloria Makjanić dr. sc. Zlatko Bukač Zadar, 2018. Makjanić 1 Izjava o akademskoj čestitosti Ja, Gloria Makjanić, ovime izjavljujem da je moj završni rad pod naslovom Female Archetypes of Game of Thrones rezultat mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na izvore i radove navedene u bilješkama i popisu literature. Ni jedan dio mojega rada nije napisan na nedopušten način, odnosno nije prepisan iz necitiranih radova i ne krši bilo čija autorska prava. Izjavljujem da ni jedan dio ovoga rada nije iskorišten u kojem drugom radu pri bilo kojoj drugoj visokoškolskoj, znanstvenoj, obrazovnoj ili inoj ustanovi. Sadržaj mojega rada u potpunosti odgovara sadržaju obranjenoga i nakon obrane uređenoga rada. Zadar, 13. rujna 2018. Makjanić 2 Table of Contents 1. Introduction ..................................................................................................................... 3 2. Game of Thrones ............................................................................................................. 4 3. Archetypes ......................................................................................................................
    [Show full text]
  • “Game of Thrones” Season 5 One Line Cast List NO
    “Game of Thrones” Season 5 One Line Cast List NO. CHARACTER ARTIST 1 TYRION LANNISTER PETER DINKLAGE 3 CERSEI LANNISTER LENA HEADEY 4 DAENERYS EMILIA CLARKE 5 SER JAIME LANNISTER NIKOLAJ COSTER-WALDAU 6 LITTLEFINGER AIDAN GILLEN 7 JORAH MORMONT IAIN GLEN 8 JON SNOW KIT HARINGTON 10 TYWIN LANNISTER CHARLES DANCE 11 ARYA STARK MAISIE WILLIAMS 13 SANSA STARK SOPHIE TURNER 15 THEON GREYJOY ALFIE ALLEN 16 BRONN JEROME FLYNN 18 VARYS CONLETH HILL 19 SAMWELL JOHN BRADLEY 20 BRIENNE GWENDOLINE CHRISTIE 22 STANNIS BARATHEON STEPHEN DILLANE 23 BARRISTAN SELMY IAN MCELHINNEY 24 MELISANDRE CARICE VAN HOUTEN 25 DAVOS SEAWORTH LIAM CUNNINGHAM 32 PYCELLE JULIAN GLOVER 33 MAESTER AEMON PETER VAUGHAN 36 ROOSE BOLTON MICHAEL McELHATTON 37 GREY WORM JACOB ANDERSON 41 LORAS TYRELL FINN JONES 42 DORAN MARTELL ALEXANDER SIDDIG 43 AREO HOTAH DEOBIA OPAREI 44 TORMUND KRISTOFER HIVJU 45 JAQEN H’GHAR TOM WLASCHIHA 46 ALLISER THORNE OWEN TEALE 47 WAIF FAYE MARSAY 48 DOLOROUS EDD BEN CROMPTON 50 RAMSAY SNOW IWAN RHEON 51 LANCEL LANNISTER EUGENE SIMON 52 MERYN TRANT IAN BEATTIE 53 MANCE RAYDER CIARAN HINDS 54 HIGH SPARROW JONATHAN PRYCE 56 OLENNA TYRELL DIANA RIGG 57 MARGAERY TYRELL NATALIE DORMER 59 QYBURN ANTON LESSER 60 MYRCELLA BARATHEON NELL TIGER FREE 61 TRYSTANE MARTELL TOBY SEBASTIAN 64 MACE TYRELL ROGER ASHTON-GRIFFITHS 65 JANOS SLYNT DOMINIC CARTER 66 SALLADHOR SAAN LUCIAN MSAMATI 67 TOMMEN BARATHEON DEAN-CHARLES CHAPMAN 68 ELLARIA SAND INDIRA VARMA 70 KEVAN LANNISTER IAN GELDER 71 MISSANDEI NATHALIE EMMANUEL 72 SHIREEN BARATHEON KERRY INGRAM 73 SELYSE
    [Show full text]
  • Queenship and the Women of Westeros Female Agency and Advice in Game of Thrones and a Song of Ice and Fire Reihe: Queenship and Power
    palgrave.com Zita Eva Rohr, Lisa Benz (Hrsg.) Queenship and the Women of Westeros Female Agency and Advice in Game of Thrones and A Song of Ice and Fire Reihe: Queenship and Power Features essays on female characters in A Song of Ice and Fire and Game of Thrones such as Daenerys Targaryen, Melisandre, Arya Stark, Cersei Lannister, and Margaery Tyrell, focusing on how they wielded power in their male-dominated world Explores the intersection of academic scholarship on queenship and elite women and popular understandings of the premodern period Highlights the strategies that premodern women used to exert power and 1st ed. 2020, LXXIV, 263 p. influence Is the world of George R. R. Martin’s A Song of Ice and Fire and HBO’s Game of Thrones really Gedrucktes Buch medieval? How accurately does it reflect the real Middle Ages? Historians have been addressing Hardcover these questions since the book and television series exploded into a cultural phenomenon. For 74,99 € | £64.99 | $89.99 scholars of medieval and early modern women, they offer a unique vantage point from which [1]80,24 € (D) | 82,49 € (A) | CHF to study the intersections of elite women and popular understandings of the premodern world. 88,50 This volume is a wide-ranging study of those intersections. Focusing on female agency and the role of advice, it finds a wealth of continuities and contrasts between the many powerful Softcover female characters of Martin’s fantasy world and the strategies that historical women used to 49,99 € | £44.99 | $59.99 exert influence.
    [Show full text]
  • “I'm All That Stands Between Them and Chaos:” a Monstrous Way of Ruling In
    ARTICLE https://doi.org/10.1057/s41599-020-00562-3 OPEN “I’m all that stands between them and chaos:” a monstrous way of ruling in A Song of Ice and Fire ✉ Györgyi Kovács 1 The article explores Tyrion Lannister’s rule in King’s Landing in the second volume of A Song of Ice and Fire books, A Clash of Kings. In the reception of ASOIAF and the TV show Game of Thrones, Tyrion was considered one of the best rulers, and the TV show ended by making him 1234567890():,; Hand to a king who delegated the greatest part of ruling to him. The analysis is based on Foucault’s notion of monstrosity in power, which is characterized by a monstrous conduct and includes the excess and potential abuse of power. The article argues that monstrosity in his rule reveals deeper layers in Tyrion’s personality, which is initially suggested to be defined by morality. The article also comes to the conclusion that his morality limits the scope of his monstrous methods, which eventually leads to his fall from power. ✉ 1 Eötvös Loránd University, Faculty of Humanities, Budapest, Hungary. email: [email protected] HUMANITIES AND SOCIAL SCIENCES COMMUNICATIONS | (2020) 7:70 | https://doi.org/10.1057/s41599-020-00562-3 1 ARTICLE HUMANITIES AND SOCIAL SCIENCES COMMUNICATIONS | https://doi.org/10.1057/s41599-020-00562-3 Introduction ne of the most compelling features of George R. R. of his character and anticipates that in the books Tyrion will turn OMartin’s A Song of Ice and Fire (ASOIAF) books is the a villain motivated by vengeance (Bryndenbfish, 2019), which is way they present a richly detailed medieval fantasy world exactly the opposite of how his storyline ended in the TV show.
    [Show full text]
  • A Game of Thrones a Song of Ice and Fire by George R.R. Martin
    A Game of Thrones A Song of Ice and Fire by George R.R. Martin Book One: A Game of Thrones Book Two: A Clash of Kings Book Three: A Storm of Swords Book Four: A Feast for Crows Book Five: A Dance with Dragons Book Six: The Winds of Winter (being written) Book Seven: A Dream of Spring “ Fire – Dragons, Targaryens Lord of Light Ice – Winter, Starks, the Wall White Walkers Spoilers!! Humans as meaning-makers – Jerome Bruner Humans as story-tellers – narrative theory Humans as mythopoeic–Carl G. Jung, Joseph Campbell The mythic themes in A Song of Ice and Fire are ancient Carl Jung: Archetypes are powerful & primordial images & symbols Collective unconscious Carl Jung’s archetypes Great Mother; Father; Hero; Savior… Joseph Campbell – The Power of Myth The Hero’s Journey Carole Pearson – the 12 archetypes Ego stage: Innocent; Orphan; Caretaker; Warrior Soul transformation: Seeker; Destroyer; Lover; Creator; Self: Ruler; Magician; Sage; Fool Maureen Murdock – The Heroine’s Journey The Great Mother (& Maiden, & Crone), the Great Father, the child, the Shadow, the wise old man, the trickster, the hero…. In the mystery of the cycle of seasons In ancient gods & goddesses In myth, fairy tale & fantasy & the Seven in A Game of Thrones The Gods: The Old Gods The Seven (Norse mythology): Maiden, Mother, Crone Father, Warrior, Smith Stranger (neither male or female) R’hilor (Lord of light) Others: The Drowned God, Mother Rhoyne The family sigils Stark - Direwolf Baratheon – Stag Lannister – Lion Targaryen
    [Show full text]
  • Game of Thrones: Rules of Play
    GAME OF THRONES Introduction n a land where summers span decades and win- Game of Thrones lets two players experience their Iters can last a lifetime, trouble is brewing. Based own battles and courtly intrigues in the lands of on the popular book series A Song of Ice and Fire, Westeros as House Lannister or House Stark. Play- by George R. R. Martin, HBO’s hit fantasy series ers first use plot cards to attempt to gain the ad- GAME OF THRONES chronicles an epic struggle vantage, then marshall their forces consisting of a for power set in a vast and violent fantasy king- variety of characters, locations, and attachments. dom. From the scheming south and the savage Each player can then engage his opponent in three eastern lands, to the frozen north and the ancient types of challenges: Wall that protects the realm from the darkness beyond, two powerful families are engaged in a Military deadly cat-and-mouse game for control of the Seven Kingdoms of Westeros. As betrayal, lust, in- Intrigue trigue, and supernatural forces shake the four cor- Power ners of the Kingdoms, their bloody struggle for the Iron Throne will have unforeseen and far-reaching As players win challenges, they claim power for consequences. GAME OF THRONES follows kings their House. The first player to gain 15 power wins and queens, knights and renegades, liars and no- the game. blemen as they vie for power. Gather your wits and muster your armies, for when you play the game of thrones, you win, or you die; there is no middle ground.
    [Show full text]
  • Game of Thrones Background Guide Table of Contents
    Game of Thrones Background Guide Table of Contents Letter from the Chair Letter from the Crisis Director Committee Logistics Introduction to the Committee Introduction to House Stark Introduction to House Lannister Introduction to House Targaryen Questions to Consider Resources to Use Resources Used Dossiers Appendix Staff of the Committee Chair Azanta Thakur Vice Chair Victoria Lopez Crisis Director Sam Lyons Assistant Crisis Director Ariana Thorpe Under Secretary General Jane Gallagher Taylor Cowser, Secretary General Neha Iyer, Director General Letter from the Chair Dear Delegates, On behalf of our committee, I want to extend a warm welcome to you all to BosMUN XIX. I am so excited that you will be a part of this committee and I expect us all to have a dramatic — yet fantastic — weekend. We have a lot of exciting things in store, so get ready, binge the show, and bring your game face. My name is Azanta Thakur and I will be your Chair for the conference weekend. I’m a senior at Boston University studying Public Health and Environmental Analysis & Policy. This is my fourth BosMUN and I’m really looking forward to my final MUN conference. I’ve held every role in BosMUN; from the Secretariat, to the Dais, to the Crisis Room — I hold this conference very near and dear to my heart. For me, doing my last committee on the greatest TV show of all time was the perfect way to go out with a bang. You have been given the once-in-a-lifetime opportunity to conclude this series the way you want.
    [Show full text]
  • Questing Feminism: Narrative Tensions and Magical Women in Modern Fantasy
    University of Rhode Island DigitalCommons@URI Open Access Dissertations 2018 Questing Feminism: Narrative Tensions and Magical Women in Modern Fantasy Kimberly Wickham University of Rhode Island, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Wickham, Kimberly, "Questing Feminism: Narrative Tensions and Magical Women in Modern Fantasy" (2018). Open Access Dissertations. Paper 716. https://digitalcommons.uri.edu/oa_diss/716 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. QUESTING FEMINISM: NARRATIVE TENSIONS AND MAGICAL WOMEN IN MODERN FANTASY BY KIMBERLY WICKHAM A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 2018 DOCTOR OF PHILOSOPHY DISSERTATION OF KIMBERLY WICKHAM APPROVED: Dissertation Committee: Major Professor Naomi Mandel Carolyn Betensky Robert Widell Nasser H. Zawia DEAN OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2018 Abstract Works of Epic Fantasy often have the reputation of being formulaic, conservative works that simply replicate the same tired story lines and characters over and over. This assumption prevents Epic Fantasy works from achieving wide critical acceptance resulting in an under-analyzed and under-appreciated genre of literature. While some early works do follow the same narrative path as J.R.R. Tolkien’s The Lord of the Rings, Epic Fantasy has long challenged and reworked these narratives and character tropes. That many works of Epic Fantasy choose replicate the patriarchal structures found in our world is disappointing, but it is not an inherent feature of the genre.
    [Show full text]