Characters weird things they continue to develop. Young people, despite various threats, usually get out of them safely. Only a few antagonists faded into the background. At least that was the case until the fourth season, when one of the characters died and the other was brain dead.
Perhaps because of this aura of invincibility, shielded from the script, one gets the idea that the narrative was condescending. You might think that more tension is needed. And one of the links that comes up is Game of Thrones and unexpected deaths of key characters. The comparison came to the Duffer brothers, Matt and Ross. This is what Ross said:We are not Game of Thrones. This is Hawkins, not Westeros.“. While this statement may be a simple answer, it is not without reason. The essence of both narratives is opposite.
This should not be bad news, quite the contrary. A detail that enriches the variety of options streaming. You know: “between flavors and colors…”.
Game of Thrones like a paradigm
It is the most important television phenomenon in modern history. While he was on the air Game of Thrones Thousands of people gathered every Sunday to learn how history developed and also to avoid some of the spoilers about character deaths. From start to finish, the series laid the groundwork for its story: anyone can die, and still the story will go on as usual.
In the early seasons, this dizziness over the death of key characters was well supported by political tensions, negotiations in the shadows, enriched by dialogue, the action of which, however distant, however fantastic, could fit off the screen today. . As the seasons passed, that potential gave way to spectacle, memorable fights, and impressive staging.
anyway, Game of Thrones it changed various issues in contemporary television and film because, like perhaps a few productions, it handled a production intended for a different format with a view to the big screen. The qualitative leap was obvious. That story that originally started as a niche, perhaps only close to book readers, has become a pop phenomenon, with everyone applauding from a line of dialogue to the spectacular death of one of the main characters.
Game of Thrones he abandoned the idea that someone might die; did it globally, pop, in a narrative context that allowed for this: Westeros gradually became a land without law. To his credit, this idea was imposed from the first season, with the death Ned Stark. Based on this, none of the characters present knew of such a fate. This is how the story laid the foundations for what would later develop without any remorse.
own way weird things
ask for something like weird things is to assume that history Netflix contradicts itself. Or mutate into something for which there is no original justification. Should stories stay the same, ironically tied to their origins? No. But when it comes to such obvious transformations, you have to be a little more careful not to destroy the whole universe, built in a few years, in just a few chapters.
Closes character stories abruptly, with no preceding frame to justify them, would be to subtract weight from core value weird things: relationship between his characters. Hours after the release of the second volume of the fourth season, social media was flooded with images of moments shared between different characters. The viewer sees how they grow up, and in this journey becomes an accomplice to their jokes, anecdotes that they shared in an ice cream parlor, their sorrows and joys.
To direct the viewer’s attention to those who live or die is to blow up a good part of the story, ignoring the opportunity to see how these relationships, friendships or loves, mutate due to what happens to one and the other; observe how the life perspective and desires of this or that character characterize their relationship with those who may not accompany them.
AT weird things It doesn’t matter who lives or dies. What is appropriate is to reflect a little on the human condition, the illusions and fears that most of his viewers have gone through, are going through or will go through.. So it is logical that the authors of the series defend their idea: “This is Hawkins, not Westeros.”
