Westeros

In Game of Thrones cruelty is the driving force that sets up the entire plot and drives the continuous shifting of alliances that is prevalent throughout the story. Without the very first act of cruelty Game of Thrones would be nothing more than a story about a man given the position of the hand to the king. Cruelty serves as the driving force of the entire story, it is the very driving force of the characters who seek political gain, and it serves as a motivation for who wish to have revenge.…

In a medieval world, locked in a political power struggle, 5 supposed rightful rulers fight to be King/Queen of Westeros. Among the aggressors, the family Baratheon is defending their throne, with Joffrey Baratheon sitting as King at the young age of 16. Rumors of incest and dragons in the east force Joffrey into a position he does not understand. He had always been an impulsive, aggressive, and sadistic prince, but these adverse characteristics become even more pronounced and dangerous when…

THE CONCEPT OF ‘OTHER’ The founder of phenomenology, Edmund Husserl, identified the Other as one of the conceptual bases of intersubjectivity, of the relations among people. The characteristic of the Other, is that the person remains alien to the conceived and dominant social norms prevalent in the society that are recognised as the Self. They exhibit features that are not considered normal or superior to the majority. Zygmunt Bauman writes that the notion of otherness is central to the way in…

world. In brief, the story revolves around several noble houses fighting over who should rule the Seven Kingdoms (Shmoop). Notable houses include Stark, Lannister, Targaryen, Baratheon, Tully, and Bolton. In the midst of fighting over who is to rule Westeros, there is also the looming threat of the White Walkers; zombie-like ice creatures who prove very difficult to kill. The characters within each house have various story arcs throughout the six seasons, with no one in their world safe from…

During my readings of various female road narratives, I noticed that murder recurred throughout the texts as a catalyst for change the protagonists use to their advantages. The protagonists in Thelma & Louise and Arya in Game of Thrones all use murder to flee existing structures which seek to wrongfully punish them. The murders they carry out also disassociate them from the typical depiction of women during their respective time periods, as well as empowers them to go on their own adventures…

Such an exclusive club with limited seating would normally only be available to the Westerosi VIPs. However, Visenya makes a critical decision-marking one of the more progressive “policies” for Westeros. She picks Knights from all social stratums. In a society with little upward mobility, this new possibility gives the poorest of boys hope to better their positions in life. Over time, The Kingsguard created a new paradigm for the ‘True Knight’ [Bran]…

Media has been continuously changing through the years. Media is defined on Dictionary.com (2016) as “the means of communication, as radio and television, newspapers, magazines, and the Internet, that reach or influence people widely”. The earlier forms of television were a black and white picture; the quality of the image was poor and the effects were often far from realistic. As technology advanced along with producers’ abilities to create more realistic effects restrictions and rules had to…

Let’s get this out of the way right up front: the Second Battle of Winterfell, the titular Battle of the Bastards, does for medieval and fantasy warfare what Steven Spielberg did for World War II cinema in Saving Private Ryan. The intensity of the battle, the intimacy, the choice to stay in narrow focus on Jon Snow in the midst of chaos during an extended long-shot, all worked together to create an experience that had me not only on the edge of my seat, but holding my breath as I watched. But…