Max has activated the 'Game of Thrones' machinery

Not a year without a series: ‘A Knight of the Seven Kingdoms: The Errant Knight’ and ‘House of the Dragon’

After years of doubts after the original series ended, the ‘Game of Thrones‘ machine is going full throttle. ”The Knight of the Seven Kingdoms: The Errant Knight”, George RR Martin’s spin-off, will premiere in 2025, suggesting that every year will have a corresponding series. Additionally, the writer has seen the first chapter and predicts spring of next year.

In his “Not a blog,” he describes being at the shooting, seeing a provisional montage of the first episode, and being impressed by the series’ unique approach to the franchise. Martin says he’s creating a lighter story with fewer sets and a lower budget than his two predecessors.

Peter Claffey and Dexter Sol Ansell play Ser Duncan the Tall and his child squire Egg, two adventurers from George RR Martin’s short stories ‘Tales of Dunk and Egg’ in six episodes. It appears that ‘The Errant Knight’ will be recounted. The Targaryens rule the Iron Throne and the dragons are gone in the story.

The Seven Kingdoms are still recovering from the Blackfyre rebellion a few years ago. Egg will become King Aegon V the Unlikely in this series’ timeline, which is more connected to ‘Game of Thrones’ than it seems. The contrast between Egg and Duncan—one is of high birth and the other, who grew up in Flea Bottom, King’s Landing’s poorest neighborhood—makes the story appealing.

Why are this franchise’s visuals so dark? Poor monitor calibration, directors of photography, artistic choices?

Some episodes that adapt George RR Martin’s franchise have caused viewers headaches. For lack of sight. Or you must watch them in specific image quality conditions that not everyone can get. That moment, which appeared in ‘Game of Thrones’ and ‘House of the Dragon’, has returned in the second season.

The precedents. Other than its hasty ending, ‘Game of Thrones’ third episode of its eighth and final season depicted the Battle of Winterfell without visuals, which was controversial. Many called it “the most expensive battle scene in the history of television” but this 42-minute fight with the White Walkers disappointed some viewers, who spent most of the time trying to see something on a nearly black screen.

The complaints persisted, and Fabian Wagner, the director of photography, apologized, saying he wanted natural light that “would evolve with the characters.”Once more. HBO, far from apologizing, repeated the controversy with episode 7 of the first season of ‘House of the Dragon’, titled ‘Driftmark’ and directed by Miguel Sapochnik, who had directed the Battle of Winterfell. The director defended the lighting: “It made sense that this was humanity’s last hope, the last beacon of light and, from the perspective of where we needed to go with the story, which was to reach a surreal and chaotic climax, we needed an environment that matched that.” He added, “nobody sat down to think about whether it would look too dark.”

Causes of the drama. The problem mentioned has multiple causes. The Verge examined the calibration differences between very different televisions. The signal’s origin is also problematic: cable still works in the US, but internet connections vary widely worldwide. Editors and directors of photography have monitors calibrated to a precision beyond the average viewer and work with files comparable to UHD Blu-Rays.

Remember that the director of photography of ‘The Long Night’ blamed compression for ‘Game of Thrones’ viewing issues.

History repeats. The series again plays with gloom and exaggerated dark settings this year. Last season, HBO claimed these were “intentional creative decisions,” but it’s becoming clear that’s no excuse. Vulture wrote that “some scenes have so many candles that it is almost comical” about the series’ love of candle and natural light. It makes the action harder to discern, but it shows that these are intentional creative decisions.

More deliberate. This year’s House of the Dragon is intentionally dark like last year’s. Ryan Condal, showrunner, told The Hollywood Reporter: “We took feedback into season two. Season two fits my style and expectations for the show. There’s not much difference, but I don’t think we’ll ever hear ‘it’s too dark’ again.”

However, IndieWire reports that this arrangement may be fatal: Season 1’s risky aesthetic choices frustrated viewers, but Season 2 “has taken a giant leap toward looking like everything else on television and lost some of what made it visually distinct.”

Max has activated the ‘Game of Thrones’ machinery

By ki0nk

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