This article contains revelations on the content of the plot.
This chronicle is not doomed to the only chronicle of the rear seasons, but a concern for equity obliges me, after having mentioned the conclusion of the first season of the power rings, to give the same place to the dragons from the Targaryen house. The opposition between the inspired series of J. R. R. Tolkien and that resulting from the work of George R. R. Martin is now so marked-on the Beatles-Stones model, Bordeaux-Bourgogne, Picasso-Matisse-which must be taken care not to displease one camp more than the other.
The rings of power and House of the Dragon may be part of the same literary and cinematographic genre, the heroic fantasy, and occupy a similar – and uncomfortable – place in the chronologies of their respective universes (these are prequels, whose conclusion therefore constitutes the prologue of stories already known), their ways diverge even more than did those of the Lord of the Rings and Game of Thrones.
If you went to the end of the first season of House of the Dragon, you know that the long -awaited thinning has never arrived in the sky as in souls. Where the rings of power show tectonic movements, with proper and figurative senses – on this last plane, by putting characters larger than life (hence their sometimes compassed maintenance) faced with simple choices (between the Shadow and light, possession and sharing, freedom and servitude) -House of the Dragon relentlessly searches a small plot of the human condition: that which makes dynasts the masters of their society and the slaves of quarrels of succession.
Since the word is loose, it must be agreed that, despite the fantastic architectures, the invented rituals and the dragons, the series of Ryan Condal and Miguel Sapochnik is much more likely (the series of Jesse Armstrong, which stages The upheavals of a multinational media in the process of butchering) than to the power rings. The pleasure that one can take there is more due to the spectacle of betrayals and alliance reversals between members of the same family than to the greatness of military gestures. Moreover, the possibilities of great spectacle, rather rare over the eight episodes, have almost systematically – and probably deliberately – was sabotaged by the minimalist lighting of generally night war sequences. The smuggle glow of the torches which illuminate (barely) the turpitudes of the rival branches of the Targaryen house gives the series its chromatic identity.
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