House of the Dragon boss compares dragon-riding to the Force from Star Wars

As a seasoned gamer and avid fan of all things fantasy, I must admit that the ongoing feud between George R.R. Martin and HBO over the adaptation of his beloved “Fire & Blood” has become quite the entertaining spectacle. It’s like watching two dragons circling each other in mid-air, both powerful and unpredictable.

Last week, George R.R. Martin, the writer of “A Song of Ice and Fire,” publicly criticized HBO’s prequel show to “Game of Thrones,” titled “House of the Dragon.” He expressed significant worry about how the series is diverging from its source material: his book “Fire & Blood.” In response, HBO unexpectedly released an episode of their “House of the Dragon” podcast where showrunner Ryan Condal explained why he made certain changes from the book. Essentially, there’s a subtle disagreement between the author of “Fire & Blood” and the TV series’ producer, which I didn’t anticipate but find amusing now that it’s unfolding.

Indeed, it’s accurate to say that the second season of House of the Dragon deviated significantly from the original source, which sparked mixed reactions among fans. However, there were alterations that viewers found favorable. For example, the Battle of Rook’s Rest was well-received, as was the Red Sowing, a significant event in episode seven where Rhaenyra Targaryen confined several Targaryen bastards with dragons, hoping for a favorable outcome. In the end, two characters, Hugh Hammer and Ulf White, were able to tame dragons: Hugh now commands Vermithor, the massive dragon, while Ulf rides Silverwing, the elegant one. Interestingly, in the episode prior, Seasmoke, the dragon, sought out Addam of Hull, Laenor Velaryon’s bastard half-brother. By the end of the season, Rhaenyra had built a formidable dragon-riding force!

In contrast to what’s described in the book, which doesn’t delve deeply into the details, the selection process for dragon riders seems to be more spontaneous and individual in the narrative. Instead of being gathered together in a room, each potential dragon rider attempts their luck independently, often being turned away by the dragons. On that particular podcast episode, Condal discussed the alterations made during the transition from book to screen.

Condal explained that since we’re adding dramatic flair to scenes from the book, we needed to create unique moments. For instance, one of my favorite parts of the season is showing Hugh’s quest to claim Vermithor, which isn’t detailed as extensively in the novel. Throughout the multi-episode arc about Rhaenyra’s new dragon riders, we wanted to emphasize that each claim is unique, just like every screenwriter’s experience of breaking into the industry is different. Addam was claimed by Seasmoke, Hugh showed exceptional bravery (some might say self-harm) to claim Vermithor, and Ulf’s claim was a mystery – was it due to his supplication, the fact that he didn’t harm any eggs, or simply because Silverwing had been looking for a new rider for some time? Tom Bennett, meanwhile, was particularly captivating to her.

I found myself yearning for the spontaneous planting of ideas from the book, yet overall, I appreciated the show’s portrayal of events and believe many viewers concur. This aspect seems crucial in explaining why certain modifications met with resistance while others were accepted. If your proposed scene is engaging, fans are likely to be quite forgiving, even if it alters the original content.

House of the Dragon showrunner on the beautiful mystery of dragon-riding

In addition to discussing dragon-riding, Condal hinted at the specific factors that allow or prevent someone from riding a dragon. The characters aren’t quite certain about it themselves. It could be tied to Targaryen lineage, or perhaps anyone with Valyrian blood might suffice. Alternatively, the dragons may be employing criteria that are currently beyond our comprehension.

In Fire & Blood and House of the Dragon, details aren’t explicitly provided, a choice that Condal finds compelling. He uses Star Wars as an analogy, stating, “If someone were to explain literally how the Force works on screen – which was actually done in the prequels – it wouldn’t be as captivating as when Obi-Wan tells Luke it’s an energy field that surrounds us and binds the galaxy together. Instead of providing a manual for dragon functioning, the drama of their actions is more intriguing.

I think in holding to a clear mythology as we go along but not taking the time to explain how everything little thing works, it makes it feel more kind of rich and dare I say magical in a good way, where it is one of these great mysteries of the world that’s never really fully explained. And I think we’re very proud of how that all came together.

I wholeheartedly concur with Condal that the enigmatic art of dragon-riding ought to remain shrouded in mystery. Reading Brandon Sanderson’s Mistborn series, where every magical element is explained down to the last detail, made me feel as if the magic had lost its allure altogether. It seems wiser to let our imaginations roam free in such instances.

In a different perspective, I firmly opposed Martin’s choice to eliminate Nettles, a crucial figure from Fire & Blood, from House of the Dragon. I believe her presence adds complexity to the dragon-riding rules in intriguing ways, which I find unfortunate to see removed. This is only one example of many explanations Condal has been providing recently amidst his ongoing disagreement with George R.R. Martin.

2024-09-12 17:41

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