How does the series premiere of Game of Thrones compare to its book counterpart?

As a lifelong fan who has immersed myself in the intricate tapestry of George R.R. Martin’s epic saga, I can’t help but feel a twinge of disappointment when comparing the richness of the books to the TV adaptation of “Game of Thrones.” While I acknowledge the Herculean task that lay before the writers and directors in bringing such a sprawling narrative to the small screen, it is undeniable that certain aspects have suffered in translation.

More than ten years have passed since “Game of Thrones” premiered on HBO, yet it’s hard to believe that fans have let go of it entirely. It’s true that some viewers have distanced themselves from the series due to its controversial final season, but the dissatisfaction with those episodes stems from the immense affection for the show in its early days.

A terrific approach for enthusiasts to revisit the enchantment is by delving into the books that inspired the series: George R.R. Martin’s A Song of Ice and Fire series. The inaugural novel, A Game of Thrones, was published in 1991, a time when many fans were still too young to read it. I am one of those who watched the show first, and immersing myself in the original content has significantly broadened my comprehension of this captivating franchise.

Since a new season of “House of the Dragon” isn’t coming until later and “A Knight of the Seven Kingdoms” isn’t due till late 2025, this is an ideal moment to revisit the first season of “Game of Thrones” all over again. This time, you can enjoy it with the knowledge of how it was crafted in George R. R. Martin’s original books.

In the initial episode titled “Winter Is Coming,” there are several noteworthy departures from the original book, as well as faithful adaptations of certain scenes with dialogue that mirrors the written text word for word. Here are some significant differences I observed upon rewatching the premiere and my opinions on whether these changes improved or detracted from the overall narrative.

First Encounter with the White Walkers

In both the books and the television adaptation, the narrative starts with a confrontation between the Night’s Watch and the White Walkers, drawing viewers right into the story from the start. This initial scene makes it clear what the main danger is early on, encouraging readers not to be swayed by the political turmoil, since the characters themselves often get caught up in such matters.

In the novel, a trio of rangers are dispatched to pursue a band of wildlings. Their advance scout, named Will, discovers their lifeless bodies, appearing as if they’ve frozen to death. However, upon his return with his companions, the wildlings have vanished. Will ascends a tree in search of them, and encounters Ser Waymar Royce who unexpectedly meets an Other – a term for the White Walkers that is not used in the series. Royce fights valiantly but eventually falls. When Will descends to investigate, the slain Royce reanimates and chokes him to death.

From my perspective, the series presents this scene in a striking contrast. To begin with, the wildlings were gruesomely dismembered and arranged in a chilling pattern, suggesting they were meant to be discovered. When the Walkers appear, they bypass a fight with Royce and instead pursue the other men through the forest. In the end, one of the Walkers decapitates the third man and hurls his head towards the scout.

Initially, these sequences appear quite alike, featuring extra elements for dramatic impact. Yet, the series appears to fall short of capturing the anxiety and suspicion found in the novel, as the Walkers seem to signal their approach. One might question their actions such as disfiguring bodies that could serve a purpose, or arranging them in patterns that are hidden from view. It also seems peculiar that they would leave one man alive, to potentially reveal what he witnessed.

In a more straightforward and conversational style, one could rephrase the given sentence as follows: Throughout the series, the Walkers’ most significant advantage has been that most people doubt their existence. So, it seems unusual for them to risk revealing themselves just to frighten a single individual. Why would they do so?

The Execution of a Deserter

Moving forward, the narrative shifts to Winterfell, where Ned imparts his wisdom to his offspring: “he who judges, should be the one to execute.” He’s escorting his children to witness him carrying out the punishment of a deserter from the Night’s Watch. The series provides a brief glimpse into the everyday life at Winterfell beforehand, offering viewers an insightful introduction to the Stark family, their abilities, and their passions. This change in focus is beneficial as there’s limited time elsewhere in the show to explore the dynamics at Winterfell in depth.

In both versions, the main action remains quite similar; however, unlike in the book, it’s the character who stayed with the horses, not the one facing the White Walkers, who is the deserter. Both characters are fearful, but their account of events beyond the Wall is disregarded. This situation provides an early example of southern beliefs overpowering evidence of the undead, a phenomenon that seems to be quite prevalent.

Finding the Direwolves

In the aftermath of a chilling execution, I, as a devoted fan, found myself immersed in a scene where Robb Stark and his half-brother Jon Snow stumbled upon a litter of direwolf pups, an encounter brimming with profound symbolism. While both the book and the show share this significant moment, the television adaptation delved deeper into the narrative.

Instead of directly implying that the wolf and stag fight to death in these scenes, Stark’s ward Theon Greyjoy proposes an alternative interpretation. He speculates that perhaps it was a mountain lion, not either the wolf or the stag, that caused the stag’s demise. This shift in perspective adds depth to the symbolism, as both Robert and Ned are eventually killed by Lannisters, who bear the lion as their symbol. Despite Joffrey’s initial presentation as a Baratheon, it is the Lannisters who ultimately bring about their deaths, adding complexity to the unfolding conflicts in the story. This revision enriches the narrative by introducing intrigue and depth.

The Lannisters discuss Jon Arryn

Initially, the start of the episode bears a striking resemblance to the beginning of the book, but it soon transitions to a scene set in King’s Landing, where Cersei and Jaime Lannister candidly converse about their plan to eliminate Jon Arryn, as they fear his discovery of a secret that could lead to their demise.

Although the specific details of that secret aren’t disclosed, this scene carries significant weight for the remainder of the season. In the novel, Lysa Arryn’s claim that the Lannisters murdered her husband is questionable. Moreover, while Cersei and Jaime’s affair becomes known quite early on, the true parentage of their children, Joffrey, Myrcella, and Tommen, isn’t clarified until around two-thirds through the book.

Including this scene significantly clarifies the circumstances surrounding Lord Jon Arryn’s death, removing most doubts about the secret he uncovered. Much like the initial scene, it removes the enigma and instead provides clear evidence of the Lannister danger.

This method is advantageous as it gives viewers a broader perspective on Cersei’s manipulations, rather than just experiencing them directly. In George R.R. Martin’s “A Song of Ice and Fire,” she doesn’t receive her first point-of-view chapter until the fourth book, “A Feast for Crows.” This delay can hinder our ability to comprehend and empathize with her character. However, this alteration might make Ned appear somewhat dimwitted, as viewers are already aware of the secret he spends so long trying to uncover.

Interestingly, according to the showrunners of Game of Thrones, David Benioff and Dan Weiss, they later included this scene for clarity as some viewers in initial screenings of the pilot episode may not have realized that Cersei and Jaime are siblings.

Tyrion Lannister’s Introduction

In the shift from books to TV series, Tyrion Lannister seems to have experienced the most significant alterations, mainly due to the emphasis on explicit content during season 1. Instead of arriving at Winterfell alongside his siblings, Tyrion is depicted in a brothel, engaging in flirtatious banter with a prostitute. While this behavior aligns with his character traits, as he admits to frequent liaisons with sex workers elsewhere in the book, it’s quite jarring to have it serve as his initial introduction.

In the novel, Tyrion emerges as a source of profound insights upon his arrival at Winterfell, particularly for Jon. They share a unique connection, having both experienced alienation within society, and Tyrion assumes an advisory role towards Jon. Sexual encounters are not a frequent occurrence in the storyline, with other matters demanding his focus, only appearing in the final sections of the book.

In the initial book, Tyrion appears to have a fondness for romantic encounters rather than just casual ones. He cherishes memories of his former wife and strives to maintain a monogamous relationship with Shae. Emotional connection is more important to him than physical intimacy. The series will delve deeper into this aspect later, but the first episode offers only a glimpse into one of the most beloved characters among fans, painting a picture that is rather narrow compared to his complexity.

The Baratheon royal family comes to Winterfell

A significant number of encounters between the Starks and the Baratheon royal family closely follow the book, but many scenes were omitted for time constraints. Key dialogues such as those between Ned Stark and King Robert Baratheon in the Winterfell crypts are largely preserved, serving to illustrate their relationship while also delving into the background of their mentor Jon Arryn and Ned’s deceased sister Lyana.

In the series, there’s a scarcity of scenes that display interactions among the younger members of both families, Stark and Baratheon-Lannister. Instead of emphasizing the tension between the younger characters, the show predominantly highlights the relationships within the Stark family. Although Sansa Stark appears to admire young Prince Joffrey, the narrative primarily portrays her irritation towards Arya, as evidenced by her remarks when the king visits and Arya playfully throwing food at Sansa.

One way to rephrase that in natural and easy-to-read language could be: “What’s most noticeable is the lack of interactions between Joffrey and Robb Stark, the eldest son of Ned Stark. In the series, we only see a brief moment where Robb makes a sarcastic remark to Jon and Theon about Joffrey, but there’s not much more interaction between them. In the books, their relationship becomes increasingly hostile as Joffrey constantly mocks Robb’s sword-fighting skills. This leads to some sparring matches, but since Robb is still using practice swords, his ability to lead his troops into battle by the end of the book carries a greater impact.

The show cuts this interaction entirely, which is a matter of prioritization. Joffrey will give Robb plenty of reasons to hate him later on. But the childish insults and youthful rivalry in the book help show why Robb felt so determined to prove himself later on. The decision to focus on the Starks’ relationships with each other makes sense, since it’s the only opportunity to see them all together. However, I do miss some of the complexity that the books provide.

Daenerys Targaryen’s introduction

In the initial episode, while the Starks dominate much of the storyline, Dany manages to steal the spotlight in two key moments. However, these sequences, though directly adapted from the novel, appear somewhat underdeveloped due to a lack of insight into her thoughts, which makes them less impactful.

In essence, the connections between the Targaryens, particularly Illyrio Mopatis, are portrayed, while Viserys Targaryen is depicted as a beastly character, leaning more towards lewdness than brutality. However, we gain little insight into Daenerys herself in this episode. Actress Emilia Clarke often maintains an empty gaze throughout the episode, which can make it challenging to empathize with her.

In certain aspects, this portrayal works, yet it fails to fully capture her character. Her life spent in exile under the oppressive rule of her malevolent and uneducated brother leaves a mark that we can sense, but her unique personality remains elusive. For instance, when she enters the overly warm bath, her unusual behavior hinting at her dragon blood lineage isn’t conveyed. Similarly, we miss out on her growing suspicion in response to Illyrio’s promises to Viserys, a detail that is clearly shown in the book. In this initial episode, Daenerys’ identity prior to joining the Dothraki is significantly diminished, leaving us with an incomplete understanding of who she was before.

Benjen Stark’s conversations at Winterfell

In Winterfell, I found myself on the outskirts during the grand feast, venting my feelings towards an old training dummy instead of joining the revelry. That’s a slight diversion from the tale as it was written, where I merely occupied a somewhat lesser-honored seat. Nevertheless, this solitude offered me priceless moments with two significant figures – Tyrion and Benjen, my uncle.

From my perspective as a devoted fan, in both the book and TV series, Benjen subtly suggests that Jon would be accepted by the Night’s Watch. Yet, when Jon expresses a desire to join, Benjen firmly rejects the idea. This dynamic is somewhat more profound in the novel, where the reasons behind Benjen’s initial comment are not entirely clear. In the TV show, he simply notes that bastards are welcome at the Night’s Watch, before scolding Jon for considering such a life commitment so early on.

In the book, there’s an extended dialogue where they delve into the strained relationships among Ned, Robert, and Cersei. Benjen praises Jon’s keen eyesight and suggests he would excel in the Night’s Watch. However, when Benjen subtly discourages Jon from joining, it appears more like a challenge, as Jon must articulate his motivations for desiring to become a member.

This adjustment may seem minor, but it adds an intriguing layer as it now leaves viewers unaware of the strong bond between Jon and Benjen, and how Benjen took great care in protecting his nephew. A significant aspect of their deleted dialogue revolved around Jon’s respect for Daeron I Targaryen, whose life story shares several similarities with Jon’s.

Instead, the show added an exclusive scene featuring Benjen and Ned Stark, which I believe was a beneficial alteration. Given Benjen’s role as a leader within the Night’s Watch, it seems plausible for him to act as a liaison between Ned and the Wall. In this scene, he defends the deserter, implying that he wasn’t merely cowardly and hinting at the escalating dangers they confront.

In this scene, viewers get a deeper insight into the bond between the brothers and the underestimation of the danger beyond the Wall. Despite being a Northern lord, Ned questions the supernatural aspects, which unfortunately allowed the issue to grow as large as it did due to his disbelief.

Daenerys’ wedding to Khal Drogo

In the story, Daenerys finds herself fearful and isolated, yet pivotal to the narrative. The account is primarily seen through her eyes, revealing her ability to discover happiness despite being manipulated like a piece on a board. She greatly appreciates Jorah Mormont’s assistance, forms an immediate bond with the dragon eggs, and cherishes her time on her horse. Interestingly, her husband Drogo picks out her horse because its color resembles her hair; it’s their first shared moment. These small instances illustrate what she cherishes, how she embraces her predetermined role, and how she finds courage in her fear. Unfortunately, these subtle details are not preserved in the show adaptation.

Indeed, the most significant alteration between the two narratives revolves around the wedding night events. In both stories, Daenerys expresses fear and Viserys exerts pressure, yet in one portrayal, the wedding night is depicted as a violent rape on screen, while the other version suggests consensual union through implied consent. While there’s a compelling case that their marriage was essentially statutory rape, the written account indicates explicit consent in the book.

Despite Khal Drogo refusing in the books, his refusal actually pertained to her crying and feeling ashamed of her body. In reality, he sought consent before the consummation, which she willingly granted. This doesn’t imply it was morally acceptable, but it does suggest that she voluntarily consented to him having access to her body.

The series takes an unexpected turn, with Drogo now holding all the power. He exerts complete dominion over her, both physically stripping and manipulating her body. Consent seems to be irrelevant, as he claims what he desires without hesitation. This shift in direction has even been criticized by George R. R. Martin himself.

In the books, I don’t think their relationship was romantic, and I won’t defend it as acceptable, but it was Daenerys who held the ultimate authority in that situation. This instance is significant for her character because, despite being victimized both before and after this event, her ability to handle a harsh circumstance paved the way for her to amass power later on.

In the series, Daenerys’ circumstances restricted her power over her own life significantly. However, the show’s writers stripped away what minimal autonomy she had, portraying her more as the manipulated pawn that Viserys perceives her to be, rather than the resourceful and tenacious young woman she truly is. It’s not ideal in either case, but I prefer to witness how she navigates these circumstances as a complex human being, rather than having her strictly adhere to a predetermined path.

Bran Stark’s fall

In the premiere of “Game of Thrones,” I, as Bran Stark, find myself tumbling from a shattered tower, given a hard shove by none other than Jaime Lannister. You see, I’d just caught him in a compromising position with his sister, Queen Cersei – not exactly the best way to start a friendship. The show subtly hints at my love for climbing earlier in the episode, which sets up this dramatic moment. However, the books make it clear that Bran, being cautious and skilled, would never have fallen without a push. This detail becomes crucial when considering if the Starks might believe he was forced from the tower by Jaime.

In addition, the book includes a conversation between Cersei and Jaime about their plans within the tower, which was previously depicted in this episode. Although this alteration isn’t substantial, it contributes to why Jaime might feel compelled to commit an act like killing a child. Not only did Bran witness them in an intimate situation, but he also overheard them discussing Jon Arryn’s death and hinting at the secret they shared.

It’s understandable that those particular scenes were omitted since they had already been developed elsewhere and revisiting them would require additional time. Regrettably, this approach seems to oversimplify the show’s intricate characters once more. In the book, Jaime’s act of pushing a child out of a tower serves as a powerful moment that makes readers despise him, but in the show, it appears as though he is apathetic or even enjoys this action, when in reality, it’s depicted as something he does reluctantly, with feelings of loathing towards Cersei or himself.

Overall, the initial episode of Game of Thrones closely adheres to the novel, drawing numerous scenes directly from its pages. Yet, the absence of internal dialogues brings about substantial challenges in character development. At times, it seems that the characters are merely enacting the roles George R. R. Martin outlined for them, instead of appearing as unique individuals navigating situations according to their own personalities.

The epic saga A Game of Thrones created a richly intricate universe that was challenging for a TV series to fully embody. Remarkably, the show did convey quite a lot of the grandeur and enchanting aspects from the novels, but in doing so, it seemed somewhat flat compared to the books. This is due to the omission of many nuanced thoughts and personalities of the characters that were so integral to the narrative.

2024-10-13 16:42

Gladiator star responds to Paul Mescal recasting