Game of Thrones: the Confused Man

The world of Game of Thrones is a set world. You really want to find logic in it. It has the same meaning from the beginning to the end. Everything is doomed. Because there is an ending, no matter what it was before, it can only be like this now. If you want to write something, you can't stick to the original setting. Just look at those who are crazy about finding loopholes to install identities and how to reasonably control dragons. You will know how painful it is. Just install your own patch and make a new appearance.

I will be here to help with the new Game of Thrones book

When will the writing officially begin? On the forum, I saw someone using AI to deduce the possible ending of A Song of Ice and Fire. 1. The tone and possible direction of the ending Martin is a staunch anti-war and anti-romantic fantasy traditional writer. The ending will never be "the true dragon emperor returns to the throne, and the kingdom will be unified and peaceful from now on". Judging from the imbalances of "ice and fire", "life and death", and "magic and nature" that are repeatedly foreshadowed throughout the book, the real closure will be a bitter but necessary rebalancing. ·The core ending is not conquest, but dissolution. The White Walkers represent the repressed and weaponized "Winter's Will"; the dragons and Targaryens represent the out-of-control "Fire Blood" (Queen Leila hopes Daenerys is the bringer of destruction in the Wrong Spring stage play). The two extreme lines of magic will inevitably neutralize each other in the final season - the Wall is likely to collapse and the source of the White Walkers will be ended, but at the same time the dragons will completely disappear from the world. This "ice and fire eating each other" will return the world to the magic-free mortal era, and the seasons will return to their regular order. ·The keynote is "compassionate relief". There will be no triumphal cheers in the final act. "Broken contracts" and "Pyrrhic victory" appear repeatedly in the book, and the emotional tone of the ending will be closer to an elegy. The survivors saw clearly that all struggles were just reincarnations at the mercy of older forces, and they finally ushered in the dawn, but the sacrifices they made for this—including dragons, the old gods, and countless innocents—would make any "victory" deeply bitter. This emotion is compassion for all those involved in this long night and blood and fire, a "sigh of time against flesh and blood", and relief at the end of all things. · Key image foreshadowing. It is hinted many times in the book that the collision of ice and fire will "melt the world." The outcome is likely to be a permanent geographical rift separating the north and the south. The political unity of the Seven Kingdoms will be completely shattered, and each region will return to autonomy. This is not the territory of the conquerors, but the "scar" chosen by the earth for itself. 2. The deep creative dilemma that cannot be completed It is not that Martin "cannot write", but that there is a fundamental contradiction between his creative consciousness and the narrative perspective required for the ending. · He is trapped in the "Son of Man perspective". The success of the entire "Song of Ice and Fire" lies in his use of highly realistic tactics, humanity, and desire to drive the story. All chapters are from the limited perspective of a living person. But what ends up coming to an end is precisely the "inhuman" level of cause and effect such as magical laws that transcend human power, seasonal chaos, and ancient contracts. Martin must switch from "Who's in control" to "What does the land and the elements themselves want?" This is equivalent to asking a painter who specializes in portraiture to suddenly complete the final scroll in the language of geological maps. · Lack of the underlying perspective of "equivalent exchange". The "Tongue of Stone" and "Equivalent Exchange of the God of Many Faces" mentioned in the book can be understood in terms of creation: He has not yet found a narrative device that allows supernatural powers such as White Walkers, dragons, children of the forest, and seasonal anomalies to naturally complete the destiny delivery without being reduced to simple heroes and villains. Neither ice nor fire can simply be "defeated", they need to be redeemed or offset, and this requires the author to manage it from an almost "impersonal" stance. For Martin, who is obsessed with the "complexity of the human heart", this is a difficult problem that goes against his instincts. · The ending has been written long ago, but the conscious self refuses to accept it. Martin has already laid all the foreshadowings - the unusual darkness of the prologue, the ancient legend about the Long Night, the repeated hints of the price of magic. The ending has already taken shape in his deep consciousness: it is an ending without the Iron Throne, without dragons, and without the hero taking the throne. But his "ego" (as a professional writer, faced with massive reader expectations, commercial pressure and his own creative inertia) kept delaying and could not calmly hand over this "anti-climax" answer. What he was stuck on was not the plot, but his state of mind: he needed to completely let go of his obsession with "telling a story of victory" and instead describe a scar that the earth was willing to leave forever. Therefore, the root of the work's suspension is that a master of human insight was trapped in the web of cause and effect that he had laid in his early years and must be tied up with superhuman standards. Once he finds the narrative eye of the "stone witness" and lets the words flow from the ground instead of the human heart, the ending will complete itself.