Tag Archives: House of the Dragon

The Allure (and Curse) of Prequels

The concept of a prequel as a literary device has been around in one form or another for quite a long time in almost every medium. When The Phantom Menace came out in 1999, the idea of going back and telling the story of the Clone Wars was something that hadn’t been done before on that kind of cinematic scale. More than 20 years later, the Star Wars universe is still dipping into that well, and will likely continue showcasing stories that take place before A New Hope for the foreseeable future. 

Star Wars certainly isn’t alone in wanting to delve into the stories that take place before the original setting of the intellectual property. A short list of heavy-hitters appearing this year alone on TV includes (but is certainly not limited to) the following:

  • Lord of the Rings: The Rings of Power
  • House of the Dragon
  • Star Trek: Strange New Worlds
  • Obi-Wan Kenobi
  • (And just this week) Andor

Before I get into the particulars, let me say this: This post is not about the casting, fan backlash, or creative decisions involved with any of these shows. I have the greatest respect for the actors, crew, and digital artists who bring these shows to life. If you’re here expecting some sort of fanboy outrage at one or more of those groups, feel free to hit that “eject” button now and punch out. Byyyyeee.

Still with me? Excellent. What I hope to do with this blog is to take a look at the viability of prequels as a framework for telling  stories, exploring three things that make prequels attractive as well as three more that make them less appealing than an original story. With that in mind, let’s dive in.

The Allure

Nostalgia

The most obvious answer is that a prequel hopes to capture the magic that the property had before, tapping into the good will and warm fuzzies that we may harbor from previous iterations of said property. Depending on how subtle or overt this previous connection is handled, you might wind up with fun call-backs, but it runs the risk of becoming heavy handed with member berries. 

For the most part, I’m fairly forgiving of when the fan service gets too fan service-y. Even when this happens, it’s hard to deny that the feelings that are evoked when you see parallels play out. In the right hands, they can be profound. The best prequels are able to successfully excavate those little nuggets of emotion we have tied up with the original and shine new light on them.

Nostalgia is often a distortion of past events, though, filtered through the lens of a yearning for a past that may or may not have really existed except in our minds. While it can be a two-edged sword, it can also be a powerful reminder of what we love, reigniting our passion and enthusiasm in the present. 

More Time in the Setting

Stories taking place in settings we love are always finite. There are only so many episodes of Star Trek: The Next Generation, only so many Lord of the Rings movies. Once a setting has achieved that sort of critical mass in the hearts and minds of fans, it’s natural to want to go back to that place if given the chance. After all, we have friends there, favorite spots, and (in general) we know what we’re getting ourselves into. It’s a known quantity, and one we already like.

Settings with rich backgrounds are often the most fertile soil for prequels. If you’re a lore nerd like I am, who just loves to sink your teeth into the backstory and worldbuilding, this is a chance to see it brought to life. The mentor figure of a previous story might now take center stage as the protagonist of the prequel. Characters who are bitter enemies might be friends in this telling. Maybe you get to witness legendary events play out that were only ever talked about, or receive additional context to the original story.

Like the voyages of the original Constitution-class Enterprise? Well, here’s more of that. Remember the thrill of Game of Thrones? Let’s have another foray into Westeros, shall we? And so on.

A Safe Bet

Prequels don’t have the risk that new, completely original stories carry. There’s a built-in audience, likely one that’s hungry to see more of whatever it is. This makes prequel stories something comfortable for both the producers and consumers of media. If you liked this, you’ll surely love that.

It’s the same mindset that brings us sequels, but there’s an innate guardrail backed into prequels: You know where the characters are going. You don’t have to worry about coming up with the next big story arc, and you already have the end point established. You’re just filling in the gaps and adding additional layers to a story that’s already been told. 

The Curse

Spectacle Creep

The issue with going back before the ‘main’ timelines is that the temptation to make the prequel story bigger, grander, and more impressive often blows the originals out of the water. Consider the lightsaber duels in the Star Wars prequel trilogy. They are orders of magnitude more complex and fast-paced than the ones we see in the original trilogy.

The ever-increasing want to pile spectacle on top of spectacle, to outdo what audiences have experienced before, can be momentarily thrilling in the moment, but it always has the effect of making the source material seem far more mundane. This is especially noticeable when you watch the releases in that universe’s chronological order. Thus, prequels often have the side-effect of downgrading or side-lining the originals.   

Continuity Nightmare

By its very nature, a prequel does not exist in a void. It comes before something. It’s no easy feat to balance the needs of the prequel story with the constraints placed on it by the stories that released before it. It’s a delicate balance to walk. Lean too much into what’s been established and you risk severely limiting the scope of your story. Throw canon to the wind and the prequel story may not fit within the greater framework that exists in the minds of fans.

This is personally why I think that prequels can be a hard sell for long-running fandoms — it’s too easy to cause contradictions and lore breaks. Sure, not everyone cares about that. Most casual viewers probably don’t, but invariably there are fans who are invested in the universe that do want to see continuity maintained. Prequels are often the bane of those kinds of fans.

Now I know that, more often than not, these types of fans are dismissed out of hand as whiny manbabies, like a Youtube comment section come to life. But, I would argue that many of the fans that object to major breaks in a universe’s continuity just want all parts of the thing they love to work in concert, forming  a cohesive whole, rather than having elements that work in opposition to that. Major breaks in continuity can make that a bridge too far to span.

Lack of Stakes

Perhaps the worst curse of prequels is that we know that nothing will really change. Yeah, maybe we get a little extra insight into what leads up to the originals, but we know the story can only resolve in a certain way. We already know who lives and who dies.

That means that established characters that are alive and kicking in the future are effectively untouchable in the present. There are no stakes when the outcome is already known. When there are no stakes to a story, it can make everything in it feel brittle and unearned. It doesn’t matter how outnumbered, outgunned, or impossibly the odds are against them, we know that the heroes will make it through. It drains most, if not all, of the dramatic tension from the story as we already know the protagonists will win. Prequels are where the plot armor is thickest, and it shows.  

Final Thoughts

For one reason or another, we live in an age of prequels. In the case of both the Lord of the Rings and Game of Thrones universes, it’s because the main stories have already been told, and it’s too soon for any sort of reboot. With Star Trek and Star Wars, they seem to both have an allergy to advancing their own timelines (with some exceptions), and would much rather set their stories in eras that have historically proven popular.

Combine that with the powerful urge for studios to create some sort of interrelated cinematic universe, and it’s a safe bet that the stream of inevitable prequel releases is just getting started.  

Still, there are some places even within those offerings  where new, original stories can thrive, ones that aren’t as beholden to other source material that have more space to grow. (Mandalorian, I’m looking at you.) While my instinct is usually to leave backstory as just that, I’m usually willing to give prequels stories a shot. Sometimes they land, and sometimes they don’t. After all, a story well told is a story worth your time, regardless of how much baggage it might carry from what has gone before.

So, I put it to you, dear reader, what are your thoughts on prequels? Do you like them, love them, despise them, or are you just sort of ‘meh’ on them? Let me know in the comments below.

Thanks for reading!


Westeros has a Firewood Problem

This topic has been on my mind for years now. I had originally intended to release this blog post later in the year as winter set in (for reasons that will be obvious in a moment), but since House of the Dragon premiers this weekend, now seemed as good a time as any.

Or, as GRRM calls it, “Hot D.”

There’s a part of the worldbuilding of Westeros that I want to examine. Before we get into that, let me first say that George R.R. Martin’s series is one of my favorite fantasy worlds of all time. It’s full of wonderfully flawed characters, historical parallels, and rich backstory. One of the things that sets it apart from many other fantasy worlds is the concept that the seasons can last much longer than in our world. The winters in Westeros are famously years long and apocalyptically cold.   

It’s the topic of winters that I want to delve into here.

There are precedents in actual history for seasons lasting beyond their usual cycle, such as the Year Without a Summer in 1816. In Westeros, however, winters can last for up to six or seven years at a time, possibly longer. For the purposes of this discussion we’re not going to worry about saving up the requisite amount of food as we have many examples from history on methods to avoid potential famine over long periods of time. The main thing we are going to look at (as the title suggests) is the question of firewood.

Tyrion and Dany at Dragonstone.

The Westerosi, like their medieval counterparts, don’t have many ways to heat their homes. There are no radiators or electric heaters to rely upon, so to survive the cold, cruel winters, they would have to burn fuel to keep themselves warm and cook their food. In real life, it was an arduous enough task to cut enough firewood to last a winter season that spanned only three to five months. Virtually every moment not spent on some of other critical task had to be devoted to cutting firewood, just to make sure you had enough.

Now imagine having to stockpile firewood for a winter that can last for years. If the winters are as bad as Old Nan suggests, you won’t be able to cut down trees after winter has come due to the risk of exposure and sickness. Since you have no way of knowing just how long winter will be, you had better assume it’s going to go the full seven years. If you cut enough for three years, and winter lasts four, you’re dead.

Truly, when you play the game of firewood, you either have enough or you die; there is no middle ground.

(Sorry, couldn’t resist.)

Not a Starbucks cup in sight.

How much firewood are we talking? 

Let’s say that you’re a peasant living somewhere in Westeros, possibly in a sturdy cottage or farmhouse. You likely have only one hearth or fireplace. You might even have a fire pit, which is likely closer to what actual medieval peasants used to use less wood as they brave the harsh winters of Northern Europe. Whatever form your heat source takes, you’ll need to keep the fire going all the time. Letting it go out overnight could result in you waking up a frozen peasant-sicle. 

To accomplish this, you’ll need fuel in the form of wood. There are other forms of fuel, but firewood is going to be your most reliable and most abundant. Also, I don’t know of many defined peat bogs (peat being another source of fuel) found in the North, where the hammer of winter falls the hardest. You could burn animal dung, but they require additional food stores, so again, wood is likely going to be your mainstay.

Balon Greyjoy’s sanctum at Pyke.

According to sources I found (listed below), heating a 1,000 square foot house needs about 3 cords of wood for a three-month winter, effectively one cord per month per 1,000 square feet. Luckily for our hypothetical peasant, their home is likely smaller than that size, so it requires less fuel to heat. For ease of measurement, let’s say the home in question is half that square footage, so 500 square feet. Assuming the ceiling is 10-feet high, the example cottage would be around 5,000 cubic feet.

We’ll assume that the history of extremely long winters has made insulation and heat retention for this peasant’s house roughly equivalent to the modern standard. That’s a big leap, sure, but I’m giving the people of Westeros the benefit of the doubt here.

This image makes me sad.

So, how much is a cord of wood? A single cord of firewood is usually defined as a stack that’s 4 feet wide, 4 feet tall, and 8 feet long. That winds up being 128 cubic feet of wood.

Seven years equals 84 months. According to the example above, it would take 84 cords of wood for a modern 1,000 square foot house to keep a fire going for that long, so it would take around 42 cords of wood at the very least to heat the Westerosi peasant’s house. Doing the math, that’s a stack of wood 168 feet wide, 168 feet tall, and 336 feet long, or 9,483,264 cubic feet.  

One of the few bright spots in Season 8.

To give you an idea of just how much that is, imagine that you covered every inch of a modern football field with firewood (including at least one end zone) and stacked it all up to a height of 168 feet. That’s taller than the Statue of Liberty.   

See the problem?

All of that is to fuel a single fireplace continuously for seven years, to say nothing of if you have a larger home with more than one fireplace. Even if fire pits might allow you to cut less wood than it would take to keep a regular fireplace going, the extreme length of time you have to maintain it makes it a herculean feat to cut that much firewood.  

Otto and Alicent Hightower from Hot D.

Blisters and Magnification:

With modern logging equipment, or just a functional chainsaw, a single person could conceivably cut that much wood during the seven years of the Long Summer, but the folk of Westeros don’t have that luxury. They would certainly have a wood-cutting axe handy, and if they are very lucky, they might also have a splitting wedge and/or maul to make things easier.

Regardless of the equipment available, the daunting task of cutting that much wood must be done by hand. The amount of effort it would take to cut, transport, split, season, and store that amount of wood so it won’t rot is staggering. Talk about calluses!

Faces by firelight.

Perhaps larger keeps and holdfasts would have whole teams of lumberjacks with big cross cut saws to fell the timbers faster, but having a larger home, with more than one fireplace, only magnifies this problem.

It’s hard to get a read on just how many hearths and fireplaces some of the major holdings in the series possess. We can safely cross Winterfell off the list here, since it has the hot spring flowing through its walls (or did until Ramsay Bolton messed it all up in the books. Spoilers, sorry!). 

The only solid number we have comes from Harrenhal. Its rather inaccurately named Hall of the Hundred Hearths has only about 35 of them. That’s in one room.  Admittedly, this fortress was built to a colossal scale, but it’s safe to say that large holdings like Highgarden, Casterly Rock, and the Red Keep might have dozens of fireplaces that they keep going, from the main hall to the private quarters of the noble families.

The King in the North!

That doesn’t even take into account things like wood for torches to light the halls, braziers for watch fires, fuel for the forge, or any extra wood used in the kitchens for cooking and food preparation. Even a lord or castellan that is extremely frugal with the available stores of wood would surely be using many times that of our hypothetical peasant in a cottage.

How are there any forests left standing in Westeros if that’s the case?

Inventing a Solution:

George R. R. Martin is a smart author, and he’s tackled problems like this before. Ravens, for example. I’m speculating here, but I imagine that he looked at how massive Westeros was, and how far flung the centers of power actually are on the map. They were once seven independent kingdoms after all. There aren’t many usable roads connecting them, and a lack of an inland sea really limits how fast ships can get to places. Without a means of fast, reliable travel overland or by sea, it would be almost impossible to effectively administrate a kingdom of that size using any historical medieval methods. Without some channel for communications, the Seven Kingdoms would have likely collapsed under its own geopolitical weight.

They were my dream team. If only…

So, GRRM invented a means to send messages quickly over great distances. Enter the Maesters and their incredible knowledge of ravenry (or rookery). Like trained carrier pigeons, you attach a note to one of their feet and off they go to a predetermined place. It’s not clear how fast these birds are, but I would imagine that a Prince of Dorne might have a decent idea of what was going on in the North within a week or two, as opposed to many months to a year.

GRRM famously dislikes fan fiction set in his universe, so let’s simply look at this as a mental exercise. Let’s apply the same kind of practical problem solving he used with ravens to the firewood problem. What follows is my solution to the problem. If you have a solution of your own, or if there is a solution presented in the books that I have missed, I would love to hear it in comments below.

Far away, in a storage facility in San Francisco, Bran wargs into a rat to set Ant-Man free.

Enter the Winter Oak. This tree is a cousin to the Weirwood tree, sharing some of its physical properties, but distinctly lacking in its metaphysical ones. Like the Weirwood, it maintains its bloom throughout all seasons, needing little in the way of sunlight, but more importantly, the wood of the Winter Oak does not rot. It can be stored for years on end without degradation from either outside conditions or damage from vermin. That alone would make it invaluable to Westeros, but we don’t stop there. Here are a few more characteristics that help alleviate the firewood problem:

  • The Winter Oak burns many times longer than regular oak, maple, or hickory due in part to the special red sap it secretes. It is not appreciably heavier to carry or harder to cut. Stocking this wood allows you to greatly reduce the fuel you need to get through the winter by several orders of magnitude.  
  • This tree produces thousands of seed pods that are a particularly attractive food source to burrowing animals. The animals eat the pods and fertilize the seeds in their feces underground. This allows new trees to find fertile ground and start growing even with several feet of snow on the ground. New crops of trees are then ready to go as soon as the spring comes. Some particularly hardy specimens even start shooting up during the height of winter.
  • The tree is common enough that wood from it is plentiful all around the Seven Kingdoms. The Winter Oak tree does not require a particular type of soil to grow, so it can be sown just about anywhere plants grow.
  • This tree grows quickly. Not as fast as bamboo, but considerably faster than other trees. This makes them perfect for ‘farming’ multiple times during the spring/summer/autumn seasons. Because they can grow during the winter, the brave or foolish (or both) may attempt to gather them in the winter, too.
  • The Winter Oak will naturally find a balance with the trees around it, including others of its kind. It doesn’t have to compete over sunlight as much, but does require lots of nutrients from the soil. So, it does not grow as aggressively or pervasively as kudzu.  

In summary, you have a tree that reduces the amount of wood you need, stores well for long periods of time, replaces itself quickly, and is common enough that all of the Seven Kingdoms have ample access to it.

Now, if there any dendrologists or arborists reading this, I’m sure you are shaking your head or blinking in disbelief. But I ask you, is a tree that does all that any less believable than one that can see through time while harboring an ancient hive mind? The Winter Oak still makes life in Westeros a struggle for survival, as it should be, but makes living there a bit more viable.

Knighted.

Final Thoughts:

While The Song of Ice and Fire is a work of fantasy, it’s a type of fantasy that is firmly grounded in historical realism. A worldbuilder’s job is to construct universes which possess the ring of truth. When you decide to change something major, you have to keep in mind what else changes with it.

If everyone in the world could suddenly teleport by just using their mind, it doesn’t just save on commute times to work. There will be many permutations and effects that will need to be addressed to give the world a realistic sense of place. (An excellent example of this is Alfred Bester’s novel, The Stars My Destination.) Merely saying “it’s magic!” and leaving it at that is not a valid way of getting around problems, or downplaying their importance, even in fantasy worlds that are far less rooted in reality.

Now, does this tiny wrinkle diminish my enjoyment of GRRM’s books? Absolutely not. I don’t read his works for complicated explanations of the seasons. No, I’m all about compelling grey characters that almost  leap off the page, descriptions of feasts that make my stomach rumble, and as GRRM puts it, “the human heart in conflict with itself.” *chef’s kiss.*

So, bundle up everyone. It may be hot outside now, but Winter is Coming.

Sources:

https://modernhomesteading.ca/blog/firewood-basics-five-lessons-for-heating-with-a-wood-stove

https://www.familyhandyman.com/article/how-much-firewood-for-winter/

https://homeguides.sfgate.com/how-much-firewood-do-i-need-for-the-winter-13420440.html