There’s been countless of adaptations over the last few decades. With Percy Jackson receiving a reboot by Disney+, I thought it’d be nice to share other adaptations from books worth checking out, but this list is just the start to so many films and TV shows.

Game of Thrones

One of the hugest fandoms and what truly set television into motion was the adaptation of Game of Thrones. Written by George R. R. Martin and published in the nineties, HBO adapted it into a series in 2011. From there it attained popularity and became one of the most binge-worth shows. After its eighth season, the books are still being read, and the show is still watched. Truly, a hard adaptation to top for the next few years. 

Stand By Me

A film released in 1986 was from Stephen King’s short story collection, Different Seasons and the novella became highly regarded and published separately. Originally published as The Body, when adapted, it became Stand By Me and with a few differences compared to the book, the film still became a classic. I remember analysing it in high school and loved the film. Starring River Phoenix, who was bound to become as big as his brother. May he rest in peace.  

Crazy Rich Asians

Most people know this film as it has become an iconic romantic comedy. Written by Kevin Kwan in 2013 and its sequel, China Rich Girl in 2015—Kwan topped the New York Times Best Seller’s list multiple times. The book and movie is a pleasure to come back to repeatedly!

The Hate U Give

Appealing to young adult readers, THUG has won the Goodreads Choice Awards three times! Angie Thomas changed the norms of YA and brought out its lack of diversity. The movie itself came out in 2018 and really gave a name to Amandla Stenberg who stars in it. With the book always being in the NYT bestsellers list, the book and movie are definitely worth it. 

Little Fires Everywhere

Recently adapted by Hulu into a miniseries that released in March, Little Fires Everywhere touches on subjects like racism, privilege, wealth, family, and motherly love. The adaptation filled its potential with a minor change at the end, but it got the word across. The book written by Celeste Ng is definitely a must-read before binge-watching the show. 

Holes

A classic children’s novel published 1998 and written by Louis Sachar, the film adaptation came out in 2003 featuring actors such as Shia LaBeouf, Patricia Arquette, and Zane Holtz. The book and film became popular for its crime driven adventure story. 

Life of Pi

Written by Yann Martel and published in 2001, Life of Pi became a beautiful story for readers around the globe and then viewers when it adapted into a movie in 2012. The movie has won over ten awards and took the world by storm with how well they adapted it. Certainly a novel to look back on!

Looking For Alaska

Like any John Green novel, Looking For Alaska captured the hearts of readers when it first came out in 2005 and over the years, it has won many literary awards. After a decade and a half of trying to get the book adapted, Hulu finally bought the rights to the book and gave readers a beautiful series. 

Fight Club

First published in 1996 and written by Chuck Palahniuk, Fight Clubbecame popular for its unique plot and driven characters. Adapted in 1999, people all around the world were in for a wild ride. First rule of Fight Club. Don’t talk about it, so you must either read or watch to find out all the hype. 

Room

Written by Emma Donoghue comes the heart-breaking story of a woman raising her son in one tiny room. Jack finds the room a home while his mother sees it as a prison. Published in 2010, Room earned many awards and landed an adaptation in 2015. Starring Brie Larson and Jacob Tremblay, the book and film will shatter your soul. 

There are so many books that have been adapted. This is just the beginning.

What adaptation have you loved and highly recommend?  Tell us in the comments below!

The post 10 Book To Screen Adaptations Worth Watching appeared first on The Nerd Daily.

Queen Daenerys I Targaryen, colloquially referred to as Dany, is a fictional character from the renowned television show Game of Thrones, whom is portrayed by the actor Emilia Clarke. Daenerys was the orphaned child of King Aerys II Targaryen, otherwise known as the Mad King, and Queen Rhaella Targaryen, whom were both the principal subjects of Robert Baratheon’s rebellion (War of the Usurper), which saw the destruction of the entire Targaryen dynasty — leaving Daenerys and Viserys as the only surviving heirs.

Daenerys character was initially composed as a timorous persona, obedient as the inferior counterpart to her brother Viserys. Being sold to the Dothraki leader, Khal Drogo, as a bribe, Daenerys was treated as if an object for her brother’s political and military gain. However, for the duration of her role as Khaleesi (Queen), Daenerys matured to become more assured and assertive, growing beyond her brother’s control — which ultimately resulted in his death.

Ensuing the death of Drogo and their unborn child, Daenerys was abandoned by the Dothraki horde, left with only a small portion of loyal slaves and Khalasar. However, it was in the funeral pyre that Drogo’s body was burned in, that Daenerys’ emerged unburnt having hatched her dragons, which she regards as her children; Drogon, Rhaegal and Viserion, named after her late husband and deceased brothers. This symbolised the true beginning of Daenerys Targaryen’s reign as the Mother of Dragons, the Unburnt, and the Breaker of Chains.

1. Bay of Dragons, formally known as Slaver’s Bay, returns to slavery.

Having spent a considerable portion of her time throughout the duration of ‘Game of Thrones’ liberating slaves, Daenerys death leaves the Bay of Dragons fate in undesirable circumstances. Ahead of departing Essos, Daenerys and her dragons ensured the compliance of the Slave Masters by destroying the entirety of the Slaver’s armada. This shift in power ends the looming threat of slavery returning, establishing the freedom of every citizen under her reign.

However, with the news of her death, this leaves the Bay of Dragons exposed to a coup, due to the overwhelming forces of remaining Slave Masters in regions of Essos not yet conquered by Daenerys. Moreover, with Daenerys surviving forces of the Unsullied and Dothraki unable to reach Essos, as a result of the long passage back by ships, the Slavers will have a substantial advantage.

2. The Dothraki Horde returns to their old ways.

The Dothraki are a fictional people, of nomadic horse-mounted warriors, the very name Dothraki in their language meaning ‘rider’. The Dothraki are separated into nameless clans of Khalasar, that inhabit the continent of Essos in plains referred to as the Dothraki Sea. Ruled by individual Khals (Kings), the Khalasar roam Essos in search of plunder; taking slaves, raping, stealing, and butchering villages.

It is commonly known in Essos that the Dothraki follow power, and Daenerys and her dragons were power. After reclaiming her title and status among them as Khaleesi of the Great Grass Sea, Daenerys was the only Khaleesi, or Khal, for that matter, to lead the Dothraki across the Narrow Sea to Westeros, something never accomplished in the Dothraki’s history. Under Daenerys rule, the Dothraki obeyed her laws, ceasing their ways of enslavement and rape. However, with Daenerys death, there is no governing body that prevents the Dothraki from returning to their old ways, and it is likely upon returning to Essos that the Dothraki will ultimately side with the Slavers as there is no benefit in fighting with the remaining Unsullied.

3. Daenerys will only be remembered throughout history as the ‘Mad Queen’.

“Madness and greatness are two sides of the same coin. Every time a new Targaryen is born, the gods toss the coin in the air and the world holds its breath to see how it will land.”

This quote was spoken by Lord Varys, a short time advisor of Daenerys, who questioned Daenerys soundness of mind considerably in the final season. Daenerys prompt descent into ‘madness’ came as a product of the deaths of her trusted close companions; Drogo, Barristan Selmy, Jorah Mormont and Missandei — all of whom died still believing in Daenerys. Moreover, the betrayals of those she considered allies; Doreah, Xaro Xhoan Daxos, Varys and Tyrion Lannister, served to induce paranoia in Daenerys. However, it was the deaths of her children, Viserion and Rhaegal, that constituted her madness, as she witnessed their deaths and yet could do nothing as they died in agony.

Thus, with Daenerys now known as the ‘Mad Queen’ who burned Kings Landing — killing and mutilating thousands of innocents with Drogon’s fire — history will serve to define her through that one sole moment. Daenerys will not be remembered as a kind, benevolent queen, as Mhysa (translated to mother) to the slaves she freed, nor will she be remembered as an intelligent tactician in her rise to power. Daenerys history will be distorted by those who write it, and with the population of Westeros spiteful of the ‘foreigner’ who invaded their lands and burned their cities, Daenerys will not be remembered well.

4. Drogon is the last surviving dragon in the world of ‘Game of Thrones’.

Drogon was always considered the favoured child of Daenerys children, due to the increased proportion of screen time, but also the analysis into Drogon as an individual capable of some degree of thought and understanding. In the final concluding episode of season 8, upon witnessing his mother’s corpse, just slain by Jon Snow, Drogon instead of lashing out on Jon, melts the Iron Throne until it is nothing more than unformed steel. This very act proves Drogon’s intellectual capacity, he recognised that it wasn’t Jon’s fault, but Daenerys all-consuming desire to reclaim the Iron Throne that ultimately killed her.

Viewer’s witnessed in the final stages of the episode as Drogon delicately handled his mother’s body, cradling her in his claws as he escorted Daenerys from Kings Landing. It is still unknown what occurs to Drogon, but it is said “he was last spotted flying east toward Volant-”, the name left unfinished is presumably Volantis, the closest free city to the Bay of Dragons, located in Essos. Volantis is known to house a substantial amount of Lord of Light followers, with their oldest and most experienced priests/priestesses practising in their temples. This could potentially mean, Drogon means to take his mother there for resurrection — but this would require a lot more intelligence than that indicated of Drogon.

Thus, in terms of Drogon’s uncertain future, there are few that would be capable of killing him, and with Cersei’s crossbows destroyed in the destruction of Kings Landing, Drogon is free to roam unconfined across the sea and land. As a solitary dragon, his existence leading forward will persist as companionless, due to the fact that his brothers and mother are now gone and that Drogon has no known home to dwell.

What do you think about Dany’s death? Tell us in the comments below!

The post The Repercussions of Daenerys Targaryen’s Death appeared first on The Nerd Daily.

This might sound like a lie, but from one non-Game of Thrones viewer to … millions of people who actually are, I know how you feel. While the fire of frustration has petered down to a low smoulder (not unlike the remains of Kings Landing), you’re still dissatisfied with the conclusion to the saga that you’ve dedicated years – I repeat, YEARS – of your binging hours to, all to see who will sit their murderous tush on that Iron Throne.

Also Bran the Broken!? For real?! That in itself is a whole other issue regarding language around disability in fiction, but is he King material? That’s a debate that’ll leave the rest of the Internet plenty of dirt to dig into for generations.

So before you go tearily add your name to that petition, or set a whip to poor ol’ George R.R. Martin to get cracking on the ‘real’ ending, why don’t you pick up a show to fill that ashy, dead hole that Drogon created in your soul? From political intrigue and luscious world-building, to gory battles and a refreshing lack of incest (*shudder*), here are some gentle suggestions for quality series that are not only dropping new episodes this year, but will treat your Game of Thrones withdrawal.

Vikings
(2013-Current)

Did you ever wish the Wildlings had their own spin off series? Well fear not, because you’ll get that and all the elements of Game of Thrones you loved – family politics, invasions, furry fashion statements, and steamy alfresco love-making; you know, all that vital plot stuff – with Vikings, the historical drama that announced its final, sixth season in January 2019.

Set in medieval Scandinavia, Vikings follows the legacy of Norse Viking hero Ragnar Lothbrok (played by Travis Fimmel, also known for his leading turn as Anduin Lothar in 2016’s Warcraft) a lowly farmer that eventually raises to fame and glory through raids on English soil. Plus he’s totally convinced that he’s directly descended from the god Odin, so don’t think you’re losing any characters with over-inflated egos, as they are all here for your viewing pleasure!

The series also features Katheryn Winnick (Call of Duty: WWII) as the wife not to be trifled with Lagertha, Clive Standen (2015’s Everest) as jealous younger sibling Rollo, and Gustaf Skarsgård (Westworld) as Ragnar’s boat-building buddy Floki, who also thinks he’s descended from the gods (taking friends with common interests to another level); all whom seek any available clutches onto power and rule.

From Michael Hirst, the series creator of The Tudors and Oscar winning film Elizabeth, Vikings is dark, moody, and a binging delight that’ll make you forget that there aren’t any dragons; who needs ‘em when you’ve got Valhalla?

3%
(2016-Current)

Yeah yeah, we know this isn’t a “fantasy” series! While there is a distinct lack of magic, what this show doesn’t lack is dirty politics, bloody underground movements, mysterious government schemes, and the raunch factor that’ll make you come back for more!

Debuting in 2016, what makes 3% special is that it was the very first Portuguese-language Netflix original series to launch on the platform (which you can watch with the – frankly –  often laughable English dub) and was renewed for a third season which has just dropped!

If you haven’t yet seen the series that makes The Hunger Games look like a middle-school mishap, the story follows a poverty stricken future on the “Inland”, where 20-year old citizens have the single opportunity to participate in “The Process”, a controlled set of gruelling tasks and puzzles that will either have you eliminated back to the Inland, or brutally killed.

Those lucky “three-percent” that make it through to the end are shipped to the utopian “Offshore”, where the creme-de-la-creme of humanity get to live in peace and prosperity forever. However, the underground “Cause” hope to infiltrate The Process and take it down once and for all, which is where a handful of our survivalist main characters come in.

With a talented Brazilian cast, 3% is unforgiving and often times brutal, with incredible character development that’ll have you despising a character one moment, but then praying for their survival by the end of the season. If you’re looking for a creative, non-Westernised take on the dystopian narrative, secretly want to take down your local government, or have gone to a murder mystery party once or twice in your life, make sure to catch up on 3% before the launch of Season 3 this month.

The Dark Crystal: Age of Resistance
(2019)

While puppets like E.T. and the creatures from Labyrinth properly had me spooked as a child, I can’t help but get caught up in the excitement around this recently announced prequel series to Jim Henson’s iconic 1982 feature, The Dark Crystal. Plus the transition from Game of Thrones will be made easy, with a fan favourite character taking on a main lead in this whimsical yet dark universe!

You’ll want to take a break after a near decade of CGI straining your eye-balls, as this practical effects paradise takes place once more in the world of Thra; the overthrown home of the Gelflings, under the clutches of the bird-like Skeksis. When Deet, played by Nathalie Emmanuel (also known as everyone’s favourite GoT servant, Missandei) receives a vision of “the Darkening”, she bands together with her friends Rian and Brea, played respectively by Taron Egerton (everyone’s favourite Elton John impersonator in this year’s Rocketman), and Anya Taylor-Joy (well known for her role as Casey Cooke in Shyamalan’s Split and Glass) to lead the rebellion against the Skeksis.

While we have no clear picture on how these characters will eventually lead us to the events of The Dark Crystal, what involvement the Mystics will have and if Frank Oz will even return to the role of The Chamberlain (as the role is currently marked ‘TBD’) the star studded cast-list is sure to impress, with the likes of Simon Pegg, Andy Samburg, Natalie Dormer, and Mark Hamill attached to the series.

Khaleesi, Mother of What Now? That doesn’t matter anymore, as you can catch The Dark Crystal: Age of Resistance on Netflix from August 30th.

Chernobyl
(2019)

Why not try a slice of darkness and disaster that’s literally a little closer to home? The HBO mini-series that has caused the most controversy on this list, including the echo of awkwardly clearing throats across Russia, Chernobyl is a confronting, spine-tingle-inducing yet incredible piece of television that will blow your socks off (too soon? Yeah, too soon.)

Assuming we all zoned out in our eighth grade history class (guilty!) Chernobyl dramatises the infamous nuclear spill in the titular town in Ukraine, April 1986, which is still considered to be one of the worst man-made disasters in history. The resulting radiation led to hundreds of cancer/exposure related deaths and the irreversible destruction of an entire community. The reality of history is what makes this show even more terrifying, and exactly why you’ll be glued to the screen.

Starring Jared Harris (best known for his turn in Mad Men), Stellan Skarsgård (do we even need to remind you of his role in the Marvel CU?), and Emily Watson (a veteran in the British acting books, known recently for her role in Kingsman: The Golden Circle), just like the gaseous fumes which set this story in motion, Chernobyl can’t be neatly contained. It is creepy, grim, and smarter than most of the shows currently on the block. The show is a unforgiving critique of broken institutions, and the self-destructive secrecy that remains all too relevant in the current political climate. And with only 5 episodes, you’ll fly through this series with your jaw on the floor.

The series is created by American screenwriter and director Craig Mazin (best known for his work on the last two The Hangover movies, Identity Thief, and his co-hosting role on the well-loved screenwriting podcast, Scriptnotes) and directed by Johan Renck (an experienced musician who also directed the pilot episode for Vikings!). You can catch the series on HBO, along with the companion podcast The Chernobyl Podcast, which you can listen to on Apple Podcasts or the HBO YouTube channel.

The Witcher
(2019)

The final show on this prescription for post-GoT life has the potential side effect to cause its fair share of outrage, as we wait for the television adaptation of The Witcher, based on the rabidly popular book and game series of the same name.

The two man team behind the series, Tomek Baginski and Jarek Sawko, are sure to bring their experience working on the CGI intros to the game series into the small screen debut, with ex-Superman Henry Cavill playing the iconic Geralt of Rivia, a “witcher” (aka monster hunter) that roams the lands, using his supernaturally modified abilities to slay beasts and protect humanity; but are they the ones that need protecting, or protection from?

With upcoming actresses Anya Chalotra playing Gerlat’s “soul-mate” Yennefer, and Freya Allan as the princess Ciri, a lot of expectation is riding on this series, with criticisms already being lodged at various sneak-peak releases, most notably Cavill’s make-up test.

Whether you’re a fan of the original books or games, or are yet to get familiar with this well loved series, the show should hopefully promise to be as brutal and bloody as the former incarnations have shown. Not much has been said of the story within the show; all we know is that there will be 8 episodes that are due to debut on Netflix in late 2019.

If you have the energy to get into another sub-Reddit shouting match, it is highly recommended to give this show a shot. Whether you’re on the defensive or offensive for The Witcher, that’s for you to decide!

In the bungled words of a wise-man, when you play a game of binging, you win or you re-watch Game of Thrones – but there’s nothing wrong with a little change!

Do you have any other suggestions? Tell us in the comments below!

The post 5 Shows To Watch To Recover From ‘Game of Thrones’ appeared first on The Nerd Daily.

Before I get any further into negative criticism of season 8, it’s important to say that I enjoyed it on the whole. There was a lot to like about it after all – the acting, the cinematography, the editing, and the production design just to name a few. Every positive can be attributed to a separate production department. But when it comes down to the shortcomings of season 8, their roots can mostly be traced back to a single, inescapable flaw. The six-episode run was not nearly enough to tie up a story with such a grand scale, and as a result most plotlines were dropped, rushed, or condensed.

The other issue that may or may not be related to the rushed writing is the continued separation of the show’s two biggest parallel plots – the fight for the Iron Throne, and the battle against the army of the dead. Before this season began I was sure we would be seeing these stories collide in unexpected ways, but what we got was essentially two plot threads that barely intertwined, and ended completely separate from each other. Though I’m fairly content with the individual endpoints for both of these stories, I can’t help but question the point of the White Walkers if they barely ended up having an impact on the broader political situation.

Another way to look at Game of Thrones is as a chess match. The opening and middlegame are always the most exciting, because these are when risks are taken and strategies unfold. When we finally get to the endgame, we pretty much know which way it’s going to go. It’s still satisfying to see how everything has built to this point, but the tension is mostly gone – we pretty much know how things are going to end up. This doesn’t excuse Benioff and Weiss for substandard writing, but it is important to understand that the chances of getting an ending that both surprises us and meets our expectations was always incredibly low.

Writing aside, almost everything else about this season was pretty spectacular. The direction in episodes like ‘A Knight of the Seven Kingdoms’, ‘The Long Night’ and ‘The Bells’ stood out as some of the best in recent years, with perfectly paced editing adding extra layers of meaning and suspense to several scenes. Cleganebowl is a great example of this, as we see what could have been a simple fight between two brothers turn into an allegory for the city of King’s Landing being torn apart by red-hot anger and a desire for vengeance. In the end neither wins, and all that is achieved is the mutual destruction of two equally corrupt forces.

The unrelenting animosity that has been directed at Game of Thrones this year is unfortunate, but not at all surprising given the uprisings in certain fan bases these past few years. Even though Benioff and Weiss delivered a consistently good adaptation of the A Song of Ice and Fire series in earlier seasons, this seems to be forgotten by those who protest their involvement in future Star Wars projects. I would hate for my best creative accomplishments be forgotten while my worst is remembered as an indicator of my capabilities, so I am sympathetic to both writers who have suffered an unnecessary amount of vitriol. Game of Thrones season 8 wasn’t the ending that a lot of people were hoping for, but that’s okay. Just because it didn’t meet our expectations doesn’t mean it’s the worst thing ever. It is entirely possible for something to be both disappointing and a decent piece of television, and for me this season of Game of Thrones is exactly that.

What did you think of the final season? Tell us in the comments below!

The post Looking Back On ‘Game of Thrones’ Season 8 appeared first on The Nerd Daily.

Game of Thrones producers broke the hearts of many last month as the series finale aired capturing the attention of millions.

If you have been following the epic fantasy series, then you have probably heard the backlash the producers and HBO team are facing over how they approached the final season. It has even escalated to the point where a petition has been circulating the Internet in which frustrated viewers speak out against how the Thrones team decided to end the ever so popular TV series after eight dramatic seasons. As George. R. R Martin, author of the famous series and now TV show, has yet to complete the final two books in the series, some fans believe that the Thrones team did not do Martin’s ideas justice and that an alternate ending is needed. On the other hand, die-hard fans are just sad that the adventure is over and as such await the remaining books to be published.

In the meantime, if you are looking for post-Game of Thrones books to fill that empty void you may be feeling, then I highly recommend the following novels, many of which are also epic fantasy series in which may help you move on!.

A Time of Dread (Of Blood and Bone Series) by John Gwynne
Goodreads | Amazon | Book Depository

A Time of Dread, the first book in the Of Blood and Bone Series, has captured the attention of many seeking the next best epic fantasy series. It is a fiery tale written by the well-known epic fantasy author, John Gwynne, who tells a story of the Banished Lands, a previously used setting in some of his other fantasy novels. Gwynne has created yet another masterpiece in the eyes of many and I strongly recommend reading this novel as well as the sequel, A Time of Blood.

The Broken Empire Trilogy by Mark Lawrence
Goodreads | Amazon | Book Depository

In search of a new series about the rise to power? Look no further by picking up The Broken Empire Trilogy by Mark Lawrence. This series consists of 3 novels and follows the main protagonist by the name of Jorg Ancrath who attempts to rise up the ranks in the setting of post-apocalyptic Europe. Having the title of Prince of Throns (ironically the name of the first book in the series), Ancrath faces many challenges, including have to come face-to-face with his childhood fears. This series is both captivating and thrilling and will leave you wanting more as you move from one book to the next!

The Name of The Wind (Kingkiller Chronicles) by Patrick Rothfuss
Goodreads | Amazon | Book Depository

If you are looking to add a magical touch to your TBR list then look no further! The Name of the Wind is a fictional tale written by Patrick Rothfuss and has a unique voice to it as it is told by the main character himself Kvothe (otherwise known as “the man of many names” as he takes on many titles throughout series). This series has almost a memoir feel to it as Kvothe tells his story to The Chronicler from start to finish, over a three-day period. Despite the lack of climatic battle scenes, The Name of The Wind is an intriguing, mysterious novel that should definitely be added to your #TBR if you are searching for something to get out of your post-GoT depression.

The City by Stella Gemmell
Goodreads | Amazon | Book Depository

The City, a compelling dark-fantasy novel by debut author Stella Gemmell, has caught the attention of many over the last few years as she tells a powerful tale about overcoming the darkness and fear that has taken over The City. The City, a now-abandoned void, is thought to be the home to an ancient emperor for who very little truth is known. This heroic tale against the powers of evil will have you reading this book from start to finish in one sitting!

Black Leopard, Red Wolf by Marlon James
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Black Leopard, Red Wolf has captured the hearts of many with its breath-taking entrance into the fantasy literary world. This novel is the first novel in The Dark Star Trilogy and has been compared to famous epic fantasies such as Tolkien’s work and has even been called “An African Game of Thrones”. 620 pages of adventure, thoughtful character analysis, and, of course, loads of excitement! A definite read for all those fantasy-lovers out there!

The Lord of the Rings by J.R.R. Tolkien
Goodreads | Amazon | Book Depository

Since we are talking about must-read epic fantasies, how could we not forget the classics? The Lord of The Rings changed the fantasy game by creating a world of its own. From The Fellowship of The Ring to The Return of The King, you will become a part of Middle Earth as you read through the histories and adventures of dear Frodo and Sam, two hobbits living in The Shire. Embark with them on their epic journey through Mordor and enjoy the different characters you meet along the way!

Throne of Glass by Sarah J. Maas
Goodreads | Amazon | Book Depository

Throne of Glass tells a powerful story surrounding a young assassin by the name of Celaena Sardothien who must now fight for her freedom after receiving an opportunity to obtain a royal pardon from the Crown Prince himself. This book, with a strong female lead, tells a compelling tale as you follow Celaena through her triumphs as she fights for her freedom as well as her survival!

The Axe & The Throne by M.D. Ireman
Goodreads | Amazon | Book Depository

Said to have “Game of Thrones-style-tales”, The Axe & The Throne has become a fan-favourite among all high-fantasy genre lovers. This detail-friendly novel follows a man by the name of Tallos on his quest to rescue his friend’s oldest son who has been taken by the Northmen a group of people you would not want to be caught with alone. This novel causes all sorts of emotions and will keep you reading until the very end. With a strong fictional world and endless character development, you would be a fool not to add this book to your next epic-fantasy TBR!

The Way of Kings by Brandon Sanderson (The Stormlight Achieve Series)
Goodreads | Amazon | Book Depository

If you’re looking for a nice-long epic-fantasy read, then you have stumbled upon the right book for you! Brandon Sanderson’s, 1008-page novel, The Way of Kings contains all the critical elements of an epic fantasy and will leave you immersed in the wonderful world of Roshar – a world of stone and storms. With excellent world-building details and character development, this is for sure a Sanderson classic and strongly recommended to those die-hard GoT fans out there.

The Priory of The Orange Tree by Samantha Shannon
Goodreads | Amazon | Book Depository

Being one of the most-talked about fantasy novels circling the literary world in 2019, The Priory of The Orange Tree tells a tale like no other. Its unique setting and characters will have you attempting to read this book cover to cover just so you can find out what happens at the end! A definite highly recommended read for anyone looking for a new release fantasy!

Any other suggestions? Tell us in the comments below!

The post 10 Books To Read After ‘Game of Thrones’ appeared first on The Nerd Daily.

The other day I was talking to some friends about how excited, and nervous, I was for the final episode of Game of Thrones. Having followed the show actively since the first season, this was the culmination of ten years of essentially watching a movie each week it aired all leading to a momentous end! And, honestly, for most of it I was scared perhaps an ending wouldn’t ever come. There have been many times and many shows that have been cancelled or sacked their writers before a fitting end could be made (Lost I’m looking at you). But, finally, we have made it to the end of this saga! We get to see who wins! Yay!

Well, that’s how I felt anyway, but one of my friends looked at me earnestly and said that she didn’t want to watch it. In fact, she said that she didn’t know if she even could. I was shocked! But even more shocked when another friend agreed. So, I pressed them. Why? Didn’t they want to know how it all ended? Weren’t they curious at all? Of course, they both agreed that they would like to know how it ends, but they just couldn’t bear the thought that it is over. That the era is ending.

This got me thinking. I often wonder when things this epic come to an end how the actors take it. For us fans we are sad because they have been there for us in so many episodes for years but for them, they are leaving a family. A support system that grew and evolved, that was their focus for longer than some people’s marriages. For the actors, they are leaving a chapter of their life behind and I have always wondered about how they deal with that. I am sure I would struggle.

I mean, I hate endings. I always have but I usually get through them as fast as possible and move on to the next thing. I force my mind to not linger on the past but look ahead.

However, after this conversation with my friends, I realised that it actually makes a lot of sense to have the fear of endings presenting itself in this visceral and concrete way. It’s not that they didn’t want to know how the show ends, they didn’t want to say goodbye. And I am not talking about just saying goodbye to the characters and stories, to the weekly twists and adventures. They didn’t want to say goodbye to the part of their life that had Game of Thrones in it. Watching the last episode to them meant that they would have to close a chapter of their own story, and the just didn’t want to. Not yet anyway. They aren’t ready to leave that version of them behind.

And this isn’t unique. When something, usually a show or book series, gives you what Game of Thrones has given so many people, i.e an escape to feel something different than what you experience in your day to day life, it is painful to let that thing go. Sure, you can re-watch the show and there are going to be spin-offs and merchandise, but nothing again can provide you with the same life raft from the torrent of existence in the same exact way that that particular show or book or story did.

Perhaps it even goes deeper than that. By no longer having the routine of having Game of Thrones to look forward to, a lot of people are losing community. GOT has been a massive topic of conversation and creation amongst people for a decade now. That is a huge hole and a lot of people will feel the emptiness that results because of that.

This ending, as with many show endings, feels like a death to some people. And if you think about it, it really makes sense. It is hard to face the ending of powerful things. And ironically, that is what Game of Thrones is all about. Endings. Endings of empires and of royalty. Endings of legends and countries.

That is something that makes this show and franchise truly unique. With it coming to an end you feel, and truly experience, what so many of the characters have felt through its run on the small screen. In a cruel twist you get to feel the loss that the show centers on.

So, as you stare at your HBO Go screen and can’t seem to press play on that final screenshot, understand that I get it. Others get it. It is hard to see the end. To tie up your feelings and move on about life without that other world to think about. Without the lives of the characters you have invested so much time thinking about.

But remember, every ending is a new beginning and no journey can start if you are facing backwards. Take all the time you need, whenever you do choose to watch it just know, you are ready.

Have you watched the final episode yet? Or are you avoiding it? Tell us in the comments below!

The post Why Must It End? Avoiding The End of ‘Game of Thrones’ appeared first on The Nerd Daily.

Picking up immediately after ‘The Bells’, King’s Landing has been reduced to an unrecognisable apocalyptic wasteland. The last of the Lannister soldiers are being executed in the streets, ash flutters down upon the rubble, and Dany’s remaining advisors are realising exactly what they have been complicit in. It is interesting to note that her madness hasn’t manifested in the same way as other Targaryens – her cruelty isn’t impulsive or erratic, but rather calculated and considered.

Even Jon is doing his best to justify her actions to others, even though it is clear he doesn’t believe in them himself. We are reminded of Maester Aemon’s words from years ago – “Love is the death of duty”. It is why the Brothers of the Night’s Watch cannot take wives or families of their own, but it is also the choice Jon is faced with when his lover’s full potential for widespread destruction is made clear. Despite the internal struggle, Jon makes the decision he was always going to make, and chooses his duty to the people of Westeros over his love for Daenerys.

Peter Dinklage’s moving performance carries most of this episode, but he particularly shines in this first half as Tyrion finds the bodies of his siblings, and later renounces his loyalty to the Queen. He is one of the most intelligent characters and he has always done whatever he can to save his own life, but this marked turn makes complete sense. He is done with the sycophants, pettiness, and tyranny. Death seems like a far better option than living under whatever kind of rule Daenerys has in mind.

The Dragon Queen’s demise felt strange for me. Even as I anticipated its inevitability, it was still odd seeing Jon take the life of someone we have grown so used to. Its placement fairly early in the episode was yet another result of compressing a huge amount of story into a small window of time, but it was also clear that there was no other option given we only had one episode to wrap it all up.

Drogon melting the Iron Throne out of anguish was… poetic, I guess? But that was also just another forced moment that left us wondering whether dragons can understand the arbitrary concept of symbols.

Several weeks later, and Jon has been imprisoned for his murder of Daenerys alongside Tyrion. Grey Worm is still out for blood, but with no clear ruler no one is really sure who should pass the judgement. And thus we are led into the first of what will be many meetings between the Lords and Ladies of Westeros, including the return of some we haven’t seen for quite a while. Though they barely have anything to contribute in this scene, it was still great to see Edmure Tully and Robin Arryn back to remind us of which Great Houses are still intact and involved in royal affairs. Sam’s suggestion of establishing a democracy is laughed down and Sansa emphasises the North’s desire to remain independent, but ultimately little progress is made until Tyrion speaks up.

This whole scene could have been an episode on its own, and if it was in an earlier season it might just have been. But instead it is squeezed into a finale that already has so much other stuff going on, and as such we arrive a little too quickly at a solution – Bran will become the new King of the Seven Kingdoms, and the hereditary monarchy will be dissolved. In its place an elective monarchy will be established, in which all the Lords and Ladies of Westeros will vote for a new leader upon the death of the previous one. It is a logical conclusion, since it moves Westeros one step closer to creating a civilisation that relies on one’s ability to rule rather than birthright. But it is the build up to this decision that once again suffers from the same rushed pacing that this whole season has been affected by. It would have been great to have Yara or the new Dornish Prince seek out the same independence that the North has been granted, or to see Gendry defend his insecure grip on Storm’s End, but given how little time was left it was clear that this wasn’t feasible.

The final minutes of ‘The Iron Throne’ are spent sending off the Starks on their own journeys, once again separated from each other. Tyrion assembles the new Small Council for King Bran (which for some reason includes Bronn – why do people keep trusting him?), Sansa is crowned Queen of the North, Arya sails off into the Sunset Sea to explore what lies beyond the maps, and Jon reunites with Ghost to journey beyond the Wall, living the rest of his life in exile with the Free Folk. Some of these endings are a little tidy for Game of Thrones, but they also fortunately don’t lean too much into the most common predictable outcomes.

‘The Iron Throne’ tries a little too hard to appeal to everyone, and as a result it falls flat. Some fans want their favourite characters to find a happy ending, others want the show to keep subverting every political fantasy trope, and a lot of people don’t really know what they want at all. It was an impossible position to be in, and although striking this mid-ground might have left us a little deflated I can’t say for sure what ending really would have satisfied at least a majority of the fanbase. Game of Thrones has always prided itself on the unexpected, so I am at least relieved to see it not go down the easy route of Jon or Daenerys taking the throne. But even if this finale had turned out to be a complete abomination, that wouldn’t have ruined the hours of entertainment and thrilling political intrigue that the show once delivered. Game of Thrones has always been about the journey, not the destination, so perhaps that’s how it should be remembered.

What did you think of the series finale? Sound off in the comments below!

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Having said that, ‘The Bells’ has so many other highlights that could easily be forgotten amongst all the negative opinions flying around. The direction and cinematography are absolutely compelling, driven by long tracking shots on Arya as she moves through the streets of King’s Landing, doing her best and failing to pull people to safety. It’s not very often we get to spend time with the smallfolk, and in ‘The Bells’ we are lead to empathise with them. To the common people, it doesn’t matter who sits on the Iron Throne. Their lives and families take absolute priority in that moment, and we are right there with them.

These ground level scenes are some of the best of the episode, and push the show into disaster movie territory. The falling ash, fire, and mass panic all directly allude to images of famous apocalyptic scenarios, with the eruption of Mount Vesuvius in particular being an obvious source of inspiration.

The spectacle of the battle scenes is brilliant too, as we see Cersei’s forces obliterated in the most bombastic way possible. The fall of the Golden Company is Game of Thrones in its purest form – setting up a character or plot device to appear meaningful, and then destroying it in the most unexpected way possible.

Finally, we get to Cleganebowl. Intercut with Arya’s own plight on the streets, it is depicted as a microcosm of the chaos and struggle taking place below them, giving it thematic resonance as well as being a thrill to watch.

Although the Hound has been on his own path to redemption, his family has been the sole barrier stopping him from moving forward completely. This seems to be a running theme in ‘The Bells’. He, along with Jaime and Dany, can fight against their inner demons as much as they like, but they will always come back to the siblings and parents who bring out the worst in them. It’s a fairly pessimistic perspective for the show to take, but its all-out commitment to the idea helps to pull it off.

Dany’s descent into Targaryen madness has been teased for a long time, so I don’t find this turning point to be too much of a surprise. The development I find most frustrating is Varys’ change from a manipulative, secretive schemer into a transparent traitor who doesn’t hesitate to announce his treasonous intentions to Dany’s closest allies. Perhaps if this arc had time to unfold over more episodes then it might have been a little more in-character, but otherwise it is a disappointing end to such an intelligent player.

Jaime’s return to Cersei is also a small letdown, though mainly because I struggle to understand what has driven this complete turnaround. The abandoning of Maggy the Frog’s prophecy to let them die as lovers rather than enemies was moving in its own way, but it didn’t quite end either of their arcs in a way that made literary sense given all the foreshadowing we have seen over the years.

It is a tough time to be a Game of Thrones fan right now, regardless of where you land on the spectrum of love for the show right now. In the early seasons we were spoilt with perfectly plotted episodes that stuck fairly closely to the books, and the departure since then has certainly led to a decline in writing quality. But my main issue with season 8 so far isn’t the story itself, but rather the undercooked journeys that link each major plot point. This season has moved at a relentlessly fast pace, leaving few moments for strategising and quiet ruminations.

Regardless of this, I don’t think the production team is getting enough credit for what they have achieved. I still have a lot of fun watching the show, even if it’s not the same sort of enjoyment I got from it back in its early seasons. ‘The Bells’ is a divisive, flawed episode, but I firmly stand in the camp of fans who have so much appreciation for its production quality, editing, master-class acting, and direction. As for whether the writers have fully pulled off Dany’s dark turn – well, I think that’s something that we will only be able to determine once we watch next week’s series finale.

What did you think of the episode? Sound off in the comments below!

The post Game of Thrones Recap: 8.05 ‘The Bells’ appeared first on The Nerd Daily.

Right from the opening we are immediately reminded of the heavy cost from last week’s battle against the army of the dead. It has left a real impact on so many characters, and their absence will certainly have an impact going forward. Most notably, the loss of Jorah leaves Dany with one less ally, and one less rational advisor to keep her grounded. Her claim to the Iron Throne is weakening by the day, and she is realising that.

The Stark siblings are making all sorts of poor choices this episode. Actually let’s count Arya out of that one – fair enough not wanting to settle down as Lady of Storm’s End, and it is kind of poetic seeing another Stark girl reject a Baratheon boy. But Jon’s decision to share his true heritage with Sansa, and her fleeting, unconvincing turmoil as to whether she should keep it secret will only divide them further down the road.

Important decisions like these were brushed over a little too quickly and could have been drawn out a little longer, but considering there are only two episodes left the writers are clearly pressed to move everything forward. Even while Jon’s farewell to Ghost was probably supposed to represent his acceptance of his Targaryen heritage, it was still a little unsatisfying seeing this important part of his history dismissed with such indifference.

Bronn’s arrival doesn’t herald a dramatic change of heart, but it instead continues to show just how much he is invested in his own self-interest – he’ll side with whichever queen will give him the bigger castle. At this point he’s just a thorn in everyone’s side, and it is likely his lack of loyalty isn’t really going to pay off in the end.

After a while, Dany’s armies make the move down to King’s Landing to take on Queen Cersei, and everything seems pretty dandy right up until Rhaegal gets a bunch of scorpion arrows through his neck and chest. Yeah, that came out of nowhere. Euron’s ship really is as silent as its name suggests apparently.

The ensuing battle destroys a number of Dany’s ships, devastating her forces even further. Euron is proving to be a pretty valuable asset for Cersei, and now that he believes her baby is his he’s going to be more ruthless than ever to protect his offspring.

Euron’s triumph marks a turning point in “The Last of the Starks”. Cersei is asserting herself as a powerful and cunning leader, overpowering and outsmarting Dany and the Starks at every turn. She identifies Dany’s key weakness in wanting to harm as few people as possible, and makes things even more difficult for her inviting all the smallfolk of King’s Landing into the Red Keep for “safety”. By keeping them there, she is using them as a barrier that must be destroyed to get to her. This, paired with Euron’s takedown of one of Dany’s main weapons before any battle has even commenced, puts Cersei in a pretty decent position for the next episode.

Missandei’s execution ends the episode on an ominous note, infuriating both Dany and Grey Worm, and motivating them to potentially unleash all their fury upon King’s Landing – regardless of how much collateral damage will come as a result. It concludes a rocky episode that tries to connect one battle to the next too quickly, and also hastily ties up the loose ends of minor story arcs that the next two episodes won’t have time to address. Having said that, it is also a return to the political strategising that gave Game of Thrones its appeal in the first place, and it steps further away from the fantasy aspects that have taken over in recent years. The impending battle that will finally give us the demise of Queen Cersei next week has been set up, and even though we have just come off the back of ‘The Long Night’ the stakes still feel monstrously high.

What did you think of the episode? Tell us in the comments below!

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Lingering on the suspense of the immediate pre-battle preparations was absolutely necessary, and effectively executed. Though we drifted between characters within Winterfell for about ten minutes, that time we spent establishing everyone’s stations set the foundations of the battle and built the tension to an almost unbearable level.

The terror that the army of the dead brings is single-minded and efficient, so when the battle finally arrives it isn’t heralded with any loud clanging of swords or limbs being torn off their respective torsos. Instead we are given a simple image of the Dothraki charging forward into darkness with their arakhs aflame, followed by the fading of their war cries and lights into a haunting silence and blackness. This is consistent with Sam’s description of White Walkers from the last episode – they bring a form of death that diminishes humanity to nothingness.

But of course, this is only what death looks like when seen from a distance. When faced with it front-on, it is chaotic, overwhelming, and worse than whatever we imagined. The army of the dead doesn’t move in formation so much as they create a relentless wave of bodies, and let themselves wash over the tight, organised structures of the living. Their army acts on a purely utilitarian basis, with no regard for individuals – we see this multiple times, including one terrifying moment when a small group of wights lie across a wall of fire to make a path for their allies to cross.

But let’s focus on our heroes for a moment, because there are plenty of solid cheer-worthy, suspenseful, and tragic moments for them. Dany and Jon riding Drogon and Rhaegal into battle against the Night King and an undead Viserion was of epic proportions, despite being a little messily shot. But it’s only when they all finally face off against each other on the ground that their confrontation becomes more engaging, and so much more frightening.

First, we discover that the Night King is immune to fire. Second, he uses this opportune moment of victory to raise every single corpse from the dead to fight for his side. Thirdly, the newly risen wights don’t hesitate in jumping onto Drogon and stabbing the crap out of him. And finally, Jon and Dany stand their ground and fight for their lives against all odds.

Before things get really bad, we take a moment to check in on the people hiding down in the crypts. As one of the only scenes with proper extended dialogue it is a nice reprieve from the battle, with some spicy banter going on between Sansa, Tyrion, and Varys. It doesn’t last for long though, because as every GoT fan out there predicted last week, the deceased Stark ancestors are coming back to fight for the Night King. Somehow every character worth caring about who was hiding out down there survives (including Gilly, Little Sam, Missandei, and breadline girl from the last episode), but given that we lost some characters I care deeply about I’m more than happy to let these guys off the hook.

Speaking of which, the death of Lyanna Mormont was an absolute tragedy, but if she was to bow out in any way I’m pretty stoked she took a giant wight with her. There is a delicious irony in seeing the smallest fighter on the battlefield take on the largest fighter in a David-and-Goliath-like scenario.

With that, let’s pay our respects to other deceased fighters of the living: Dolorous Edd, the first of many named characters to fall; Ser Jorah Mormont, who tragically defended Khaleesi to his last breath; Beric Dondarrion, who finally fulfilled his reason to stay alive; Melisandre, who drained the last bit of her magic to protect the living; and of course Theon Greyjoy, who completed a redemption arc that I didn’t really expect to care about, but still got me a little bit emotional in his final moments of bravery.

At this point you might have noticed I’ve gone about 700 words without mentioning Arya. Don’t worry – she’s getting an entire section for herself, being the brilliantly ruthless, world-saving assassin that she is.

I got a little bit spoiled in the lead up to this episode when I suddenly saw a flurry of articles on social media announcing an important character moment for Arya, so right from the start I was scared for her life. The moment she first came out swinging, knocking wights out left, right and centre, I assumed this was it – what a fantastic moment, seeing her in her element, fighting in a war for the first time rather than skulking in the shadows.

This isn’t to suggest that there isn’t any shadow skulking at all though. In one tense scene set in the library she glides past the wights, moving from one hiding place to another, always staying just outside of their periphery. She silently slides her dagger up under one of their jaws before they even realise what hit them, and leaves without cluing the rest of them in on her presence – until they see the body of their fallen ally.

She saves the Hound’s life, and in turn he and Beric save hers. She runs into the Red Woman one last time, who reminds her of her destiny. She recalls what Syrio Forel taught her to say to the God of Death. And in a blazing moment of glory, she leaps through the air towards the Night King as he towers over Bran, Valyrian steel dagger glistening in the moonlight – and is caught in mid-air. But Arya has been training for this moment for years. She feints, drops the dagger, catches it in her free hand, and plunges it into the Night King’s chest. And this motion sets off a domino effect, as every other White Walker and wight is destroyed, effectively saving all the Seven Kingdoms.

So what does this mean for the remaining three episodes of the season? Now that the Night King and his army are gone, is Cersei going to be able live up to being the boss villain of the entire series, and deliver something even bigger? I don’t know, and right now I don’t want to think about it. This episode was brilliant. It wraps up a lot of subplots and main plots, but it doesn’t appear to set much up for whatever will come next. The editing and scoring make it a cinematic feast, and although the dark lighting sometimes adds unnecessarily to the confusion onscreen, it is a minor misgiving next to the greatness of the rest of the episode. Though we can’t be sure what will come next and how much it will make us reconsider what we just watched, ‘The Long Night’ is essentially the climax of the entire Game of Thrones series, and it was certainly worth the wait.

What did you think of the episode? Tell us in the comments below!

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