Introducing #ThePhenomenonOfGameOfThronesTheory

Content Copyrighted by #LebogangKTlou Copyright by L Tlou 2017

Some people are born to express. How they choose to express, their medium(s) of preferences, are as important as the contemporary context in which they find themselves articulating feelings and emotions (the abstract things) through their expressionism.

The capacity to express oneself eloquently, and without hesitation, is strengthened by emboldening. Finding oneself being emboldened is an end-goal, the beginnings of which start on the first day of basic schooling, and ripple out within the subjective personality's life all-throughout their careers as learners and scholars. Education emboldens those who were born to express, and thus strengthens we who express best in writing, acting, dancing and the reciting of poetry.

Many who have grown to identify themselves as 'writers' have - since the Modern, through the post-modern and now in the post-post area - been doomed to experience the social hardships of being a writer. These words are being compiled by one who has transcended this liminal space of being defined as a writer for simply bearing the capacity to string together words.

The capacity to write well and articulately is a rare power - which, in the hands of those whose consciousness is aligned with social transformation and the eradication of gender and class based stratification culture - can be regarded as a powerful weapon of ideological reconsruction.

Creative Writing is as much a tool for establishing very powerful states of liminality, as well as a guide to transcending the confines of all liminality. Literature allows both those who generate and those who consume access to worlds which very often become real because of the malleable nature of the human being's mind. We who read do so to often engage with new concepts and ideas, but to also often escape to worlds hidden in wardrobes, or journey on trains cloacked in magick, and be entertained by cynical Lord-Commanders who deal with social issues surrounding dwarves, trolls and dictators.

An interesting, and most profoundly relevant, phenomenon to have occurred (and which runs the risk of remaining unnoticed unless it becomes spoken about) is the phenomenon of #GameOfThrones.

#ThePhenomenonOfGameOfThronesTheory (Tlou, 2017) picks out how Game of Thrones began as a movie adaptation from book to screen, and is now seemingly being written in the inverse. Author George R. R Martin, it is said, is so busy contributing directly to the script of the culture-defining literary package of Game of Thrones, that he hasn't actually been writing the books themselves. From this, we could essentially estimate that by the time the series has seen completion, it will have first become a digital, audiovisual narration turned pages in a book. This reversal of original format is important to note on.

Arguably, if, hypothetically, author hadn't sold off rights to the completed works - then the mediated and cinematic component could fall away, leaving fans in a position where the only way to see the outcome becomes to read the books. However, the cinematic component is so elaborate that there is no cause to read the books, as it's all detailed in the tv series and possible future movie.

The Phenomenon of Game of Thrones Theory arguably paves way for cinematic writing to become considered as literature from a cultural perspective. Cultural literature need no longer conform to the archaic archetype of words in a body of work - but is becoming pictures on a screen at a radical rate internationally. This phenomenon, albeit costly to produce and reproduce, is - furthermore - a way to bridge the gaps between readers and non-readers in previously disadvantaged backgrounds and, essentially, the 'civilized world' where the culture of watching media has outrun the culture of reading literature and watching imaginative pictures which as subjective and abstract to all but the subject.