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  • 3/27/2017
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So expectations were clinging to the roof. The series should prove itself before it was too late. It should prove that the shortcomings and serial errors in the last few episodes are not supposed to turn into its routine. Must have been done to feel the roar and the heat and shock of a confrontation with the monsters called "The Game of the Crown." Must do something to unravel the ratings safely again and move the "Game of Thrones" after some time back to the top of the table for one of the best television series in terms of directing and storytelling. Well, the seventh episode of the seventh episode, called the "booty of war," has such a heavy duty and goes out of prominence. "The booty of the war" may take less than 50 minutes, without considering the first and last title, making it one of the shortest episodes in the history of the series, but instead is one of the most consistent and precise episodes in the history of the series, The episode engaging and the ultimate degree of use. "The booty of war" is one of the episodes that will later be used to describe the grandeur of this series. Matt Sakman, as his first directorial experience in the series, features one of the top 15 episodes of the show's episode, which is instantly featuring a spectacle of another technical and artistic achievement for "The Game of the Crown." It's the episodes that are all about. Outstanding meetings with lost and distant characters, funny jokes and meaningful and painful conversations until the full-fledged battle that he himself has had for a series that has a history of depicting battles like the Blackwater War, the War of the Wall, the War of Battle, and the Battle of the Bastards. And even in some ways they are raised on their hands.

So expectations were clinging to the roof. The series should prove itself before it was too late. It should prove that the shortcomings and serial errors in the last few episodes are not supposed to turn into its routine. Must have been done to feel the roar and the heat and shock of a confrontation with the monsters called "The Game of the Crown." Must do something to unravel the ratings safely again and move the "Game of Thrones" after some time back to the top of the table for one of the best television series in terms of directing and storytelling. Well, the seventh episode of the seventh episode, called the "booty of war," has such a heavy duty and goes out of prominence. "The booty of the war" may take less than 50 minutes, without considering the first and last title, making it one of the shortest episodes in the history of the series, but instead is one of the most consistent and precise episodes in the history of the series, The episode engaging and the ultimate degree of use. "The booty of war" is one of the episodes that will later be used to describe the grandeur of this series. Matt Sakman, as his first directorial experience in the series, features one of the top 15 episodes of the show's episode, which is instantly featuring a spectacle of another technical and artistic achievement for "The Game of the Crown." It's the episodes that are all about. Outstanding meetings with lost and distant characters, funny jokes and meaningful and painful conversations until the full-fledged battle that he himself has had for a series that has a history of depicting battles like the Blackwater War, the War of the Wall, the War of Battle, and the Battle of the Bastards. And even in some ways they are raised on their hands.

Of course, the "booty of war" will now be commended and recognized for the sequel to the "Field 2", but as I said, before we got to those final moments of hell, we also joined the episode "The Game of the Throne" It picks up at its best. Contrary to the episode of the weekend, when the series was rapidly moving around the world from this part of the world and was hit hard by the collapse of the stories, the episode has all been summarized in three parts: Wintherfleen, And Rose Road. So the story finds the opportunity to breathe in time and move with a rhythm between fictional lines and characters, give them enough time, and have the opportunity to slowly move toward the end of the storm, and eventually to the point Welds and the effect it should put.

Another point that makes the "booty of war" into an episode of artists is to show instead of saying. "The Game of the Crown" has always had the potential to tell more of this with the story picture and describe the feelings of its characters, but the lack of time and the high number of storylines does not allow the creators to make such more serial portraits as "Bad Braking" Act. But when this release is provided to the directors, they are thrilling, and the "booty of war" is one of those episodes. For example, look at the sequence of Litefinger and Bern's conversations. Lithofinger has been working to perform one of his astronaut movements on Ned Stark's last real son, and he does not know that he has now become an all-purpose and all-metaphysical entity that is no longer a Stark. Peter Bielich Kenned gave him the Valencian who had used the Barn assassin in the first chapter to kill him; the same dagger who had told Catelyn to give it to Tyrion; the same information that captured Tyrion by Catelyn, and the same thing In fact, it has sparked all the wars and deaths and misery of the story to this very moment. Although it is still unclear who hired the murderer Bern, but most clues point to Litefinger.

However, when Master Westeros started to play Berne's video on all the hardships that the boy had pulled across the wall, he used the word "chaos" to describe the world in which Bern returned. He answers his answer horribly with the killing of the famous phrase of Litlefinger: "The chaos of a ladybug." The metamorphos with their quick recipe cats, which are closer to each other in the form of characters, and ultimately turns into Extreme Clausopy as "characters in the form of" Chaos of the Nebulae ", in the best possible way, the compact space of the scene Transfers. This scene is important because, once and for all, this is a Litefinger who is shocked at the end of his brains and is in a position of weakness. Eventually, Lithophinger may be known as the god of information among ordinary people, but he is deceiving someone who knows his past and present and future as the palm of his hand.

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