Analysis of information sources in references of the Wikipedia article "بازی تاجوتخت" in Persian language version.
{{citation}}: Italic or bold markup not allowed in: |روزنامه= (help){{citation}}: Check date values in: |تاریخ بایگانی= (help){{citation}}: Check date values in: |تاریخ بازبینی= (help)نگهداری CS1: سایر موارد (link){{citation}}: Check date values in: |تاریخ بازبینی= (help){{citation}}: Check date values in: |تاریخ بایگانی= (help){{citation}}: Check date values in: |تاریخ بایگانی= (help){{citation}}: Check date values in: |تاریخ بایگانی= (help){{citation}}: Check date values in: |تاریخ بایگانی= (help){{citation}}: نگهداری CS1: سایر موارد (link)Like Game of Thrones, the action in those ancient tragedies centered on the stories of four ruling dynasties: House Atreus of Mycenae, House Cadmus in Thebes, House Erichthonius in Athens, and House Minos in Crete.
{{citation}}: Check date values in: |تاریخ بازبینی= (help){{citation}}: Check date values in: |تاریخ بازبینی= و |تاریخ= (help){{citation}}: Check date values in: |تاریخ بازبینی= (help)Martin’s books are essentially the War of the Roses with magic
{{citation}}: Check date values in: |تاریخ بازبینی= (help){{citation}}: Check date values in: |تاریخ بازبینی= (help){{citation}}: Check date values in: |تاریخ بازبینی= (help){{citation}}: Check date values in: |تاریخ بازبینی= (help){{citation}}: Check date values in: |تاریخ بایگانی= (help)But while Game of Thrones is in part a rebuttal to traditional fantasy fiction, I’d argue that it’s become clear—after five books in A Song of Ice and Fire and five seasons of the TV series—that Martin and showrunners D.B. Weiss and David Benioff are actually playing with a format that isn’t so revolutionary at all: They’re reviving and updating the classical tragedy as a narrative form.
{{citation}}: Check date values in: |تاریخ= و |تاریخ بایگانی= (help)From the bro-style bloviating (or, broviating) of True Detective's first season, to the ominous proclaiming that punctuates the general whoring and slaying of Game of Thrones, to the unceasing climatological and psychological punishments meted out to the cast of The Killing (American TV series), it seems as though some of the most celebrated recent examples of serial drama have elected self-seriousness as their default tone.
{{citation}}: Check date values in: |تاریخ بازبینی= (help){{citation}}: Check date values in: |تاریخ بازبینی= (help){{citation}}: Check date values in: |تاریخ بایگانی= (help){{citation}}: Check date values in: |تاریخ بایگانی= (help)نگهداری CS1: سایر موارد (link){{citation}}: Check date values in: |تاریخ بازبینی= (help); Italic or bold markup not allowed in: |ناشر= (help){{citation}}: Check date values in: |تاریخ بازبینی= و |تاریخ= (help)From the bro-style bloviating (or, broviating) of True Detective's first season, to the ominous proclaiming that punctuates the general whoring and slaying of Game of Thrones, to the unceasing climatological and psychological punishments meted out to the cast of The Killing (American TV series), it seems as though some of the most celebrated recent examples of serial drama have elected self-seriousness as their default tone.
Like Game of Thrones, the action in those ancient tragedies centered on the stories of four ruling dynasties: House Atreus of Mycenae, House Cadmus in Thebes, House Erichthonius in Athens, and House Minos in Crete.
But while Game of Thrones is in part a rebuttal to traditional fantasy fiction, I’d argue that it’s become clear—after five books in A Song of Ice and Fire and five seasons of the TV series—that Martin and showrunners D.B. Weiss and David Benioff are actually playing with a format that isn’t so revolutionary at all: They’re reviving and updating the classical tragedy as a narrative form.
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