Exploring Magic and Orientalism in George R.R. Martin's World of Planetos

Introduction to Orientalism and Geographical Directions

Throughout the richly detailed world of George R.R. Martin's Game of Thrones, the intersection of geographical directions and cultural perceptions plays a significant role. Whether intentional or accidental, these themes weave through the narrative, providing a lens through which the complex sociocultural fabric of Planetos is explored. This exploration isn't limited to the stark contrasts seen between the North and the South; it extends further into the East and West.

North vs. South: Surface-Level Cultural Differences

The primary example of this cultural disparity lies in the stark differences presented between the North and the South. During the days before winter, the two regions share more similarities than differences, with religious divisions being the most notable—though still not deeply affecting the day-to-day lives of ordinary people. The North is described as a land of proud, stern people, wealthy in honor and hospitality, though not material possessions. The North is seen as a land of glacial conservatism, with strong and independent women. In contrast, the South is depicted as indulgent, wealthy, and refined, with libertine values and a devotion to the Seven.

However, these cultural portrayals are highly simplified and often misleading, reflecting more of the perceivers' biases than reality. There are greedy, wealthy Northerners and similarly noble yet stern Southerners, proving that every generalization is ultimately flawed.

Orientalism and Western Fantasy

The cultural disparity and the romanticized view of the East in Game of Thrones serve as a reflection of the wider phenomenon of orientalism in literature, particularly in Western fantasy. Western fantasy often perpetuates orientalism, drawing from historical and modern biases to create an exotic, mysterious, and often misleading portrayal of the East. This romanticization of the distant and foreign in Game of Thrones can be seen as the "last gasps of our confused feelings of orientalism," as it is deeply rooted in archetypal tropes. For instance, the process of building a fantasy world is akin to "finding an old pile of wood in the backyard and using it to build a house; you have to wade through the wreckage of historical racism, sexism, and classicism."

Voices of Orientalism: Tyrion and Others

The primary source of this orientalism is heavily influenced by the perspectives of Westerosi characters such as Tyrion Lannister and other travelers like Daenerys Targaryen. Tyrion, in particular, is plagued by misconceptions and romanticized views of the Freecities, which he constructs from books and theories, rather than firsthand experiences. His idealization of the Freecities is heavily colored by his false hopes and failures to fully comprehend the reality of Eastern cultures.

The characters of the Freecities, the Dothraki, and others are largely absent from the narrative, except for instances where Westerosi perceptions are colored by misrepresentations or misunderstandings. Daenerys, a well-traveled royal, must learn to navigate and understand the languages and cultures of Essos, further highlighting the gap between Westeros and the East.

Contrasts and Myths of Magic

The Game of Thrones world, while seemingly devoid of magic in Westeros, is replete with magical elements including dragons, sigils, and ancient cultural practices. These magical occurrences, often relegated to the distant past or to lands untrod, create a sense of exoticism that mirrors that of the East from the Westerosi point of view. For Eastern characters, the West is a land of magic, exoticism, and mystery, just as the West sees the East in a similar light.

This mutual misunderstanding and romanticized view of the other side reinforces the idea that their magical prowess in the East and the West, respectively, may not be any more significant than in Westeros itself. The truth is, as Jon Snow notes, people generally prefer to sing about faraway kingdoms and their sunny, magical skies rather than the harsh realities of their own homes.

Conclusion

In the end, the Game of Thrones series, much like any other work of fantasy, reflects the deeper cultural and social complexities of its creations. By examining the themes of geographic and cultural disparity, we can better understand the layers of orientalism and its impact on the narrative. As readers and critics, it is essential to recognize and interrogate these themes to foster a more nuanced and inclusive understanding of the fantastical worlds we engage with.