![]() If you’re a mark for that sort of thing - as, frankly, I am - then hey, great! World-building out the wazoo! ![]() In short, The Wheel of Time is a show that’s almost all fantasy world-building, at least so far. ![]() And so on, and so on, and so on, for 15 novels and however many seasons of those novels’ adaptations Amazon deigns to make. Each new enemy requires one of the heroes to tell one of the others what the enemy is and what its powers might be, and how best to defeat or defend against it. Each time a phrase from a lost language is uttered, someone has to explain what it means, who originally said it, and what context it was said. Every time a character sees another character praying, a conversation must ensue as to what the prayer means and to which deity or ancestor or metaphysical concept it’s directed. However, from the perspective of a television drama, it’s almost an obstacle because virtually every new development requires someone to tell someone else a story about it. ![]() (Dip your toe in the book series’ wiki, I double-dog dare you - you might fall in and never come out again.) From an epic-fantasy perspective, this is an impressive feat. The world Rafe Judkins has brought to the screen feels boundless, replete with different cultures and subcultures, sects and sub-sects, thousands upon thousands of years of history, of wars won and lost, kingdoms risen and fallen, songs and languages learned and forgotten and learned again. In a way, storytelling is The Wheel of Time’s biggest storytelling problem. ![]()
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