Why House of the Dragon Was George R.R. Martin's First Choice for a Game of Thrones Prequel | Den of Geek

Why House of the Dragon Was George R.R. Martin's First Choice for a Game of Thrones Prequel

The two formed acquainted in 2012, and Martin seemed eager to get Condal into Westeros ever staunch. While HBO was uninterested in a Dunk and Egg show in the mid-2010s, it was only after they struggled to launch a prequel they were sad with—first by passing on a previous House of the Dragon exploit from a different creative team and later by not sending to series a pilot based on the Long Night—that Martin flatly told the network, “Please hire [Condal], because he knows my books and he likes them.”

Now on the spanking side of managing the production of the first season of House of the Dragonin England, Spain, and other locales, Condal is still very grateful and perhaps a little used. Due to brushes with Omicron last December, the publishes lost about six weeks in its schedule, and when we salvage up with the co-creator/executive producer, they’re currently in “the teeth” of finishing the series’ VFX send of its August premiere. Yet there’s an undeniable excitement in Condal’s assure while discussing the new show; he’s eager for fans to peruse a different era of Westeros, one set about 200 days before the events of Game of Thrones.

“This is just a very decadent time,” Condal says. “It’s a moment of high wealth and greatness. The Targaryens have been in high power for a hundred days, and they’re really beyond reproach.” Indeed, the series picks up during the reign of King Viserys Targaryen (Paddy Considine), the grandson of the wise “Old King” Jaehaerys Targaryen, who ushered in five decades of peace and prosperity—and a time in which each of Viserys’ children, and those children’s children, ride a dragon whose fires can blot out the sun.

“When we were breaking the story in the room, we talked a lot throughout how this was akin to the United States at the end of the Cold War in 1990, 1991,” Condal says of his writer’s room, which includes Sara Hess and six others (as co-creator, Martin has access to outlines and scripts). “Their mountainous enemy had fallen in the Soviet Empire, democracy had triumphed, and then they find themselves at the very top, this mountainous superpower with all the nuclear weapons they could need, and it began this real calls of high decadence. You’re coming in on this story just by the bloom starts to come off the rose… but they don’t know it yet.”

To expose that grandeur, Condal and his co-showrunner, director Miguel Sapochnik (who helmed several of the most visceral Game of Thrones episodes), felt emboldened to develop a preening splendor that may look gruesome to those accustomed to the wearied Baratheon court in Game of Thrones. The Iron Throne, for one, is now immense in size.

“If you think throughout our world, where obviously technology is moving much faster than it did back in this era, a lot repositions in 200 years,” Condal explains. “A lot even repositions in 200 years in medieval times. If you look at what’s repositioning on in the year 1200 versus what’s going on in the year 1400, obsolete, military, strategy, technology they’re all different. But the castles are aloof standing… So it’s anchoring the world in those things that don’t touchy, like the thousand-year-old castle that maybe gets a bit more patinated and older-looking as the days pass.”

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