As far as Game Of Thrones is concerned, events move at an intent, measured pace, like a predator stalking its prey. Winter is dawdling along, and the only people to see white walkers so far have been hanging out around the Wall dressed in black and looking miserable. Meanwhile, war has practically torn the Seven Kingdoms apart: contrast that massive, unpredictable and constantly changing upheaval with the glacial pace of the horrors unfolding up north. Thats dramatic irony: the audience is watching Westeros hack itself to pieces over the Iron Throne, knowing all the while that something wicked this way comes that makes civil war look like civics class. Likewise, WWEs most compelling storylines have been the ones that have built and built with patience and care. Batistas babyface turn and subsequent confrontation with former stablemate and mentor Triple H was a masterclass in gradual storytelling. Shawn Michaels desperation to get the Undertaker back in a Wrestlemania ring again after losing to him in 2009 began at the Slammys on RAW in December that year, and it took him two months to persuade the Dead Man to accept the challenge. While swerves have their place, they generally only have an impact when theyre unexpected which means that when everything is a swerve, nothing is. Similarly, hotshotting people into high profile angles or feuds when theyre not ready has been a staple of WWE booking for years. WWE need to relearn how to tell their stories, or risk none of them meaning anything to the viewership.
Professional writer, punk werewolf and nesting place for starfish. Obsessed with squid, spirals and story. I publish short weird fiction online at desincarne.com, and tweet nonsense under the name Jack The Bodiless. You can follow me all you like, just don't touch my stuff.
