One of the key factors behind the critical and commercial success of Game of Thrones (HBO, 2011–19) has been the ability of show runners David Benioff and D. B. Weiss to popularize the alternative secondary fantasy world in which the show’s narrative takes place. Adapted from George R. R. Martin’s A Song of Fire and Ice novels, Game of Thrones sits alongside other franchises such as Star Wars (1977– ) and the Marvel Cinematic Universe (2008– ) that address their fans through a range of ancillary platforms, including books, websites, video games and mobile apps.1¹ At the same time, Game of Thrones’ status as a serial television drama makes it unique amongst transmedia franchises, breaking the precedent set by other successful examples such as Conan the Barbarian (1982–85, 2011), Harry Potter (2001–11), The Lord of the Rings (1978, 2001–03), The Chronicles of Narnia (2005–10) and The Hobbit (2012–14). Instead of relying on the latest cinematic instalment, Game of Thrones tells it story through the long-form serial format, the conclusion of which is eagerly anticipated by fans as the culmination of a decade-long narrative set in an alternative world of high fantasy.

中文翻译：

---

隔着窄屏：《权力的游戏》中的电视世界构建

《权力的游戏》（HBO，2011-19）在评论界和商业上取得成功背后的关键因素之一是节目主持人大卫贝尼奥夫和 DB Weiss 能够普及节目叙事发生的另类次级幻想世界。改编自乔治 RR 马丁的《火与冰之歌》小说，《权力的游戏》与《星球大战》（1977– ）和漫威电影宇宙（2008– ）等其他特许经营权并列，这些特许经营权通过一系列辅助平台（包括书籍）吸引粉丝、网站、视频游戏和移动应用程序。1 ¹同时，《权力的游戏》' 作为连续剧的地位使其在跨媒体系列中独树一帜，打破了野蛮人柯南（1982-85、2011）、哈利波特（2001-11）、指环王（1978 ）等其他成功范例的先例, 2001-03)、纳尼亚传奇(2005-10) 和霍比特人(2012-14)。《权力的游戏》并没有依赖最新的电影版本，而是通过长篇连续剧的形式讲述故事，粉丝们热切期待它的结局是长达十年的叙事以另类奇幻世界为背景的高潮。