The latest episode of HOUSE OF THE DRAGON, “The Red Dragon and the Gold,” truly delivered the dragon action many fans craved. The Battle of Rook’s Rest showcased a spectacular clash of dragons in the skies, prompting the question: has there ever been a dragon battle quite like it on screen? While films like REIGN OF FIRE might boast a larger number of dragons, the sheer impact and storytelling within House of the Dragon‘s battle are undeniable. It’s a testament to how dragons, even as mythical creatures, can be portrayed with such compelling realism and dramatic weight.
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Dragons in Fantasy: A Timeless Fascination
Dragons, of course, exist firmly in the realm of myth. In our real world, these magnificent beasts are confined to the pages of books and the screens of our favorite shows. Yet, the concept of dragons and dragon-like creatures permeates legends across cultures globally. Some speculate these tales may have been sparked by the discovery of dinosaur bones, unearthed by unsuspecting farmers. Regardless of their origin, dragons have become a cornerstone of the fantasy genre for centuries, capturing imaginations and fueling countless stories.
My own fascination with dragons stretches back to childhood. Ironically, I’m even named after a dragonslayer, St. George, a figure who remarkably retains his sainthood even as others have been removed – perhaps a subtle nod to papal dragon approval! Long before A SONG OF ICE & FIRE took shape, dragons were central to my writing, featuring prominently in stories like “The Ice Dragon” and “The Way of Cross and Dragon.”
A World of Dragon Interpretations
The depiction of dragons varies wildly across cultures. Chinese dragons, for instance, are often wingless, symbols of good fortune, and notably, do not breathe fire. In contrast, traditional Western dragons are typically associated with fire, destruction, and fear. Modern fantasy has embraced this diversity, reimagining dragons in countless ways. Consider the dragons in ERAGON or HOW TO TRAIN YOUR DRAGON; they are vastly different from the more traditional, fearsome dragons, with Toothless even embodying a sense of endearing cuteness.
Toothless the Dragon from 'How to Train Your Dragon'
Tolkien’s dragons in The Lord of the Rings and The Hobbit are consistently portrayed as malevolent forces, servants of evil like Morgoth and Sauron, akin to orcs and trolls. Friendly dragons were not part of Tolkien’s vision. However, his dragons, such as Smaug, possess significant intelligence and the ability to speak, adding layers of complexity to their villainy. Smaug is also famously associated with a vast hoard of gold, a classic dragon trait, upon which he famously slumbers for decades.
Smaug from 'The Hobbit', guarding his treasure hoard.
Before the CGI rendering of Smaug, many considered Vermithrax Pejorative from the film DRAGONSLAYER to be the pinnacle of cinematic dragons. Vermithrax, with its two legs and two wings, embodies a dangerous, fire-breathing, non-verbal dragon, devoid of the gold-hoarding tendencies. This portrayal served as a significant inspiration for many dragon enthusiasts.
Vermithrax Pejorative from 'Dragonslayer', a classic cinematic dragon.
On the other end of the spectrum, we find the dragon from DRAGONHEART (voiced by Sean Connery). This dragon is depicted as a benevolent, talking, four-legged creature who befriends the hero. While endearing to some, it’s often considered a less compelling and less impressive dragon in a film of lesser quality.
The Dragons of “A Song of Ice & Fire”: Grounded in Westerosi Reality
In crafting A SONG OF ICE & FIRE, my aim was to fuse the wonder of epic fantasy with the grit and realism found in historical fiction. Magic exists in this world, but it is deliberately less prevalent than in many other fantasy universes. Tolkien’s Middle-earth, with its relatively low-magic setting, served as a key influence in this approach. I wanted Westeros to evoke the historical weight of events like the Crusades, the Hundred Years War, and the Wars of the Roses, alongside the fantastical elements inspired by Tolkien.
Dragons were always going to be a part of this world, partly inspired by my late friend Phyllis Eisenstein, a brilliant fantasy and science fiction writer. However, I envisioned my dragons as creatures that, while fantastical, felt as real and believable as possible within the context of Westeros. Their design was carefully considered: they fly and breathe fire – essential dragon traits – but they possess only two legs and two wings. Crucially, the wings are the forelegs. Many fantasy dragons suffer from biologically implausible tiny wings. The four-legged dragon, in my view, belongs to the realm of heraldry, not zoology. No creature on Earth has ever naturally evolved with six limbs; birds, bats, and pterosaurs all adhere to a two-leg, two-wing structure.
Heraldry and the Two-Legged Dragon Debate
The confusion surrounding dragon leg count often stems from medieval heraldry. Initially, both two-legged and four-legged dragons appeared in heraldic symbols. Over time, heraldic conventions standardized, distinguishing between four-legged “dragons” and two-legged “wyverns.” Of course, neither existed outside of legend, making this distinction somewhat arbitrary, and medieval heralds were not exactly known for their zoological accuracy, even with real animals!
However, in Westeros, dragons are real (and wyverns exist in Sothoryos), so Westerosi heralds don’t have the same excuse. Therefore, the Targaryen sigil in my books correctly depicts a two-legged dragon. Why would anyone in Westeros depict a four-legged dragon when they could observe the real creature and count its limbs? My wyverns also have two legs, differing from dragons primarily in size, coloration, and their inability to breathe fire. It’s worth noting that while the Targaryen sigil has the correct number of legs, it’s not entirely anatomically accurate – the wings are undersized, and naturally, no dragon has three heads; that’s purely symbolic, representing Aegon the Conqueror and his sisters.
It’s frustrating that the TV adaptations haven’t always maintained consistency. GAME OF THRONES initially used the correct two-legged sigil for the first five seasons, but later introduced sails with four-legged dragons – a frustrating oversight. HOUSE OF THE DRAGON unfortunately doubled down on this error, using the incorrect four-legged sigil, prompting internal screams from this author. These extra legs have even crept onto book covers, against my strenuous objections!
RIGHT
Correct two-legged Targaryen sigil.
WRONG
Incorrect four-legged Targaryen sigil.
More Than Just Fire and Wings: The Nature of Valyrian Dragons
Valyrian dragons differ from dragons like Smaug, Toothless, and Vermithrax in other significant ways. My dragons do not speak; they are intelligent, but fundamentally beasts. They form bonds with certain individuals, a process and history that will be further explored in THE WINDS OF WINTER, A DREAM OF SPRING, and BLOOD & FIRE. Septon Barth’s writings offer insights into this bond. Like wolves, bears, and lions, dragons can be trained but never fully tamed. They remain inherently dangerous, with individual personalities and temperaments, often mirroring those of their riders due to their unique bond. They are indifferent to gold and gems, unless perhaps their rider fixates on such things.
Dragons are living creatures with biological needs. They require food and water, breathing air just like any land animal – they lack gills. The idea of Smaug sleeping for sixty years without sustenance is unrealistic for Valyrian dragons. As creatures of fire, they require oxygen. While they might snatch a fish from the ocean, they cannot remain submerged for long without drowning.
My dragons are predators, carnivores with a preference for well-cooked meat. They hunt and are territorial, favoring lairs in mountainous regions, particularly volcanic peaks. As creatures of fire, they are ill-suited to cold, damp caves often depicted in fantasy. Man-made dragon dwellings, like the Dragonstables of Dragonstone, the towers of Valyria, and the Dragonpit of King’s Landing, are acceptable alternatives, especially when food is provided. Young dragons, lacking these options, will find and fiercely defend their own lairs.
While dragons are creatures of the sky, capable of vast journeys, they are not nomadic. During Valyria’s height, hundreds of dragons existed across forty dragon-riding families, yet they remained close to the Freehold and the Lands of the Long Summer. Occasional visits to Valyrian colonies might occur, but permanent relocation was rare. If dragons were nomadic, they would have overrun Essos, and the Doom of Valyria would have claimed far fewer. Similarly, Westerosi dragons seldom stray far from Dragonstone. If they did, dragons would be ubiquitous across the Seven Kingdoms. The wild dragons mentioned in Fire & Blood lair on Dragonstone. Others reside in the Dragonpit or caverns under Dragonmont. While riders like Luke and Jace can take dragons to distant locations, the dragons themselves would not undertake such journeys independently, except under extraordinary circumstances. You won’t find wild dragons roaming the Riverlands, the Reach, the Vale, or the North.
Grounded Fantasy: The Key to Believability
Fantasy, to be effective, needs grounding. It’s not a free pass to disregard internal consistency. Smaug and Toothless, while both dragons, are fundamentally distinct. Ignoring established canon undermines the believability of the created world, causing it to unravel. By grounding the dragons of A Song of Ice & Fire in certain biological and behavioral principles, I aimed to create creatures that, while fantastical, contribute to the overall realism and immersive quality of Westeros.
Current Mood: thoughtful
Tags: a song of ice and fire, canon, dragons, fire & blood
