Conexão entre Sandkings e Game of Thrones?

Se você quer dizer, são os caracteres em GoT literalmente Sandkings, a resposta é não. Os Sandkings eram claramente insectóides, com uma única "rainha" que controlava toda a colônia, não indivíduos.

Se a sua pergunta é se Martin tinha em mente que os personagens em GoT são como Sandkings, encenando batalhas e conflitos basicamente como animais de maior poder ... essa é uma idéia interessante, mas eu ainda diria que não. GoT é sobre o conflito humano - poderes superiores (deuses) são um aspecto do conflito, mas eles não estão direcionando isso.

De acordo com uma pergunta e resposta relacionada Sandkings é uma das histórias de George RR Martin que é ambientado no universo dos Mil Mundos. Levando isso junto com este Q / A relacionado , podemos ver que Uma Canção de Gelo e Fogo não está definido nesse universo.

Asimov and Heinlein, late in life, both seemed to feel the urge to merge all of their books and stories into one huge continuity.

So far I do not feel the urge. No, Westeros is not one of the Thousand Worlds.

^{Not A Blog, Last Year (Writing, Editing, Producing)}

Como tal, não há conexão canônica entre as obras. Se, no entanto, você quer perguntar se há uma conexão conceitual entre as histórias e que, em sua mente, os personagens são as formigas com algum poder superior a atormentá-los, então eu provavelmente diria que não. Eu não vi uma entrevista com ele falando sobre esse assunto, então não podemos ter certeza, mas nada parece apontar para isso.

A única conexão com um poder maior que atormenta esses personagens pode ser os Deuses e a magia do mundo, mas isso parece um pouco exagerado. Na verdade, quando George começou a escrever a série, ele nem sabia onde a história iria ou até mesmo o que era, então parece improvável que haja alguma conexão consciente.

Tad: I can see the bumper-sticker -- Authors don’t kill characters – Characters kill characters. You’ve been living with some of these characters for quite a long stretch now. How much of the idea of the story did you have when you started?

GRRM: Nothing. I had nothing, I was writing another novel that I’d started in ‘91, but I had a few months off before pitch season started so I began Avalon, an SF novel, and it was going reasonably well, 30 to 40 pages. Suddenly a first chapter came to me so vividly and it could not possibly be part of Avalon. It was so vivid I had to write it. I started and 50, 60 pages were there suddenly, then I drew a map, then I put it aside for 3 years because I sold a pilot and did some screenplays. But the characters were in my head, and when I returned to it in ‘94 it was like, 3 days had passed. Which was unusual for me, it hadn’t been like that, I have trouble switching from 1 character to another and if I’m away from something for too long, it pulled away from me. I have a famous unfinished novel, Black and White and Red All Over, but these characters wouldn’t leave me alone. And they’re insisting I still have a long way to go.

^{So Spake Martin, Redwood City Signing}

Ele reitera o mesmo sentimento em outra entrevista e fala um pouco mais sobre seu processo de construção do mundo. A partir disso, parece claro para mim que não existe poder superior vigiando essas pessoas para atormentá-las e que este é apenas um universo separado, com suas próprias crueldades e ideais.

I wanted to ask about your process in creating the series, through a specific example from A Dance with Dragons. To dance around it a bit, lets say that we learn more about the story of the three-eyed crow, a figure first glimpsed in a very early Bran chapter. Were these details something you knew all along? Or was it a situation where you knew you'd need more information to go with this mystical figure, but figured you'd just come across those details organically later on in the series?

I wouldn't say I knew right from the start, but I've certainly known the details for a long, long time. From the very start, I didn't even really know what this story was. As I've said before, when the first chapter came to me, I was in the midst of writing a science fiction novel, Avalon, when I started writing this story about wolf pups being found in the snow. So, you know, some point very early on, before A Game of Thrones was published, I had started filling in these details. We're talking 1994 or 1995.

There was a point early on, relatively early in the writing of the series, where I stopped writing and did a spate of world building. I didn't do it before I started, like Tolkien, but I was writing the book and I was getting in and starting to refer to history. So I stopped and started to formalize it, drawing the maps, working out the genealogies, the list of the Targaryen rulers and the dates of their reigns, and so on. But of course, as you know -- because you're one of the ones that pointed it out back then -- it didn't all necessarily jive with what I wrote in "The Hedge Knight". But in any case, I was starting to think about all of these things as I did it, and I had little hints about their stories through the nicknames I gave the kings. So Maegor the Cruel, Jaehaerys the Conciliator, and the Young Dragon, and so on. So the seeds of a lot of the history were planted when I drew up that list.

^{So Spake Martin, Westeros.org Interview}