Instead, the author tends to focus on the horror and devastation that comes in the aftermath of battles for both the victor and the vanquished, such as what Arya witnesses as she flees King's Landing. Part of this development stems from his use of third person limited point of view, and few of the narrative voices come from knights of soldiers who fight in the war. In similar fashion, Martin does not dwell on the battles raging across the Seven Kingdoms. As such, the setting of Westeros has a different atmosphere that keeps the traditional fantasy readers off-balance as the novel develops. In A Clash of Kings, however, readers see this process happen backwards, as magic slowly leaks back into the world with the birth of Daenerys’s dragons (not to mention the grotesque warlocks who offer to aid her at one point), Bran Stark’s dreams where he sees through the eyes of his wolf, the undead Others north of the Wall, and the Red Woman who converts Stannis and uses secret arts belonging to her foreign religion.
For instance, the bulk of fantasy writing deals with the slow retreat of magic from the world-Tolkien helped establish this hallmark in The Lord of the Rings as it adds to the underlying tragedy of the known world disappearing into history. A pleasure of the book, and of much of Martin’s Song of Ice and Fire, is watching the way he sets up standard fantasy tropes and stereotypes only to pick them apart or play them in ways to build his own setting and style.
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