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A WHEEL OF TIME COMMUNITY

By Mashiara Sedai, in Community & Events,

Jason Denzel joined a “WOT You Feeling?” panel on mental health focusing on the effects of loss and grief within The Wheel of Time series.  The “WOT You Feeling,” made up of members Ryan, Miki, and Christine, delves into sensitive issues on mental health and how they relate to the world Robert Jordan created.   You can follow them on Twitter, or see all their YouTube videos here.   Identifying grief within the series is pretty easy.  Jason points out that Robert Jordan considered the world dangerous and not an ideal place to live.  Many of the characters experience grief throughout the series—Tam never loving another after the death of his wife, Kari, or even Lanfear holding on to the grief of a breakup over a thousand years ago.  In fact, the Forsaken seem to be knee-deep in unprocessed trauma.  On the other hand, Rand’s “Veins of Gold” moment shows a great moment of expressing and releasing those emotions.   Jason also reflects on his own writing experiences and how mourning, or not mourning, plays a role in a character's story arc.   You can watch the whole video below.     This show was a fascinating look at the mental health issues our beloved characters face.  Like what you see here?  You can support “WOT You Feeling” and The Way of the Leaf on Patreon here!

By MahaRaj, in Books and eBooks,

Rajiv Moté is Dragonmount’s book blogger with a lens on the craft of fiction writing. When he’s not directing software engineers, he writes fiction of his own, which can be found catalogued at his website.   Early in the Covid-19 pandemic, the editor of The Magazine of Fantasy and Science Fiction C.C. Finlay noted that the stories submitted to his magazine had shifted away from the common themes of finding or returning home. He reasoned that writers were getting cabin fever, and the idea of “home” had lost its romance during the extended lockdown. (Finlay also noted that loneliness had become more of a thematic motivation in the stories he received, and more stories were culminating in a kiss.) It’s an interesting shift for fantasy fiction. For those of us whose introduction to epic fantasy was J.R.R. Tolkien, “home” has a powerful resonance in the genre. “There and back again” is almost a structural expectation for a story. In Tolkien’s world (and in Joseph Campbell’s Hero’s Journey), “home” is the beginning and end of the adventure. Preserving home forms the ultimate, most personal stakes, and the return illustrates how much the protagonists have grown. “The Scouring of the Shire” is perhaps the truest of the many endings of The Return of the King. It shows that, for the Hobbits, the War of the Ring was basically preparation for the battle for the once and future pastoral paradise of the Shire. When I read and reread The Wheel of Time, I often think of the New York Times blurb about the series.   I like that quotation for the comparison, but I think it misses the mark. The Wheel of Time isn’t an extension of The Lord of the Rings, even a spiritual one, but it is certainly in conversation with it. Robert Jordan’s Emond’s Field was a pastoral paradise just like Tolkien’s Shire, but Jordan used it to say very different things about “home.” Where British Tolkien, writing in an era of waning empire, saw the War of the Ring (and the Scouring of the Shire) as a restoration of old glory and monarchical status quo, American Jordan, writing at the cusp of a new millennium, saw the end of the Third Age as a time of technological progress, cultural intermixing, and unpredictable change, for good and ill. In The Wheel of Time, you can never go home.   Even in his pre-Wheel swords and sorcery novel, Warrior of the Altaii, Robert Jordan was interested in themes of a rapidly changing world, where people needed to adapt or go extinct. There is no going back to past glory, there is only going forward into something new. In The Eye of the World, Emond’s Field is portrayed as cozy and idyllic, and the young protagonists (except Egwene) leave it with reluctance. But where The Lord of the Rings was a story about going off to war to protect one’s home, The Wheel of Time is a bildungsroman, forging maturity and power from youth and innocence. “Home” is the nest that the fledglings must leave. Most make a place for themselves in the larger world. Of the Emond’s Field Five, only Perrin returns. His chapters, reminiscent of “The Scouring of the Shire,” are not about restoring home to its old status quo, it’s about transforming it into something suited to the times. After evicting the Whitecloaks and eradicating the Trollocs, Perrin musters the Two Rivers and leads them to war. The beard Perrin grows is the not-so-subtle symbol of him becoming a man. Egwene does briefly return home in the World of Dreams, looking for a place of safety, and even in that reflection of Emond’s Field she sees that it is changing.   The Two Rivers is on its way to transforming from a forgotten district of Andor to a nation of its own, with banners, an army, a manor house, and a lord. For all the moral starkness in Robert Jordan’s cosmology, change is not a fork in the road, with one path leading into darkness, and the other into light. Change is chaos, everything moving at once, with three unintended consequences for every intended one. But as a world view, it means that there will always be new opportunities for growth and wonder. As a story, it means the tale is never over. There is always another adventure beyond the final page, something more to discover. On this, Jordan and Tolkien agree: the road goes ever on.  

By Dragonmount.com, in Merchandise,

Dragonmount founder Jason Denzel recently got a hands-on look at the official, limited edition Wheel of Time watch from Tockr. Here's the full video:     We'll be working closely with Tockr going forward, and perhaps giving you a chance to interact directly with the designers so that you can share your constructive feedback with them.    After you view the video, let us know in the comments or on the forums what you think of the watch!

By Dragonmount.com, in Books and eBooks,

Tor Books announced today the forthcoming release of Origins of The Wheel of Time: The Legends and Mythologies that Inspired Robert Jordan by Michael Livingston. The book is scheduled for publication on November 8, 2022.    Here's the book description:   We'll provide early previews and a review, and possibly some give aways.    Origins of The Wheel of Time is available for pre-order in ebook format from the Dragonmount store. You can also pre-order print and ebook copies from Barnes & Noble, Amazon, or your local independent bookseller. 

By Katy Sedai, in TV Show,

Katy is a news contributor for Dragonmount. You can follow her as she shares her thoughts on The Wheel of Time TV Show on Instagram and Twitter @KatySedai     The Wheel of Time Showrunner Rafe Judkins joined podcast host Helen O’Hara on The Empire Spoiler Special podcast this week.    They discussed the first season, including clarifying some questions many book readers might have on some controversial choices. They also chatted a bit about season two and when and what we can expect.    There’s been plenty of hopeful speculation about the timing of season two. Rafe said that it will be a while before we see it, and that there will be some time between Amazon’s new Lord of the Rings show and The Wheel of Time. Lord of the Rings will release on September 2nd 2022, which has some fans speculating we won’t see season two until early 2023. Rafe’s wording was vague enough that it’s hard to say when exactly we could see the second season. Rafe did mention that we can expect some cool content to tide us over in between the seasons, so keep an eye out for that!   Rafe confirms that Aviendha is cast and that we will see more Aiel than expected in season two. Season two will also explore what happened to Moiraine whether she was stilled or shielded, Rafe has been avoiding saying either way outright. The second season will also include story lines from books two and three, with Mat following his book three journey. Rand’s adventures will include most story beats and characters from books two and three, but mixed together.    It seems as we move into the second season fans can expect even more changes than in season one. This definitely doesn’t sound like a word for word adaptation.    Most of the interview focused on season one including certain story lines about the Two Rivers five, how well Dónal Finn is taking over as Mat, that Nynaeve burning out/fake out death, more about Suian and Moiraine, and a bit about the Age of Legends scene.    A couple points Rafe clarified:  Emphasized again that this is the story of all five of our main characters, so some changes (Perrin’s wife, Mat’s backstory) are meant to set up the characters from the beginning. Mat especially needed more background. Amazon sent Rafe a 250 page document with survey data from book readers - those who finished the series, those who stopped mid-way, and those who started and didn’t make it very far. Every group agreed that Mat’s personality doesn’t really show up until book 3.  Many book readers misread the Nynaeve burn out scene, so Rafe emphasized that death cannot be healed. He said that the misunderstanding is on them and not healing death will be made clearer in season two.  Suian and Moiraine were using a ter’angreal to meet, but the exact metaphysics or location is still a bit of a mystery. Rafe said that they worked with Sarah Nakamura to ensure their private meeting place would work in-world.  The oath scene between Suian and Moiraine were purposely meant to feel like marriage vows. And Rafe said that as a queer person he thought their relationship was explicit in the books.  Helen and Rafe chatted about the reasoning behind not showing the fever dream early, was both to leave some mystery to draw in viewers, but also to explore what it means to be the Dragon Reborn.  About Lews Therin and the Age of Legends - nothing was misspoken in that scene. Some fans have pointed out what they see as inconsistencies between the show and the books, but it sounds like we will have to watch and find out where they go!      To listen to this excellent interview you’ll need to subscribe to the Empire Spoiler Special Film Podcast here.  A subscription is £2.99 a month.    What did you think of this interview? Anything surprising?  Let us know in the comments and be sure to join the discussion on our forums.  And be sure to check our TV section of the website. 

By Mashiara Sedai, in TV Show,

Matt (@MalkiersKing on Twitter) debuts his video series, “WoT Were They Thinking?”: a respectful analysis of each episode of Amazon Prime Video’s Wheel of Time TV show.    In this first episode, Matt is joined by Kristy Leigh Lussier from The Successful Screenwriter and Lauren from Unraveling the Pattern.  Together, they examine Episode 1, Season 1 "Leavetaking" and discuss some of those controversial moments that fans are reacting to.     Need more content?  You can see Dragonmount's initial review of Episode 1 here, and don't forget the Podcast discussion here.  All sorts of other tidbits can be found on Dragonmount's TV overview page here.   Are you on board with the changes so far, or are you struggling against the current?  Let us know in the comments below.

By Mashiara Sedai, in TV Show,

Recently, the Dragonmount Podcast had the chance to talk to another amazing actor.  Join producer Kathy Campbell and co-host Rajiv Moté as they sit down with Kate Fleetwood, who plays Liandrin Sedai of the Red Ajah in The Wheel of Time Amazon Prime Video television show.     Or, you can check out the episode on Incomparable here.   Are you looking forward to more White Tower and Red Ajah intrigue with Liandrin in Season 2?  Let us know in the comments below.

By Ola Aleksandra Hill, in Fantasy Reviews,

Aleksandra (Ola) Hill is a Polish-Canadian writer and the founder and editor-in-chief of khōréō, a magazine of speculative fiction by immigrant and diaspora writers. She won the grand prize in the 2019 Writer’s Digest Popular Fiction Awards and is currently pursuing an MFA in writing at The New School. You can find her on Twitter at @_aleksandrahill.   #  TL;DR: The Starless Crown by James Rollins weaves together multiple storylines into a tapestry about family in all its forms, nature, and surviving foretold doom. The book's strength lies in its interest in humans' relationship with nature and is a good match for anyone looking for plot-heavy science fantasy. Please note: This review contains very mild spoilers (first ~15% of the book). The spoilers are marked in the text and should be easy to skip. # The Starless Crown by James Rollins is a long book by any count; clocking in at about 560 pages, it felt longer in the reading. Part of this is the complexity of the tale. The author chooses four primary point-of-view characters: a young, blind student named Nyx; a thief who stumbles upon an alchemical secret while escaping the mines in which he has been imprisoned; a wayward prince living in the shadow of his older and evermore talented twin brother; and a knight who has broken his oaths. The author takes a page from Robert Jordan—whom he thanks in the acknowledgements—by adding in further, smaller POVs. The pacing of the novel is as rapidfire as its shifts between narrators. I hadn't heard of the author before, but his publications seem to tend to the thriller genre, and this influence is clear. The story moves along with constant twists and turns; there is no situation that can't possibly get worse. There is death, violence, and betrayal; anything that can go wrong, will, especially in the case of our mainest main character, Nyx.  Because of the combination of points of view and breakneck pace, I found it difficult to root myself in the book and feel like I was a part of the world. The signposts of the worldbuilding were certainly interesting; the action takes place on a planet called Urth, whose denizens worship the Father Above (the Sun); the Mother Below (the Urth); and the Son and Daughter (the faces of the moon). One part of the Urth is eternally in shadow, the other eternally in light: as you may have guessed, the world is a tidally locked Earth—and, as we learn throughout the story, a planet that natural catastrophe is yet to truly strike. The question of humans' ability to understand and control nature is central to the book. Most clearly, this appears as the central Big Bad of the book: convincing other humans that this natural disaster will come to pass—and all of the politicking that goes along with that—and then deciding how to act in the face of impending doom. However, throughout the novel, natural phenomena feature as impediments at least as frequently as other humans do. Animals have evolved into unfamiliar and often dangerous beasts; there are few scenes in the wilderness, and even among civilization, that don't feature an animal behaving in an unexpected way. Some characters have unusual and deeply special links with various creatures—and even of the protagonists that don't, we still see an overarching care for other living things: cognizance of never hunting more than their allotted share; pain at the suffering one's actions bring.  In spite of this theme, which intrigued me deeply, I found myself wanting more as I read. While the world had a lot of potential, I was ultimately left unsatisfied by how much is unchanged between our current society and this world's—not because I was looking for a utopia, but because it made the world feel incomplete. For example, young women are expected to be virgins to enter their Ninth Year at the Cloistery, but young men are not; the reason for this is unclear, aside from being a familiar callback to our own society's puritanical values.  In addition, certain fantasy tropes are also inserted into the story without due consideration, and often pulled me from immersion in the book. For example, a character named Pratik, who was imprisoned only to make another character's life more difficult, is described:     A POC-coded character defined by the violence done to his body is suboptimal at best, even without the cliché of uniquely coloured eyes. Furthermore, the society from which this character comes is described as cruel and bloodthirsty, but the character's face is "placid, as if he had accepted such cruelties as part of life." His ‘goodness’ is signaled by this stoicism and further emphasized by Pratik’s response when a character accidentally causes a number of Pratik’s countrymen’s death: "Despite the tragic outcome, there was wisdom in your plan." (p. 193) This benign goodness flattens everything that Pratik could be and places him as one-dimensional support. At best, these descriptions and character choices are thoughtless regurgitation of antiquated tropes; at worst, it’s something far more harmful. I’m still not sure if the author’s use of the phrase “noble savagery” (p. 246) was ironic or oblivious or had some other intent. This uncertainty isn't comforting.    All told, it feels as if this book was written with an eye to diversity without wanting to engage in what diversity means. This goes beyond race and gender. It is somewhat rare, for example, to see disabled protagonists in fantasy; thus, I was really excited to follow Nyx's story. A seventh year student in her town's monastery, Nyx is visually impaired: though not fully blind, she has never seen more than the shadows of the world around her.  ############# SPOILERS FOR THE FIRST 15% OF THE BOOK ############# I was surprised—and not a little disappointed—to discover that she's miraculously cured early on in the book. While her healing reveals something for the larger plot, her disability felt a little like a dangled carrot that got quickly snatched away (I will note here: while I can’t see more than a foot in front of me without my glasses, I am not blind myself).    As an aside, her new sight also draws larger sociopolitical issues to mind without fully resolving them. For example, the head of the Cloistery where Nyx studies, Prioress Ghyle, is "darkly complexioned, her skin far darker than Nyx had imagined" (p.72) —yet there's nothing in the world of the book that suggests this might be surprising and why. It felt more like the author's hand drawing the reader's eye to racial representation in the book than a natural elucidation of social structures in the book's world. ############# END SPOILERS ############# Lastly, this book felt like it needed another editing pass. In some parts, the prose is purple and rhythmless, so focused on using a thesaurus for each word that the sentences lose their poetry; in others, it's jarringly direct ("She was shapely of form and generous of bosom", p. 336). Often, a word is repeated multiple times within a sentence or two. While these certainly aren't dealbreakers—and only came to mind in some parts of the book—readers who are particularly sensitive to language may want to come into this story with their loins girded.  Ultimately, this book did not rise to its promise on the jacket copy: this is not “a fantasy series unlike any attempted before.” It doesn’t feel like it’s tried covered much new ground at all. Still, there are images in the world building—the grandiosity of the structures; the overwhelmingness of nature—that will appeal to certain types of readers, especially those who want a lot of plot decorated with a lot of pretty things. It will be particularly enjoyable for those who love a good bit of wilderness in their stories.    The Starless Crown is available in the Dragonmount eBook store. Find it here!

By Katy Sedai, in TV Show,

Katy is a news contributor for Dragonmount. You can follow her as she shares her thoughts on The Wheel of Time TV Show on Instagram and Twitter @KatySedai   Dragonmount Exclusive Reveal   Amazon has released a new app for IOS and Android that brings The Wheel of Time TV show to life on your phone or other mobile devices. There are thirteen augmented reality experiences including creatures, artifacts, and locations from the TV show.   March 2022 update: Amazon has temporarily removed these apps from the App Stores. They're focusing on building new experiences for WoT and other shows. These Wheel of Time experiences are expected to return, probably as we get closer to Season 2.    For example, the interactive app places a Trolloc in your living room (don’t get too close or it might snarl at you). You can get a bird's eye view of Tar Valon in your kitchen, or explore the ruins of Shadar Logoth in your basement. You also can learn about weapons and jewelry from the TV show.    The app allows you to save and share your own video clips and photos from the app. If you share on social media, then tag us @dragonmount_ on Instagram or @dragonmount on Twitter.    Head over to Dragonmount’s YouTube channel to learn more.    Ready to try it? Get started with the iOS app or the Android app and then let us know in the comments or on our forums below what fun things you found! 

By Katy Sedai, in TV Show,

Katy is a news contributor for Dragonmount. You can follow her as she shares her thoughts on The Wheel of Time TV Show on Instagram and Twitter @KatySedai   Dragonmount Exclusive Reveal   Not ready to leave the world of The Wheel of Time quite yet? If you have an Amazon Echo Dot or other Alexa-enabled device you can discover the new Alexa Skill, Beyond the Two Rivers.  Although the experience is best used with an Amazon Echo device, this will work with mobile devices using the Amazon app as well.    This interactive tour allows you to experience the people, places, and music of the Two Rivers as seen in Amazon Prime Video’s The Wheel of Time TV show. The experience puts you in touch with a retired Gleeman who will explain information and trivia about the world.    To begin this journey, first enable to Alexa Skill on the Amazon website. Make sure to do this with the same Amazon account that your Alexa-enabled device uses.    Next, say “Open Beyond the Two Rivers” to your Alexa-eaned device. This will begin your guided conversation about The Wheel of Time. You can say things like “Tell me about Bel Tine” or “Let’s meet Rand.” There’s lots to explore including information about Tinkers, Aes Sedai, and Darkfriends!    We've created a video showing you how it all works:     Ready to try it? Get started here and then let us know in the comments or on our Forums below what fun things you found!

By Mashiara Sedai, in TV Show,

In a special episode of the Dragonmont Wheel of Time Podcast, producer Kathy Campbell had the opportunity to speak with Taylor Napier, who plays Maksim—one of Alanna's warders—in the Amazon Prime Video Wheel of Time television series.     Or you can view it on YouTube here.     You can also listen to this episode of the podcast here!   Kathy was able to finally tackle that burning question on all our minds: why does Alanna have so many snacks? (And we're not just talking about her warders.)   The Dragonmount Podcast has an episode of discussion for each of the television show episodes, with more interviews and speculations coming soon.  Keep up to date with all the podcast episodes here.   Would you enjoy seeing Maksim featured as a more central character as the series progresses?  Let us know in the comments below!

By Werthead, in TV Show,

Adam Whitehead is Dragonmount's TV blogger. Adam has been writing about film and television, The Wheel of Time, and other genre fiction for over fifteen years, and was a finalist for the Hugo Award for Best Fan Writer in 2020. Be sure to check out his websites, The Wertzone and Atlas of Ice and Fire (including The Wheel of Time Atlas!) as well as his Patreon.   The Wheel of Time first season finale gives us the first look at the Age of Legends, the storied era of history that ended in the Breaking of the World and the corrupting of the male half of the One Power, some 3,400 years before the start of the main story in the books. It’s only a brief glance – we have less to go on here that during our previous deep dive on Tar Valon – but it’s an interesting look at one of the more intriguing parts of the backstory.   It appears that this city is Paaran Disen, the greatest city of the Age of Legends. During the Second Age, the idea of nations and kingdoms disappeared and the whole world was united under a single global government, albeit a relatively loose one. That government was based in Paaran Disen, which was also the location of the Hall of the Servants, the ancient equivalent of the White Tower. The Hall of the Servants was merely the headquarters of the worldwide guild which was the Aes Sedai in that Age, rather than being the home for all of them as the White Tower is. With 3% of the population serving as Aes Sedai, their numbers ranged comfortably into the millions, if not tens of millions, and most lived in their own homes, pursuing careers which may or may not have been related to the Power (Lillen Moiral – Moghedien – was an investment banker, despite being a powerful channeler, whilst Mierin Eronaile – Lanfear – was an advanced researcher into new applications of the Power).   Paaran Disen was effectively the world’s capital, although it is unclear that the population of the world in the Age of Legends was, if it was comparable to our own (with more than 7+ billion people) or if improvements in birth control, medical technology, Healing and sustainability meant the population was less than during our age. This may explain why Paaran Disen appears to be a somewhat small city by our standards, though still enormous by the standards of the Third Age. Of course, the building where Lews Therin meets Latra Posae might be on one edge of the city and the city sprawls for a considerable distance in the opposite direction which we don’t get to see.   In the books, Paaran Disen had many of the hallmarks of civilisation in the Age of Legends. Many of the streets and parks were lined with chora trees, which gave a sense of peace and well-being to those who sat in their shade. The buildings were tall, ornate and beautiful, many built of elstone, which made them shimmer in the light. The entrance to the Hall of the Servants was flanked by tall columns. The city was divided by roads along which vehicles such as jumpers and jo-cars could travel. As the grandest city in the world, Paaran Disen was also served by transport such as sho-wings, great delta-winged vehicles capable of carrying up to hundreds of people anywhere in the world in short order. The city also had numerous locations marked for Travelling, allowing Aes Sedai to open portals directly to wherever they wanted to go.   Above: Paaran Disen in the opening of the first episode. Below: The same city in ruins in the prologue to the season finale.   During the War of the Shadow, Paaran Disen served as the base of operations for the Light against the Dark One’s forces. Lews Therin Telamon, First Among Equals of the Aes Sedai and effective military commander of the forces of the Light, the man history calls “the Dragon,” seems to have made his stand in Paaran Disen, indicating it was located far from the front lines of the war, at least when it began.   At a key point during the war, the forces of the Shadow reached Paaran Disen and achieved a major victory. However, Lews Therin was able to defeat Elan Morin Tedronai, known as Ishamael, before the gates of Paaran Disen, indicating the Shadow was not able to exploit its victory and hold the city. Be’lal later led an assault that managed to at least partially destroy the Hall of the Servants, although enough of the building survived for it to continue to serve as the Aes Sedai’s headquarters.   Later, during the closing stages of the war, Lews Therin’s strike on Shayol Ghul gave hope that the conflict was about to end. Although the assault successfully patched the Dark One’s prison and cut off the entity from its followers, the Dark One was able to corrupt saidin, placing a rotting taint on the male half of the True Source. Every male channeler in the world started to go insane. Within days or weeks, people were fleeing the city en masse. Several former male Aes Sedai apparently levelled the city with the One Power afterwards in their insanity. Whatever survived was obliterated in the Breaking of the World. By the end of the Third Age, not a single trace of Paaran Disen remains and its relative location in the new world is completely unknown. It might be at the bottom of the ocean or buried under the Spine of the World.   In the TV canon, whilst the War of the Shadow has curiously not been directly mentioned so far, it is unclear how much of this remains true. The city appears more peaceful than you might expect at the end of a ten-year war (and a century-long societal collapse preceding it) which has seen the city attacked several times already, and there are more jo-cars and jumpers and hoverflies in the sky then apparently was the case at the end of the war, when the Shadow overrunning or destroying factories and industrial areas had forced many of the armies of the Light to rely on swords, bows and horses instead.   The name of the city is also interesting. “Paaran Disen” suggest “Paradise,” whilst “Paaran” means to mate or to pair in German, potentially a reference to the gender parity of the Aes Sedai in this Age. “Disen” may be derived from the Dísir of Norse mythology, a vein of myth that Robert Jordan mined for many ideas and names in The Wheel of Time.   In the TV image you can also see a sports stadium, roads and plenty of tall buildings whose shape and size are echoed in the White Tower of Tar Valon, built three to five centuries later with the last vestiges of knowledge from the Age of Legends. The vibe is a sort of timeless Greco-Roman elegance, fusing the old and the futuristic, which certainly seems to fit what Robert Jordan describes in the novels.   More interestingly, if you go back to the end of the prologue to the first episode, we get to see the same city in a state of dilapidated disrepair in the modern age. Most of the buildings map 1:1 on the buildings from the later image, with a few exceptions which were destroyed or have been lost to the overgrowth of trees and vegetation. The buildings’ outer shells have been stripped away or destroyed, leaving behind only the cores.   This is of course a deviation from the book situation, where Paaran Disen was destroyed by crazed male channelers and then whatever was left behind was completely obliterated in the Breaking of the World. It is no longer possible to say where Paaran Disen was in relation to other locations. In the TV show, the ruins of the city are still standing, though it is unclear where (it is from this location that Moiraine and Lan set out to travel to the Two Rivers, but it is not said if that was a lengthy journey across the entire continent or a closer location). This immediately sells the “post-apocalyptic” vibe more obviously than the books do, as the books wait a while before bringing in ruins and artefacts from the Age of Legends, or even our Age which precedes it.   The production team have indicated we will see more of the Age of Legends later in the series, and it’ll be interesting to see how they continue to realise it on-screen.   As usual, please continue to follow developments on our casting and news pages, and the forum, and stay tuned for more info as we get it.

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