Editing A Song of Ice and Fire (section)

==Themes==
{{Main|Themes in A Song of Ice and Fire}}
<!--DEAR EDITOR: This section is to summarize [[Themes in A Song of Ice and Fire]] per [[Wikipedia:Summary style]]. Nothing new should be added here unless it is also covered in the Themes main article WITH A RELIABLE SOURCE.-->
[[File:Face in the Pool-Knight Fighting Dragon.jpg|thumb|Although involving dragons and sorcery, ''A Song of Ice and Fire'' series de-emphasizes magic as compared to many other epic fantasy works (emblem of [[J. Allen St. John]]'s 1905 fantasy work ''The Face in the Pool'').]]
Modern fantasy may often embrace strangeness, but ''A Song of Ice and Fire'' series is generally praised for what is perceived as a sort of medieval realism.<ref name=nytimes_rise_fantasy/> Believing that magic should be used moderately in the epic fantasy genre,<ref name=nytimes_twisted/> Martin set out to make the story feel more like historical fiction than contemporary fantasy, with less emphasis on magic and sorcery and more on battles, political intrigue, and the characters.<ref name=grrm_iv_januarymagazine/> Though the amount of magic has gradually increased throughout the story, the series is still to end with less overt magic than most contemporary fantasies.<ref name=scifi_magical_tale/> In Martin's eyes, literary effective magic needs to represent strange and dangerous forces beyond human comprehension,<ref name=nymag_butterfly/> not advanced alien technologies or formulaic spells.<ref name=amazon_storm/> As such, the characters understand only the natural aspects of their world, but not the magical elements like the Others.<ref name=nytimes_rise_fantasy/>

Since Martin drew on historical sources to build the world of ''A Song of Ice and Fire'',<ref name=deepmagic41/> Damien G. Walter of ''[[The Guardian]]'' saw a strong resemblance between Westeros and England in the period of the [[Wars of the Roses]].<ref name=guardian_reality/> ''The Atlantic''{{'s}} [[Adam Serwer]] regarded ''A Song of Ice and Fire'' as "more a story of politics than one of heroism, a story about humanity wrestling with its baser obsessions than fulfilling its glorious potential", where the emergent power struggle stems from the feudal system's repression and not from the fight between good and evil.<ref name=atlantic_reality/> Martin not only wanted to reflect the frictions of the medieval class structures in the novels, but also explore the consequences of the leaders' decisions, as general goodness does not automatically make competent leaders and vice versa.<ref name=time_grrm_ivp2/>

A common theme in the fantasy genre is the battle between [[good and evil]],<ref name=time_grrm_ivp2/> which Martin rejects for not mirroring the real world.<ref name=grrm_iv_infinityplus/> Attracted to gray characters,<ref name=usatoday_released/> Martin instead endorses [[William Faulkner]]'s view that only the human heart in conflict with itself was worth writing about.<ref name=time_grrm_ivp2/> Martin explores the questions of redemption and character change in the ''A Song of Ice and Fire'' series.<ref name=guardian_tt/> The multiple viewpoint structure allows characters to be explored from many sides, such that the supposed villains can provide their viewpoint.<ref name=cnn/><ref name=gamepro/>

Although fantasy comes from an imaginative realm, Martin sees an honest necessity to reflect the real world where people, even beloved people, sometimes die ugly deaths.<ref name=scifi_magical_tale/> Main characters are killed off so that the reader will not expect the supposed hero to survive, and instead will feel the same tension and fear that the characters might.<ref name=ew_by_george/> The novels also reflect the substantial death rates in war.<ref name=grrm_iv_sfsite2/> The deaths of supernumerary extras, or of [[orc]]s or their equivalents, have no major effect on readers, whereas a friend's death has much more emotional impact.<ref name=io9_gods/> Martin prefers a hero's sacrifice to say something profound about human nature.<ref name=grmm_iv_ew/>

According to Martin, the fantasy genre rarely focuses on sex and sexuality,<ref name=scifi_magical_tale/> instead often treating sexuality in a juvenile way or neglecting it completely.<ref name=deepmagic41/> Martin, however, considers sexuality an important driving force in human life that should not be excluded from the narrative.<ref name=guardian_tt/> Providing sensory detail for an immersive experience is more important than plot advancement for Martin,<ref name=atlantic_sex_fantasy/> who aims to let the readers experience the novels' sex scenes, "whether it's a great transcendent, exciting, mind blowing sex, or whether it's disturbing, twisted, dark sex, or disappointing perfunctory sex."<ref name=guardian_tt/> Martin was fascinated by medieval contrasts where knights venerated their ladies with poems and wore their favors in tournaments while their armies mindlessly raped women in wartime.<ref name=scifi_magical_tale/> The non-existent concept of adolescence in the Middle Ages served as a model for Daenerys' sexual activity at the age of 13 in the books.<ref name=time_grrm_ivp1/> The novels also allude to the incestuous practices in the [[Ptolemaic dynasty]] of [[Ancient Egypt]] to keep their bloodlines pure.<ref name=nytimes_oedipus/>

Martin provides a variety of female characters to explore the place of women in a patriarchal society.<ref name=io9_gods/> Writing all characters as human beings with the same basic needs, dreams, and influences,<ref name=indigo_iv2/> his female characters are to cover the same wide spectrum of human traits as the males.<ref name=io9_gods/><ref name=indigo_iv2/>