“The first seven seasons, there’s an impressionistic aspect to the title sequence that I really like in an 8-bit way, in the same way that you would like Minecraft. “You can go so much further and deeper with the tool set now than you could back when we did Season 1,” said Wall. But with eight years of advancements in visual effects since GoT’s premiere in 2011, the team could make that map considerably more elaborate and detailed. The Elastic team knew they wanted to maintain the fundamental visual language they developed for the credits in Season 1, and keep the map of Westeros looking like a model someone from within the world of the show could conceivably build themselves. “It was really kind of cathartic for everybody.” “In a way, we would have been really sad not to have had a second shot at doing all the stuff that we really wanted to do with the titles,” Wall added. “‘All the things that you wanted to do, let’s do it.’ For us, seven years of ideas just started pouring out.” “They said, ‘Let’s blow it out,’” Shintani said.
Weiss, along with producer Greg Spence, met with the team to discuss the plan for the Season 8. So in June 2017, after Elastic had delivered the credits for Season 7, GoT executive producers David Benioff and D.B. That kept the team at Elastic busy building new models each season, but there was always the lingering thought that they could do even more. The credits changed from episode to episode, as characters relocated to new areas in Westeros and Essos like the Eyrie or Meereen. Once the producers realized returning to a map several times within an episode slowed the pace of the show, the map was moved to the main credits, and Elastic brought it to three-dimensional life, creating computer-generated clockwork models of each location as if they’d been built by, say, an eccentric maester with a lot of time on his hands in Oldtown. In the early conceptions of the show’s pilot, the map was meant to be even simpler, as two-dimensional interstitials between the different far-flung scenes within each episode, to help the viewer make sense of where they were within Martin’s fantasy world. “We wanted a second bite at the apple, as it were, to really do all the stuff that we had initially talked about.”
“Our initial pitch had all these little bells and whistles that were just too ambitious for the first pass,” creative director Angus Wall told BuzzFeed News.
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