Spinning a show out of a global phenomenon like “Game of Thrones” is trickier than it looks, and for proof you can look at all of the development concepts that HBO has abandoned along the way to finding the right successor series. The first spinoff, “House of the Dragon,” succeeded by drilling down into the bloody legacy of a single family, and by bringing all-out dragon warfare to the universe for the first time. It works because the focus is similar, but the scale and the stakes have shifted dramatically to something intimate that still feels epic.

Now, things are changing again with “A Knight of the Seven Kingdoms,” a series based around George R. R. Martin’s “Tales of Dunk and Egg” stories. Set nearly a century before “Game of Thrones” and roughly a century after “House of the Dragon,” it’s a series that emerges with all the trappings of Westeros that we’ve come to expect from this franchise, but with a new focus. This is not, as the other two series are, a show about kings and would-be kings locked in an endless struggle for a throne. This is not about living legends. Instead, it’s a story about the people in between those legends, the people who have to try every day to make something of their relatively workaday lives. It’s a delightful twist on the formula, packed with humor and heart, and a refreshing new look at a world we thought we knew.

The knight of the title is Ser Duncan “Dunk” the Tall (Peter Claffey), a lowborn young man who, truthfully, isn’t even really a knight when we meet him. Dunk spends years as a squire to another knight, wandering Westeros and getting into battles and scrapes, and when that knight finally dies, he decides to make something of himself on his own terms. With his old master’s arms and armor, he heads for a nearby tournament, where he intends to enter the competition and make his reputation by winning the entire thing.

But it doesn’t take long for Dunk to realize he’s in way over his head, particularly when he unexpectedly rubs shoulders with nobles like the witty, charming Lyonel Baratheon (Daniel Ings) and the noble, wise Baelor Targaryen (Bertie Carvel), heir presumptive to the Iron Throne. Everyone from highborn knights to princes mock Dunk as a “hedge knight,” a warrior with so little resources that he sleeps in bushes rather than castles or even taverns. With no money, no prospects, and a simple lack of knowledge of how to play the game for a crowd, Dunk seems a bit lost … until he meets a strange little boy named Egg (Dexter Sol Ansell), who works in a stable up until he decides to follow Dunk on his adventures. Together they’re a knight who’s not really a knight and a squire who’s not really a squire, but against all odds, they seem destined for some kind of greatness … or, at least, a story worth telling.

The immediate attraction with “A Knight of the Seven Kingdoms” is something akin to what draws us to stories like “Lone Wolf and Cub” and “The Mandalorian.” Two mismatched heroes who seem at odds with each other at first come together and try to make their way in the world. There’s an instant draw to that kind of odd couple storytelling, and thanks to wonderful performances from both Peter Claffey and Dexter Sol Ansell, you won’t get tired of spending your days with Dunk and Egg as they navigate the thrills and setbacks of the tournament.

The more you watch, though, the more something even better emerges in “A Knight of the Seven Kingdoms.” “Game of Thrones” built its reputation on stories of scheming, violence, and absolutely ruthless character death. It’s a show defined by its uncompromising approach to the brutality of this epic fantasy world, and “House of the Dragon” very much followed in those footsteps. Here, though, the brutality takes a step back. It’s not that it’s gone, and in fact there are moments of absolute emotional devastation in this series, but “A Knight of the Seven Kingdoms” is far and away the lightest, most nimble “GoT” show to come along so far. The humor, encouraged by George R. R. Martin and co-creator Ira Parker, is present in nearly every scene, as hapless knights and drunken lords do their best to present some kind of honorable front even as they falter and mock the very establishments that give them their power. The show is packed with humorous asides, background jokes, and characters who simply couldn’t care less about honor or glory because their lives, as working class people or poor nobility, simply don’t reflect those things. It’s the most grounded of these shows so far, and it’s a joy to watch for that reason.

Emotionally, this grounded sensibility adds greater weight to Dunk and Egg’s journey, and it’s easy to see why Martin was so interested in pursuing their tale with his fiction. These are not people whose destinies are already mapped out, and therefore they get to dictate the stakes of their lives. Dunk’s quest to be a knight isn’t part of some grander plan; he wants to be a knight because it’s what he knows, and he thinks he’d be good at it, and he wants a better life. It’s a deeply relatable premise, and this show’s ability to shine the light on the hustlers and strivers of Westeros outside of throne rooms and Small Council chambers is its secret weapon. “Game of Thrones” is revitalized by “A Knight of the Seven Kingdoms,” a charming, intimate, delightful series that’ll change the way you look at Westeros forever.

“A Knight of the Seven Kingdoms” premieres January 18 on HBO.