A Song of Ice and Fire

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This article contains spoilers! You have been warned.

Warning: This article contains so many spoilers we're ruining books that haven't even been released yet.

"If you think this story has a happy ending, you haven't been paying attention."

– Ramsay Bolton, nailing the grimdark theme of this series

"It matters not from whence the blood flows. Only that it flows."

– George RR Martin, Exalted Champion of Khorne when explaining why so many characters get offed

"Sunset found her squatting in the grass, groaning. Every stool was looser than the one before, and smelled fouler. By the time the moon came up, she was shitting brown water. The more she drank the more she shat, but the more she shat, the thirstier she grew, and her thirst sent her crawling to the stream to suck up more water."

– A day in the life of Daenerys Targaryen, A Dance with Dragons


A Song of Ice and Fire, better known as Game of Thrones (though only the first book has that title) is a Grimdark fantasy book series for people who hate fantasy, or at the very least, have gotten their fill of Tolkien pretenders and want something more "distinct". Its central themes include political Machiavellian scheming, ultraviolence, incest/sex with exposition/tons of rape, and everyone trying to survive in such a Crapsack World of perpetual suffering. There is also lots and lots of food. Thus it has become one of the most popular series of our generation and its author, George R. R. Martin, has been praised for his highly realized world and gritty low fantasy style. He was even called "the American Tolkien" by Time magazine gormless idiots who lump diametrically different writers together for no other reason than that they're both fantasy authors. The two authors do both have a passion (and talent) for worldbuilding and writing doorstoppers, but that's also where the similarities generally end. Still, the comparisons to Tolkien would probably explain this series' sudden spike in popularity following the TV show (at least to a point, anyway.) The great joke of an actual World War veteran writing fantasy about heroic knights and elves being compared to and contrasted with a conscientious objector who writes edgy fantasy is not lost on most (though it's worth mentioning that Martin is as much of a Tolkien buff as any of us, meaning that he didn't write the series as a "fuck you" to Tolkien's work as some might assume).

The series itself is set on the totally not medieval European ripoff realm of Westeros as it is wracked by a massive succession war drawing its realms into conflict. Everyone's picking up the pieces from the previous war until one family's bid for power starts another war (book one), A bunch of dudes declare themselves kings (book two), they're burning the continent down in their scramble for power, and somehow all the fuck-ups managed to lose anyway (book three). Just when the guys who lost the least start thinking they get to rule over the remaining chaos, more fuck ups happen and more dudes show up (book four). Sadly, winter has finally come and, unbeknownst to most people, evil ice wizards leading soulless undead assumed to be only myths by most people are about to invade the continent from the north. By the fifth book, things are going and/or will go to shit even for the bad guys.

According to a leaked fan conversation, George R. R. Martin jokingly stated the series would end with an epic cock-slap fight between Samwell Tarly and Jaime Lannister.

TL;DR: War of Roses with a helpin' of cliched fantasy George's old sci-fi writing plots given a fantasy overhaul and /d/-lite.

The miniature game has its own page now

Setting and History[edit | edit source]

Most of the series takes place on an South America-sized continent named Westeros, which stretches from pretty much the North Pole to the deserts of Dorne. It is populated by three main ethnic groups: First Men (the Northmen and wildlings aka not!Celts), Andals (pretty much everyone else aka not!Anglo-Saxons) and Rhoynar (Dornishmen). All of them came from Essos in waves: the First Men displacing the druids and giants, then came the Andals who pushed the First Men further north and assimilated the survivors, and finally by the Rhoynar, a matriarchal-ish society that fled the destruction of their homeland and finally found a home in Dorne. Ironborn (not!Vikings from the western islands) are also of note, since despite their First Men ancestry, they developed an entirely different religion and culture based off raiding due to the barren sea-rocks they inhabit (and possibly also influenced by weird creepy things living in the water that lived on the islands before they did)

For some thousands of years Westeros was an utter mess of seven-ish kingdoms vying for supremacy. But while they were busy banging rocks together, the eastern continent, Essos, was united by the elves magical dragon-riders powered by incest. The Valyrians expanded all over Essos, but their only presence in Westeros was a small island outpost (later named Dragonstone). At one point, however, the daughter of a minor noble family, Daenys Targaryen, had prophetic dreams about the death of her country, which caused her father to flee alongside his family and most valuable possessions (five dragons and some magic shit). His rivals in power laughed at him, but he turned to be right as a gigantic volcanic eruption obliterated Valyria and started the age of anarchy in Essos.

The Targaryens did fuck all for a little over a century, until the ambitious lord Aegon grew tired of sister-fucking and decided to forge his own kingdom in Westeros. Even though his army was tiny and he was facing off against the full might of an entire continent, he also had dragons, which in ASOIAF can grow to comically large proportions, and allowed him to wipe the floor with anyone dumb enough to stand against him. Just to make a point, he burnt down *the* largest fortress in Westeros in a single night, melting down stone walls with dragonfire and leaving it cursed for centuries. Though, because the Targs were so reliant on dragons, the only kingdom they couldn't conquer was Dorne, who eventually mujahideen'd their way to a truce after killing one of the sister-wives' dragons with a ballista and (probably) threatening Aegon with the knowledge that they were willing to spend their entire kingdom's wealth to hire magical assassins to end the Targaryen line.

The Targaryens ruled for 280 years, but their rule was also marked by lots of shitty kings (because of the rampant incest), but also by rebelling bastards (who were the result of non-incest). Somewhere along the way, magic began to leave the world. Spells were no longer as effective and the price for such magic became steeper and steeper (which is why most magic in the "present" of the series requires blood or sacrifice of some sort). This was most evident with the dynasty's dragons, who became successively smaller and smaller over the years; it also probably didn't help that they raised them in a coliseum-style Vault and also only had 5 dragons to start with. The dynasty's fate was sealed in the "Dance of Dragons", a long and ugly succession conflict between two Targaryen factions and the last real war to include dragons and dragonriders.

Their ultimate downfall came just before the beginning of the series proper, when Prince Rhaegar (supposedly) kidnapped Lyanna Stark, who was betrothed to Lord Robert Baratheon, and the Mad King Aerys killed her father and brother, who just wanted her back. This series of astoundingly stupid decisions triggered a rebellion that they lost and once again set the stage for a Seven Kingdoms free-for-all.

Characters[edit | edit source]

This page is in need of cleanup. Srsly. It's a fucking mess.

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Since these books have some thousand named characters, you won't remember most of them without an obsession for details and/or one of the cheat-sheets Martin puts in the backs of his books. Here's a relatively short list (mostly based on the TV series rather than the books, but seems to randomly switch between the two) for the characters you'll care about. We'll also be making an effort to mostly focus on characters from the main series, rather than historical figures like Maegor Targaryen, the Blacks and Greens from the Dance of the Dragons, and so on. Trust us, given the number of characters we already have to cover, it's for the best. The houses listed here don't even come close to covering them all, either; these are just the major power players in Westeros and Essos.

House Stark[edit | edit source]

"Winter Is Coming"

House Targaryen[edit | edit source]

"Fire and Blood"

House Lannister[edit | edit source]

"Hear Me Roar"

House Baratheon[edit | edit source]

"Ours is the Fury"

House Tully[edit | edit source]

"Family, Duty, Honor"

House Arryn[edit | edit source]

"As High as Honor"

House Greyjoy[edit | edit source]

"We Do Not Sow"

House Tyrell[edit | edit source]

"Growing Strong"

House Martell[edit | edit source]

"Unbowed, Unbent, Unbroken"

House Bolton[edit | edit source]

"Our Blades Are Sharp"

House Frey[edit | edit source]

"We Stand Together"

Minor Houses and non-Houses[edit | edit source]

Night's Watch

Wildlings

Commoners, Knights, and Petty Lords

The Free Cities

The Dothraki

Slavers Bay

Maesters

Magic and Gods[edit | edit source]

The world of ASOIAF has various religions and faiths abound, just like in real life. Similarly, they range between fucking awesome to utterly useless. Dissimilarly, some of them have very tangible, undeniable magic powers, although it is said that the magic became stronger after the rebirth of Dragons into the world, and that in the Far East, where people worship Lovecraft references, that magic is still alive and well, but those are all just rumors.

Blood magic seems to be the most consistent, with practitioners paying steep prices for magic, while the druidic magic of the Children of the Forest and the Old Gods still hold strong to this day, they just don't have any practitioners left.

Magic and the Afterlife is a theme in the setting as well, most expounded by the faithful of R'hllor: fire is associated with the warmth of life, as well as light; on the other hand, death is associated with cold and darkness; death carries a harsh finality in the series, except when it doesn't: as they've shown in special cases with those resurrected by R'hllor, rebirth comes with a price, and not everyone comes back fully there.

  • The Faith of the Seven: The Catholic Church/Church of England stand-in mixed with elements of Hinduism, which gets both sympathetic and unsympathetic characters associated with it (though mostly only in the books for the former). Holds an anti-slavery stance. The god/s are considered seven aspects of one deity with three male aspects (The Smith, the Father, the Warrior), three female aspects (The Maiden, the Mother, the Crone) and a sexless one representing Death, a bit akin to how the Hindu God Vishnu has multiple aspects. The places of worship are called Septs, and their system includes Septons, nun-equivalents called Septas and a Pope equivalent called a High Septon. The High Septons all give up their names when they become one to confuse future historians (and readers).
    • High Septon 1 Fatfuck: A fat, greedy man who used the position for personal gain. He ended up being torn apart in a riot, because the people resented that he had enough food to stay fat while they were starving.
    • High Septon 2 Lannister Puppet: Successor of High Septon Fatfuck. Chosen by Tyrion so the Faith would be loyal to the Lannisters. Only slightly corrupt, being a pro-Lannister yes-man. Murdered on Cersei's order in the book, while in the show he's retconned into a whoremonger who gets deposed by the Sparrows (see below).
    • High Septon 3/The High Sparrow: Successor of High Septon Lannister Puppet. After the second High Septon shown in the present day of the story died, the smallfolk burst into the meeting to pick a successor and ordered their chosen candidate to be put in charge when his original successor was caught whoremongering. He'd been a wandering preacher beforehand, and his feet were dark and gnarled from lots of walking. When he reaches the position he starts getting things done. Since he was appointed by a smallfolk religious movement called the Sparrows, he's given the moniker "The High Sparrow". The nobility underestimates him, either due to having other matters or disregard for religious people, but he turns out to be smart, well-meaning and somewhat ruthless. Under the High Sparrow, he and the other clergymen sell their fancy clothes and decorations replacing them with simple wool tunics, using the money to buy food and clothes for the poor in King's Landing. He also has their Knights-Templar-equivalent reformed to protect the faithful and help them root out heresy and sin. He also outwits Cersei and has her arrested and tried for all her evil deeds. While Cersei's scheming does lead to Margaery's arrest, Cersei confesses to some crimes while concealing others, leading to Cersei taking a nude walk of penance in front of the entire city. After this, he somewhat reined in the nobles' politicking to actually look after the commoners and the Faith, though this does make some enemies. In the show, while he still talks of helping the Smallfolk, he and the Sparrows are flanderized from assorted smallfolk and clergymen tired of the nobles' lawlessness and power plays into one-dimensional stereotypes and thinly-veiled jabs at the Catholic Church in a shoe-horned anti-religion message. While they do arrest Cersei and Margaery like in the books, the High Sparrow's plans all come to nothing, as during the trial most of the Faith, including the High Sparrow himself, get blown to kingdom come when Cersei has her agents ignite a massive amount of magical napalm underneath the Great Sept. In the books they're much more like Martin Luther and the Lutherans, except that the Protestant Reformation wins outright.
  • Old Gods: Native American/Japanese Kame/Druid/nature spirits that reside in places called Godswoods. The original practitioners of this faith were the Children of the Forest, non-elf looking Wood Elves, whose magics were responsible for smashing an entire Southern Warhost with tsunamis (leaving only a narrow isthmus between the North and everyone else), the Wall (it was a collaborative effort with humans), and allowing people to look into the past, and (confirmed in the show at least) influence it.
    • Their powers are limited to the North, though, where the last remaining Godswoods remain, but they can grant gifted individuals awesome psychic powers like Warging (mind-controlling animals) and Greensight (Time Travel). For some reason, Martin claims they're based off the Norse Gods. Probably has to do with the way the Vikings made sacrifices to their gods, by hanging them in Ash trees, a symbol for the World Tree Yggdrasil. The Weirwood trees are sacred to the followers of the Old Gods in a similar way. Mostly worship of them is quiet and informal.
  • R'hllor: The God of Fire and Light, and like the Old Gods, actually shows evidence for existing. He gets shit done, being one of the most common faiths East of Westeros, and his priests have powers such as fire magic and motherfucking Resurrection. Has a nasty habit for burning heretics, though. GRRM said this faith is roughly based (read: poorly modelled after) upon Zoroastrianism and Gnosticism. His nemesis is The Great Other: the god of cold and darkness, the leader of the Others, and prophesied to be defeated by the chosen one, or messianic figure: Azor Ahai/The Prince That Was Promised, a figure who is the prophesied warrior that will fight with the Great Other/Night's King during the Apocalypse. Interestingly enough, the prophecy may not refer to a single person, but three (Jon, Tyrion/Bran, and Daenerys). Supposedly, one of these three will also receive an awesome flaming sword called "Lightbringer".
    • R'hllor is very popular among the slaves and poor of the East, though Eastern nobles hate him because of that association. It's actually hard-to-tell how many "miracles" ascribed to him are actually real miracles. Stannis, absolute chad though he is, has a sword called "Lightbringer" meant to evoke the mythical one, but Aemon has noticed that it doesn't give off any heat.
    • For obvious reasons, they are very excited that there are dragons again.
  • Him of Many Faces: The god of the Dead of the religion whose followers are the Faceless Men. According to his cult of assassins, whom Arya joins, all gods of death are just him: since every religion has a god of death of some sort, he must be the only one that's real. Of course, your mileage may vary as to whether he's real or not, though his most awesome followers are granted shapeshifting abilities and powers to be the ultimate assassins.
  • Drowned God: Cthulhu combined with Odin. Runs an underwater Valhalla were all Ironborn go whey they either if they drowned at sea, the men die a manly death or the women die in childbirth. Probably doesn't exist or he would have done something about Euron Greyjoy... at least in the books. There, Euron is proudly scornful of him, and his brother Aeron fruitlessly and endlessly mutters "no godless man can sit the Seastone Chair". In the show, Euron is perfectly happy to go through the traditional Drownie coronation ritual and Aeron performs it.
  • The Night's King: This is completely different depending on whether you prefer the books or show. Book version: A long time ago, when the Night's Watch was just barely getting set up, its Lord Commander, the thirteenth in line, decided to climb over the Wall and explore some. While in the woods to the north of the Wall, he found a beautiful Other female. He fell in love with her, had sex with her on top of the Wall, which somehow changed him into an albino version of Darth Maul, and set himself up as King of the Wall, making everyone in the Watch his slaves and sacrificial fodder. Naturally, this didn't sit too well with the Starks and the Wildlings, and so they banded together to free the Watch and kick his ass, which they managed to do successfully. Now everyone thinks him as dead or a myth. Show version: he was the very first White Walker ever created by the Children, and he decided to get back at them by wiping out all life. Also, whilst he was apparently beaten in the ancient past and sealed away behind the Wall, he's still "alive" and well, turning infant human boys into new White Walkers. Also, he can apparently raise up entire legions of undead, just by raising his arms and looking completely smug about it; unlike regular Others, who can just raise up maybe a village at most. Given that he's the resident Dark Lord of the series, it makes sense that he can take down a dragon with seemingly little effort (a simple throw of his spear), and resurrect it to be his personal steed a la Arthas. (Whether that particular nonsense is going to show up in the books is up in the air, it's suitably grimdark and not particularly derp so it might.) Then he used the dragon to blow a hole in the Wall and begin The End Times for Westeros. But dead, thanks to Arya's magic ninja haxx which let her kill the BBEG and his entire race and army of zombies in one blow.
    • The Others/The White Walkers: A mysterious race from beyond the Wall, known to HBO fans as "the White Walkers". Can be described as ice demons/snow elves with necromancy. Eight thousand years ago, they invaded Westeros during a decades-long winter (even longer than the usual years-long winters) known as "the Long Night". With an army of undead warriors, they proceeded to fuck Westeros up every which way to Sunday before the locals finally drove them out, established the Night's Watch, and built the Wall to keep them out. Like all fantasy aspects of ASOIAF, they are very cliched.
    • In the TV series, it's revealed that they were created from human captives by "The Children", the pseudo-Elf fair folk race that lived in Westeros before humanity arrived, as an attempt to create a super-weapon. The idea was since humanity bred faster than the Children could keep up with, they would create icy lich-creatures that could create undead soldiers, and these would then wipe out all human life. Instead, it went disastrously wrong because it turned out that the Children actually couldn't control what they'd created, so the Others just want to exterminate all life. In both versions the Night's King is in control.
  • Other Eastern Magic/Religions - The further and further east you go, the more GRRM scatters Lovecraft references to give the world flavour, like the Shadowlands and its cities of oily, black stone, Leng, and fish people. They're just references, though, and will likely never be important.

Locations[edit | edit source]

Westeros: The continent where about 80% of the plot takes place. Scotland in the North, Siberia/Northern Scandinavia beyond the wall, Moorish Spain in the South, with the rest being England as far as climate is concerned, only much, much larger.

  • The North: By far the largest of the Seven Kingdoms in size, and the smallest in population. A rocky, cold and dangerous landscape where life barely tolerable (although it's still preferrable to the eldritch lands beyond the wall), sometimes it even snows in summer, giving you a general idea why it's quite a shitty place to be in when compared with the more southern kingdoms. It is inhabited by the Northmen, culturally a mixture of northern English and Scots. Most of them still revere the Old Gods and practice traditions of the First Men that feel very alien to the Andal-descended peoples living in the south. It's also damn near unconquerable by conventional means due to the narrow isthmus between it and the south being a noxious swamp. Its ruling house at the beginning of the story is House Stark, but House Bolton takes over after the Red Wedding. Its capital is Winterfell.
  • Iron Islands: Large, rocky archipelago off the western coast of the North and the Riverlands. Their bleak and inhospitable landscape is the major reason why the ironborn culture is so centered around pillaging and raiding; you can't grow crops on rock. The islands are the other holdout of the First Men culture in Westeros, with a unique blend of Andal political influence, First Men cultural norms, and a lack of influence from the Children of the Forest, since Weirwoods don't grow on the islands and only First Men humans ever lived here during those times. Does have a decently sized economy based around metal working, but nowhere near enough to support its populace. Their capital is Pyke, and the Greyjoys are the ruling house.
  • Riverlands: As the name says, the Riverlands are marked by several large rivers flowing through it and the large fertile valleys surrounding them. The historical whipping boy of the continent after the Andal Invasion took over the old First Men realms (minus the North and the Iron Islands), constantly fought over by the Westerlands, the Stormlands, the Reach, the Iron Islands and the Vale, to the point that it was under Iron Islands rule when Aegon Targaryen unified the continent minus Dorne. Gets buttfucked the hardest during the War of the Five Kings by a metric ton; first by the Mountain carrying out a campaign of terror against the civilian populace on Tywin's orders and second by most of the major fights between the Lannisters and the Starks taking place there. Honestly, after all the fighting, raping and pillaging happening in the Riverlands, one must wonder how many people are actually still left in them. Their ruling house is House Tully, though Petyr Baelish is granted the lordship after the Red Wedding; its capital is Riverrun (later Harrenhal).
  • Vale of Arryn: Mountainous region east of the Riverlands. Home to (supposedly) the finest knights in Westeros, due to them having to crush rebellion after rebellion of the native Irish mountain tribes (think Forsworn from Skyrim, only a lot more foul-mouthed) and having an abundance of tiny territories to give out. The population is more densely concentrated than in other regions of Westeros, since there aren't many large cities or townships and traveling between them or living outside their walls is dangerous. Its ruling house is House Arryn, though with Jon and Lysa Arryn dead it is de facto under Littlefinger's control. Its capital is the Eyrie, the hardest castle to take in Westeros as it is built on a mountaintop. Gulltown is the main economic hub.
  • Westerlands: The second-smallest kingdom in size but by far the richest due to its abundance of gold and silver mines. Has a proud tradition of fucking everyone over by means of money, politics, or both. Also has substantial importance as a major trading and naval hub in the city of Lannisport, which is the largest port on the western side of the continent. Its ruling house is House Lannister, and its capital is Casterly Rock. Casterly Rock was the capital of the old kings, House Casterly, who was outsmarted by Lann the Clever, who married the last surviving daughter and founded House Lannister.
  • Crownlands: The lands directly controlled by the Iron Throne, surrounding a big bay, with a rather pleasant, mild climate. Centered around the capital city of King's Landing, which gets an entry of its own. Its ruling house is always the house of the current kings. Formerly divided between the Riverlands and the Stormlands.
    • King's Landing: The capital of the seven kingdoms and by far its largest city. It houses every important institution on the continent, most importantly the Red Keep, where the King of the Seven Kingdoms resides, and the Great Sept of Baelor, the religious center of the Faith of the Seven. Aside from the Red Keep and the Great Sept, the city's a filthy, downtrodden shithole that is rife with poverty and criminals whereever you may set foot; the City Guard is openly corrupt and acts more like a government-approved gang of thugs. It seems to be something of an unofficial sport among all characters in the books to never say anything good about the city. Architecturally described like Medieval London, at the size of 1600s Paris.
    • Dragonstone: An old Valyrian outpost located on a small, rocky island some miles off the coast of King's Landing. Used to be the actual seat of House Targaryen, even though they had resided in King's Landing ever since Aegon conquered the Seven Kingdoms. Castle Dragonstone was clearly of Valyrian design, as its architecture and design felt foreign and ancient to the Westerosi who resided here. Also notable for sitting on a huge deposit of obsidian. After the Targaryens were driven from Westeros, Robert gave Dragonstone to Stannis, who never made peace with the fact that Robert effectively robbed him of his rightful title as heir to Storm's End.
  • The Reach: The second-largest of the Seven Kingdoms, and the most populous. Its wide plains, dominated by fields and orchards, serve as the breadbasket of the Seven Kingdoms. Also home to the oldest city in Westeros, Oldtown, which in turn is home to the Citadel of the Maesters. Its ruling house is Tyrell, its capital Highgarden. House Tyrell is matrilineally descended from Garth Greenhand like many other houses. The old ruling family, House Gardener, Garth's direct descendants, was wiped out when Aegon unleashed his dragons. After this, the current lord of House Tyrell (at this point permanent stewards to House Gardener), was placed in control as he was married to the last Gardener female.
    • Oldtown: An ancient city built by the First Men before being replaced by the Andals. Seat of House Hightower, who rules from (where else) the Hightower, an enigmatic ligthouse built upon an ancient fortress made of black stone. Both structures are mysterious: the foundation is a labyrinthine structure made of black stone similar to those used in Valyria, but also to the even more ancient Mazemaker culture; the lighthouse was built by the First Men and was said to have been raised by Bran the Builder (who is also credited with the Wall and Storm's End, though pretty much all of his descendants were named Bran (and if the show is to be believed, they were all the same Bran)
    • The Citadel: The Citadel is the seat of the Order of Maesters. As the seat of the maesters, it fulfills multiple roles in the society of the Seven Kingdoms. It is their central archive and library, where most, if not nearly all knowledge in the world is collected and stored; a university where new maesters are trained; and a large hospital, although its relatively remote location means that only the truly desperate actually travel there for healing.
  • Stormlands: The lands of House Baratheon, a mix of forested mountains and steep, stony shores, so named for the very frequent storms that batter its coast. The weather here is so bad that their capital is known as Storm's End because all previous castles were destroyed by the weather, so this one had to be built by a competent Northman architect with magic. In spite of the dangerously bad weather, the area can be quite beautiful when it's not being battered by the elements. The Baratheons are descended from a loyal general who served the original Aegon, who was also rumored to be his half-brother. After Robert ascended the throne, control of the Stormlands was left to his youngest brother, Renly, while his middle brother Stannis was assigned to guard Robert's back on the much smaller and less prestigious island of Dragonstone.
  • Dorne: The southernmost region of Westeros and the hottest (in more ways than just temperature), consists of rocky deserts in its center and lush, tropical areas on its coasts. The Dornish people differ a lot from other Westerosi in ethnicity and culture since they are descended from Rhoynar migrants who interbred with the relatively isolated local Westerosi. Dorne was also the only kingdom to successfully resist conquest by the Targaryens and was only brought into the fold through a political marriage. Because of this, their rulers retain the title of prince (the Rhoynar and the local Westerosi don't use king or queen, they use prince or princess), not afforded to anyone else not of the Royal Family. The region is famous for producing wine, spicy food, and spicier women. Its ruling house is Martell, its capital Sunspear.
  • The Wall: An ice wall of gargantuan proportions erected by the First Men to protect themselves against the Others/White Walkers long ago that marks the nothern border of Westeros proper and runs across it from west to east for three hundred miles. In the times when the Night's Watch was at full strength, it was an impenetrable fortification against anything that might dare to cross it, not just because of its sheer dimensions, but also the implication that the wall itself is reinforced by eldritch magic keeping the horrors beyond the wall at bay. Nowadays only three of its nineteen keeps are permanently manned, leaving wide gaps in the Night's Watch defense against the Wildlings, who sometimes climb over it to raid the South. The Night King blows a hole in the Wall with one of Daenerys' dragons in the final episode of season 7, allowing him and his undead army to pass through.
  • Beyond-the-Wall:
    • Craster's Keep: Not really a "keep" but the home of a man who fucks his own daughters and offers his sons to the Others. He is one of the very few "independent" wildlings and offers use of his home to the Night's Watch when they go off on scouting expeditions. Because it's full of servile (inbred) women, the men of the Night's Watch mutiny and take it over.
    • Thenn: The name of both the land and its people, the Thenn consider themselves to be the true "last of the First Men," because they have laws and lords compared to the free-for-all anarchy of the other Free Folk; they don't speak common, they can actually smith, and they treat the "Magnar," the title of their king, like a god. In the show, they're just shown to be a bunch of scarred barbarians who eat people.
    • Lands of Always Winter: The furthest north people have ever gone and have been able to come back from, the Lands are perpetually frozen, and the Others are said to come from here. Clearly, if you head far enough North, you'll hit a Chaos Rift and end up in the Warp.

The Stepstones: Formerly a solid land bridge between Westeros and Essos, it was brought down by Children of the Forest magic in a failed attempt to stop the First Men invasion. Now an archipelago of islands infested by various ne'er-do-wells.

Essos: A huge landmess (no, not a typo) about southeast of Westeros and home to many independent city-states west of the big mountain range. Generally agreed upon to be largely desolate wilderness sprinkled in with the occasional kingdoms that seem exotic and alien to Westerosi. Most of its western half used to be the center of power of the legendary Valyrian Freehold, with the Free Cities being colonies of them that survived the downfall of the Valyrian Empire hundreds of years ago. The exceptions are Slaver's Bay, conquered by the Valyrians before regaining independence after the Freehold's collapse, Qarth, Ib and some of the others.

  • Old Valyria: The former center of the all-powerful free state that ruled over most of Essos at its peak and posessed magic and technology, as well as dragons to keep control over it. Valyrias strength was legendary, so much so in fact that the downfall of it still influences politics in the world centuries after it occured. No one quite knows why Valyria fell, the only certain thing is that it was plagued by a sudden series of natural disasters that all but destroyed its homelands and left it in ruin. Valyrian culture only survived in bastardized forms in the Free Cities and, prior to their extinction, House Targaryen in Westeros. The ruins of Valyria are said to cursed and avoided by all but the most desperate of travelers. Traveling through Valyria is similar to sailing through the Eye of Terror: not only are you dealing with dangerous seas (boiling seas akin to underwater tectonic activity), but also fucking daemons, and parasitic plagues.
  • Free Cities: There are 9 city-states on the Western Half of Essos. 8 are former Valyrian colonies, with Braavos being the notable exception to most of the things they have in common. What ties them all together is that they're all connected by trade and feudalism isn't such a big thing here, which also makes their culture remarkably different from the Westerosi. Westerosi tend to view them as greedy opportunists while the Free Cities in turn view Westerosi as ignorant morons at best and backwards savages at worst. If you were going to have a setting based on ASOIAF and didn't want to spend the entire time shitting in the dirt or bleeding out in a ditch for some inbred noble, this is where you'd want to be:
    • Braavos: The only one of the nine free cities to not be a Valyrian Colony (excepting the other countries like Qarth and Ib, who don't count among the nine). It was founded by Slaves that escaped their overlord in a marsh on the northernmost tip of Essos. It is mainly known for its massive port and the Iron Bank of Braavos, the biggest bank in the world. It also houses the House of Black and White, the central temple and headquarters of the Faceless Men.
    • Pentos: Another large trading port on the western edge of Essos. It serves as the major trading hub between Westeros and the rest of Essos.
    • Lys: Located on an island off the coast of Essos. Founded as a resort for Freeholders, it has the largest population with the Valyrian phenotype in the known world. A decadent city whose most famous export are prostitutes.
    • Myr: The women here are hot, considering how often Westerosi seem to come back with wives from here. Other than that, its only notable feature is its forever-war with Lys and Tyrosh.
    • Norvos: They make really good bodyguards that are taught to see their axes as their waifus.
    • Qohor: Not much is known about them, except one of the brutal mercenary companies is from here, and they worship the Black Goat.
    • Tyrosh: Greedy slavers. Not really notable, except they're one-third of the constant warfare of the Disputed Lands along with Lys and Myr and for being extremely flamboyant.
    • Volantis: The crown jewel, first colony of the Freehold and considers itself the successor state to the Freehold.
    • Lorath: No, they don't speak for the trees. Lorath is the poorest of the Free Cities, and not much is known about them. Its most notable feature are the underground labyrinths that dot the island and which predate the Valyrians. They also talk in the third person, saying "a man, a woman, a boy, a girl" instead of "Me, I, You, Him, Her" etc. Typical of Martin, the Labyrinths and a similar cult in Essos (the cult of the Pattern) are a reference to someone else's work, but no, he doesn't like fanfiction.
  • Ghiscari Empire and Slavers Bay: To the East of Valyria and the Free Cities, these cities pre-date Valyria. Before they were conquered, they had their own empire and worshiped the Harpy. Nowadays, they trade with the Dothraki, exchanging tribute for slaves, which they then market to the rest of the World. Vaguely the Middle East of ASOIAF. They are: Old Ghis, New Ghis, Astapor, Yunkai, and Meereen. In the books, Dany is stuck here trying to manage the clusterfuck that is deslaverizing these lands. Currently locked in a brutal war where the newly-freed slaves are either fighting the surviving slaver-nobles, other cities, or each other.
  • Qarth: What separates the "East" from the "Far East." It's to the East of Slaver's Bay and West of not!China/Japan, so any traffic between the Free Cities, Slaver's bay, and them, requires them to pass through Qarth. Home to a bunch of fucking weirdo Orientalist tropes that vie for power: The Pureborn, the noble descendants of ancient Qaathi Kings and Queens that fled the sacking of their cities to Qarth, so hold no real power beyond their titles; the Ancient Guild of Spicers (it's in the name); the Thirteen, another group of Merchants; the Tourmaline Brotherhood (more merchants!). Qarth is also the location of the House of the Undying, a group of Warlocks that drink "shade-of-the-evening," which is pretty much Spice from Dune, but made from trees and not wormshit; the House of the Undying and most of its Warlocks were burnt down by Dany's dragons after they tried to steal them; they sent out some guys for revenge, but they ran into Euron where he promptly murdered them all and took their spice nightshade shade-of-the-evening. Functionally Singapore, but with a more Indo-Persian aesthetic.
  • Rhoyne: Destroyed former city of the Rhoynar, who fled the Valyrian Freehold and migrated to Dorne. The former capital is currently infested by Stone-Men, Greyscale survivors who have gone feral.
  • Ib: not!Dwarfs, but described more like Neanderthals than Nordic shorties. They're squat, barrel-chested, with thick wiry black hair, heavy sloping eye brows and square-teeth of neanderthals, They're also incredibly hairy, and even their women have facial hair., Instead of digging holes in mountains, they travel the sees in equally-stocky whaling ships. They tend to keep to themselves, but are natural sailors, suitable for long voyages.
  • The Dothraki Sea: Not a sea, but the name for the not!Eurasian Plains. Before the Freehold collapsed and the Dothraki tribesmen took advantage of the chaos of the Century of Blood to conquer it and burn down all but one of the old Qaathi cities (with only Qarth itself surviving) and most of the old Kingdom of Sarnor along with other minor cities, it was known as the Great Grass Sea.
    • Vaes Dothrak: The capital and only permanent Dothraki settlement. It is forbidden to carry weapons or spill blood here (doesn't mean you can't kill through other means).
  • Golden Empire of Yi Ti: Not!China, with a mysterious history and pattern of legends eerily-similar to Westeros' own. Like China, has a long history of Emperors, each dynasty progressively ruling over smaller, weaker empires. The current dynasty is actually so weak, they're not taken seriously outside their capital.
    • The Five Forts: In the not!Chinese version of the Long Winter/Long Night, the Empire of Yi Ti was cast into a long night that never ended, where the evil Lion of the Night was unleashed by the Bloodstone Emperor. He was beat back by the Lord of Light/Hyrkoon the Hero/but the name that the Yi Ti know him by was never stated. Just like the Wall in Westeros, the Five Forts were said to be erected by a great Emperor soon after to make sure the crisis never happens again. Just like Westeros, the Five Forts have waned in importance, now only protecting the Yi Ti from barbarians. The Five Forts are said to be made from a material of "fused black stone," similar in description to many ancient ruins all over the setting. Harrenhal is also described similarly, but Harrenhal was stone melted by dragonfire, so the idea that the Five Forts was made with the aid of dragons and/or magic has been floated by fans.
  • The Jogos Nhai: not!Mongols, but they ride Zebras and are literally cone-heads.
  • Asshai-by-the-Shadow: Further-Further-East, it may as well be mythic. The city of Asshai is depressingly gloomy, the entire city is composed of dark black towers made of fused, black stone that seems to "drink the light."

The South: Summer Isles: Think Avelorn, but Black. An archipelago to the Far South of Westeros, everything here is pretty idyllic. War is very formalized, prostitution is a religious rite, it's practically paradise. A deposed prince was sent to exile in Westeros and had been trying to get Robert to make the journey south to put him back on the throne, but no one really took him seriously.

Sothoryos: Jungle hell.

  • Yeen: Made of the same creepy black metal in Stygai, implied to be an old Empire of the Dawn Outpost. Even the death world jungle (as in, not just the animals, the actual jungle itself) refuses to go in there for fear of dying.

Ulthos: not!Australia, and has absolutely no lore. Seriously, GRRM has literally never mentioned it except in relation to another place that also has no lore. It's a passing mention that his obsessive fans took note of, and when they literally helped wrote the setting book for him, their guess became canon.

The appeal of A Song of Ice And Fire[edit | edit source]

Exactly what catches the eyes of a given fan/critic/lout who complains about how bad it is anytime the show is mentioned within earshot to ASOIAF and its TV adaptation varies from individual to individual. Still, there's a couple of major draws.

The Worldbuilding: The main reason why this series gets compared to The Lord of the Rings, ASOIAF is literally drowning under the weight of its worldbuilding, being crammed as full of facts about fictitious regions, histories, cultures, dynasties and races as GRRM can fit it. A lot of effort is also expended on the little things, from food to architecture to the limits of scientific knowledge and technology. Your mileage will vary on how good that info is, but there's plenty of info in it. It is worth noting that much of the vagueness of various aspects of the world's lore comes down to the limited perspectives of each of the characters' point of view, so many places and events are often only known partially through superstition, rumors, and often second hand experiences passed down and muddled over time; all of which play quite heavily into the overall story structure of the series.

A vast colorful Cast: A lot of works of fantasy get by with a few archetypal characters (the Young Guy out to Prove themself, the Wise Wizard, the Dark Lord, the Mischievous One, the Grizzled Veteran, the Princess, the Dwarf, etc) and maybe a guy or two which rises above this. A Song of Ice and Fire has dozens of viewpoint characters and a hundreds of secondaries each with different situations, drives, motives and quirks that make them reasonably interesting. Even if you don't like one or some of them, there are plenty of others. When they die, it often hits home. Speaking of which...

Mainstream Dark Fantasy: Dark Fantasy is not exactly a mainstream niche. ASOIAF stands out by deliberately trying to market itself to the mainstream, despite embracing an abundance of dark fantasy tropes; gratuitous violence, sexuality and sexual violence, moral ambiguity, political intrigue, and a willingness to suddenly kill off any character, even the most likeable or heroic of them.

Low Fantasy: On the surface, ASOIAF is an old-school Low Fantasy setting, being a medieval-tech world with the story openly focused on the mundane lives of people struggling for political power and though supernatural elements do exist, they tend to be used sparingly.

High Fantasy: But if you scratch the surface, ASOIAF is also a High Fantasy setting, which is always the more marketable of the two, with the big backstory about how the world is facing impending doom from an army of wintery fey and their undead minions. There are also non-evil higher powers working against them, but they get swept under the rug in the show. Also, dragons. As the more marketable genre, it's also inevitably the more skubby one, for whatever that's worth.

As a minor manifestation of both points, often you'll get two explanations for something in the books: a fantastic one involving curses, sorcery, ancient creatures from ages shrouded in myth, prophecy, etc and a mundane one involving slight-of-hand, embellished stories, economics, mechanical solutions, etc. In A Song of Ice and Fire, both are usually valid, so you are left guessing which is which (with "both" being a probable answer in some cases).

Gratuitous Sexuality: More a thing for the TV show than the books; GRRM's scenes were raepy in the earlier volumes, and apparently our boy must have overheard the nickname "George Rape Rape Martin (I Like Rape)", because he dialed back the forced boning in #4-5. The frequent scenes of nudity and sex in the early seasons of the show were a big selling point for many people (the casting of people from the sex industry for some of these scenes also helped).

Not much in terms of generic fantasy tropes: Hate how almost every fantasy just has to have things popularized by Tolkien such as elves, dwarves, orcs and all that stuff? You're in luck because ASOIAF doesn't have a "five races" system, their accompanying stereotypes or the plot hinging on a magic item. On the other hand, it does have several generic fantasy tropes, such as dragons, Medieval Stasis, undead and at least two contenders for Dark Lord status, so if you hate them too, well...

Lots of Houses and Sigils: OK, so this is sort of a joke...except not completely. For those who are artistically minded and love coming up with their own OC groups and/or fleshing out minor characters, this setting really does invite it with the absolutely insane number of houses that each have their own distinct logo/color-scheme combo.

Oh Yeah, About The TV Show[edit | edit source]

Yeah, pretty much.


After the first three books became hits, many Hollywood producers and directors had come to the sadistic neckbeard, asking him about making a movie adaptation. At first, he was reluctant at best, due to the fact that a lot of his content would've been cut out to fit into a movie trilogy (see the Lord of the Rings live-action films). Then, a couple of dudes, David Benioff and D.B/Daniel Brett Weiss (AKA D&D, or more accurately as of the final season, Dumb & Dumber), decided to contact him and asked him at a local restaurant about turning ASOIAF into a Television show produced by HBO, the top-rated soft-core porno channel. The story goes that George asked them a very specific question (Who is Jon Snow's mother?). Satisfied with the response they gave, he gave them permission to start work on the show, which would be titled after the first book, Game of Thrones. They would later go on to prove that this is not a good way of choosing who should adapt your work.

The television show casts several well-known performers, such as Sean Bean as Eddard, Peter Dinklage as Tyrion, Lena Headey as Cersei, and Charles Dance as Tywin. They have also cast some comparatively less well-known actors and even ones new to cinema, such as Sophie Turner (Sansa), Maisie Williams (Arya), Kit Harington (Jon), Iwan Rheon (Ramsay), Alfie Allen (Theon), and Richard Madden (Robb)

Thus, book snobs seem to think that every episode post-season 4 is nothing more than Emmy-bait. Regardless of the fact Kit Harington still doesn't have an Emmy, there's a valid contention in that regard, with the number of liberties taken overshadowing the initial appeal.

The final season (more on that below) was eventually revealed to be such a train wreck because Dumb & Dumber did not want to work on the series anymore and had let the success with the earlier seasons go to their heads. In their arrogance, instead of handing the reins to someone else, they decided to plan out their own ending and use it as an audition to Disney so they could write for Star Wars. By then, they'd run out of books to adapt, there was no superior writing for them to leech off of and there was no one to gainsay them in their echo chamber of a writer's room (even George himself was cut out). The result was absolutely shit writing that caused a glorious breakage in the skub dam that left many a fan's anus weeping (provided they weren't early seasons fans, book series fans, or any of the other assorted onlookers taking part in the mightiest of keks) and, if anything proved George's Ramsay's quote at the beginning of the article true. Goddamn Dumb & Dumber, could you talentless Derp machines do any worse if you tried? Luckily, comeuppance came after them and Disney, having some sense, told them to fuck off with their Star Wars ideas after the backlash towards the final season. Not that Disney Star Wars has been without its share of controversy and Rage, but you know it's bad when someone gets told to piss off from even that.

The Greatest Irony and Tragedy of the show's writing was that in the first few seasons, with George RR Martin consulting them and with a wealth of material from the first few books to work with, D&D were actually pretty damn good at adapting the books into a TV format. In fact, quite a few scenes were in fact not only adapted, but actually created from scratch outside of the source material. One of the most noteworthy is the iconic introduction of Tywin Lannister in Season 1 Episode 7, where we learn everything we need to know about his character with nothing but precisely chosen dialogue and a rather blunt visual metaphor of him gutting a stag he slew in a hunt, all while brutally laying into Season 1's initially perceived villain, Jaime. Contrast this with Season 5 where the show's major decline began with blunders such as the omission of fan-favorite Lady Stoneheart, literally butchering the Dorne subplot with Martell family team-killing and changing the Sparrows' movement to a militant atheist's stereotype of religion. This decline makes a lot more sense after George himself admitted that Season 5 was the first Season where he was was really locked out of the loop.

Goes to show how much they had fallen when the well ran dry and the show' writing and adaptation process was no longer the finely honed instrument it had started as.

TL;DR

Producers Dumb&Dumber-style change characters and railroad the plot at a whim, the tits and ultraviolence spigot is opened even wider than the books, and most scenes are made for the actors to show off their skills at making their signature angry/murder/brooding/etc. faces, and wrapped it up with a season of TV soon to be discussed that even Matt Ward would be 100% justified in pointing and laughing at. Seasons 1-4 are worth your time, 7 and 8 are best ignored, and 5 and 6 are the Skub ones.

The Final Dumpster Fire Season[edit | edit source]

"If you try to do something fancy with your ending and you screw up, your audience will probably remember the botched ending more than the well run marathon"

– JP from Terrible Writing Advice (and advice Dumb and Dumber obviously didn't heed)

Seasons 5, 6, and especially 7 all got their share of grief from people. Mostly deserved in the case of Season 7 and arguably so for 5 and 6 (though the latter did at least finally give Ramsay his just desserts, most of the problems that cropped up in 5 and 6 happened when the show passed the book in particular plotlines and mostly served as an early warning, 7 is when things started getting criticized in general rather than individual plots or details). Season 8 though? Well, read on:

The Final Season kicks off with the Night King's army attacking Winterfell in a battle meant to be epic, but instead so chock full of tactical fails from the living, they make General Custer look like Sun Tzu. The most infamous examples include Melisandre's powers being underutilized, putting soldiers in front of trenches/walls they should be behind/standing on, no flanking charges and hiding the non-combatants in a crypt while fighting necromancers. The battle is resolved when Arya teleports directly to the BBEG and kills him with some sleight-of-hand that destroys his entire army Keystone Army trope-style and ends the winter. Also Theon, Jorah and Melisandre die, but the story sweeps their deaths under the rug like they're nameless background characters.

Then the Westerosi go full-retard and start hating Daenerys. Yes really; Dany helped end a nation-destroying winter plus a zombie apocalypse, has a claim to the throne AND is their best ally against Cersei... but they want her gone. Even Sansa suddenly turns against Dany and starts seeking the throne, despite having no claim to the rest of Westeros and Dany being easily able to kill her for treason. Everyone inexplicably starts wanting Jon to be king despite his attempt to abdicate, and Jon himself even starts thinking Aunt Daenerys might be a bad queen... but that doesn't stop him from starting a sexual relationship with her. The fact that Robert's bastard son Gendry is now a lord, giving him a claim to the throne at least as strong as Dany's or Jon's, is swept under the rug. Varys also jumps ship from Dany to Jon for no reason, even trying to kill Dany in an uncharacteristically stupid move. For his efforts, Tyrion reports Varys to Daenerys, who has Varys executed by Drogon's fire-breath.

Then Daenerys press-gangs people who should logically be happy to fight for her into an army to attack King's Landing and brings them there by sea. Along the way Rhaegal, one of Daenerys' two surviving dragons, is killed by ballistae from Euron's ships. This is despite the facts that Daenerys and her dragons should've easily been able to spot the ships, they were flying well out of ballista range and Euron had no way of knowing where they'd be. After Daenerys and Drogon single-handedly destroy the Iron Fleet (amid poorly animated weather*), they reach King's Landing. Cersei's artillery does nothing despite Daenerys, all her advisors and her dragon being within lethal range plus Cersei's lack of scruples. They in turn do nothing but watch Daenerys' friend Missandei, who was captured offscreen earlier, get executed by zombie-Gregor (despite the fact Cersei and co. had no reason to believe Missandei was anyone of import to either capture or execute. Maybe someone left a copy of the script in Cersei's solar next to her Starbucks latte**)

The battle for King's Landing has Daenerys' forces break in and battle through the streets. Meanwhile Jaime snuck though the tunnels to find and reconcile with Cersei. The Hound regresses to his old violent self and tracks down zombie-Gregor to take him down in a battle that kills them both (although most consider this the one bright spot in the episode). Arya gives up on revenge and decides to let Cersei go despite having strong non-revenge-related reasons to kill her. The famed Golden Company is quickly killed off and Cersei signals a surrender by ringing the bells (the bells aren't, and have never been, signals for surrender). Then, in the capstone of bad writing for this season, Daenerys' switch flips from good to evil because the writers want it to happen, and Dany abandons her plan of freeing and leading Westeros to purging King's Landing with her dragon and army. Cersei and Jamie die together in a cave-in and Tyrion mourns their deaths despite being ready and eager to personally kill Cersei earlier. This is followed by Dany's Saruman/Hitler-esque speech that has nothing to do with her former character. Tyrion is arrested for criticizing Daenerys by saying "If this is liberation, I don't believe in liberation theology." Yes, the writers think theology and ideology are the same thing (an unsurprising mistake, given they shoehorned in anti-religious rants for the past three Seasons despite the books' even-handedness). This last one has proven to be its own personal bit of Skub, as many have argued that Daenerys going evil is in keeping with the cynical themes and tone of the setting. While this isn't wrong on its face, it does nothing to change the fact that the execution is 100% half-assed. Walter White's descent into villainy this is not, or even Anakin's arc in the Star Wars Prequels, which looks like The Godfather compared to what Season 8 does with Daenerys.

In the aftermath, Jon assassinates Daenerys for the King's Landing massacre... right in front of her dragon. Drogon, due to Jon's stronger-than-Valyrian-steel-plot-armor, doesn't kill him but melts the Iron Throne (accidentally according to the showrunners) while chucking a tantrum before grabbing Dany's body and flying away. Jon is somehow charged with Dany's murder despite there being no evidence that he did it, but surprisingly none of the surviving characters still loyal to Dany try to kill Jon (such as the Unsullied or the Dothraki). Despite there being several legitimate choices of king still available, including Gendry, the nobles decide to replace a dynastic monarchy with an elective one and make Bran king. Bran is nominated by Tyrion for a nonsensical reason ("he has the best story"), Tyrion somehow getting a say in the meeting despite being imprisoned for treason.

The Unsullied go to Southros under command of Grey Worm (the only one who still has a personality at this point). The Dothraki are forgotten about by everyone else. Tyrion is freed and made Hand of the King to Brann. Brienne is made Commander of the Kingsguard. Bronn is made Master of Coin (and Lord of Highgarden) despite him not knowing how financial loans work. Gendry is completely forgotten. Samwell is made the new Grand Maester and the North secedes and becomes independent under Queen Sansa (which definitely wouldn't cause future problems and tensions). Arya sails to the West for some unknown reason and Jon is exiled but doesn't care because he gets to go back up north with the Wildings like he wanted. The end.

This trainwreck of a plot is a testament to how two morons can royally fuck up a show beyond any redeeming qualities the cast and crew can put forward. And even then there were screw-ups among the production staff, such as *the animators being unable to decide whether the sky is sunny or overcast when Dany and Drogon destroy the Iron Fleet - which mattered because Dany's plan to not get shot down involved having the sun behind her - and **not removing the actors' water bottles and coffee cups from the set before shooting. Hyperbole is sort of the norm here, but it really is hard to overstate how badly Season 8's finale fucks up. Game of Thrones was everywhere culturally for most of the 2010s, drawing in huge numbers of people who would otherwise never be caught dead indulging in High Fantasy works with us uber-nerds. Now, the entire Thrones fandom has practically disappeared or gone underground. Honestly, it would be an impressive achievement if it weren't so terrible.

House of the Dragon: The other TV show[edit | edit source]

"If at first you don't succeed, try, try, try again."

– Benjamin Franklin (and also Maul when trying to kill Kanan)

Deciding that there was still a market for Game of Thrones stuff even after the last season turned the 2010s biggest pop-culture phenomenon into a laughingstock*, HBO bet the bank on some spin-offs, the first of which is now upon us. House of the Dragon is a prequel dealing with the Dance of Dragons, a civil war between two Targaryen factions that ends up consuming Westeros and everyone in it World-War style, and featuring lots of dragons fighting dragons and the standard Westeros fare of fairly bad people doing extremely bad things. Like Game of Thrones before it, it boasts a star-studded cast, a big budget, and a lot of hype. Time will tell if it redeems the failures of the original show or repeats them. If there's a reason to be optimistic (aside from Dumb and Dumber being absent), it would be that the whole story of the Dance of Dragons is written and mapped out, meaning the writers don't have to come up with their own shit to make an ending that George hasn't yet written. Has gotten off to a strong start, so there's the hope that it will be able to redeem the legacy GoT's last two seasons absolutely ruined.

  • Given that the premiere was apparently so widely watched it crashed the streaming for many people, they might actually be right.

Ultimately, with Martin having more oversight over the writing of this series, and director Miguel Sapochnik actually having a passion for the setting and genre rather than just answering a mystery question to GRRM's satisfaction, the current 6 episodes have seen sky high bumps in both HBO viewership and rave reviews. The slow burn over years as the characters inch closer towards disaster has left the majority of viewers on a palpable knife's edge so far. By the time the 1st season wrapped up, the show had garnered enough praise and profit to warrant the green light by HBO for work on the next season, with out of the park critical and commercial praise, in most cases surpassing its Amazon LOTR contemporary Rings of Power with just a third of the budget per episode. In fact, George Martin was so moved by the performance of Paddy Considine as King Viserys Targaryen, that he stated that he wished he could tear out all that he wrote about the character in his books and rewrite it to match the show version.

GRRM and Your Dudes[edit | edit source]

Want to make your own ASoIF setting for a role-playing game? Well, readers have enough room to fantasize about their own minor noble House (or kingdom during the Age of the Hundred Kingdoms).

A good example of what you could do is the House from the old "Telltale Game of Thrones", House Forrester. Their relationship to the canon is as follows:

House Forrester (lords of someplace in the Wolfswood) -> is sworn to -> House Glover (overall lords of the entire Wolfswood) -> is sworn to -> House Stark (rulers of the North).

Fantasy Flight Games had a very brief tie-in making those annoying attention-sucking Facebook games, way back when FFG did that sort of thing. Just goes to show how even the other guys will do anything for money.

There's also an actual tie-in tabletop RPG now, which uses its own system and looks kind of like Warhammer Fantasy Roleplay with a heavy helping of resource-management strategy feel. Players are assuming the role of a minor House to guide to glory, or, more accurately given the setting we're in, NOT to ruin utterly in a season or two, which would still be more than many A-list players mustered in canon. Each PC has a specific position within said House, and only the role of official Head is mandatory; the rest could be wife/children/brothers and sisters/all other kinds of siblings, bastards (with rules for obtaining the legitimate recognition), maesters, sworn/subservient knights, or most of anybody else. This naturally opens up near-infinite possibilities for families screwed up seven ways to high heavens, which would make Lannister's brand of infighting-slash-inbreeding look as sane as the High Septon.

The setting is also ill-suited for "adventures in Westeros" style of gaming for two reasons:

  1. In the grim darkness of low fantasy, a roaming nobody with no banner to talk about, no House allegiance, no nothing isn't generally treated to a Tavern With Quest Givers, but rather more to a Tavern Where You Are Shanked For Your Sword And Boots And Dumped At The Nearest Forest. Heck, even the big wheelers and dealers are routinely seen invited to the latter when they are slow to properly introduce themselves.
  2. Working on your initially-puny House will quite realistically involve thy neighbours first and foremost, then liege lords from the higher House yours is sworn to, and on occasion shopping around for an advantageous marriage - there simply ain't gonna be that much spare time to "travel to see places". Both of these are also why tourism wasn't a very popular pastime in medieval Europe (aside from Pilgrimages to Jerusalem, Cologne and Santiago de Compostela) and why those who were "living on the road" usually enjoyed the lowest social standing.

A note to aspiring Lords: do NOT, under any circumstances, allow your "combat-optimized" siblings an unsupervised minute in a social setting. Game's "social combat" system is a thing more brutal than the physical one, and it takes a socially-optimized character all of a few minutes to mindfuck one who is not (read: everyone but dedicated diplomats and Heads of the Houses, and not every one of the latter, to boot, as illustrated by several amazing boneheads in canon) into believing pretty much anything short of Grumpkins and Snarks. Stupid NPCs or a stupid GM will make said mindfuck obvious, allowing you to "mindfuck 'em back" without abuse of OOC info; cunning ones will not.

On a side-note; GRRM is said to take a dim view of fanfiction, saying it kills creative ability. This is kind of a double-edged statement, since a lot of George's characters here are either rehashes of his characters from previous works, references to other fictional characters (like Littlefinger and Samwell being based on Jay Gatsby and Samwise Gamgee), walking tropes (such as Ned Stark and Robb Stark being the "Honor Before Reason" characters) or historical references (such House Lannister ripping off House Lancaster and House Tyrell being totally-not-House-Tudor - to the point that Margaery Tyrell is played by Natalie Dormer from "The Tudors" TV show). While this makes everything he wrote just another...fanfiction, and his disapproval hypocritical. Still, given the "creative" output of the average neckbeard, he's perhaps not entirely wrong. For another layer of irony/hypocrisy, he sold the rights to make a TV series of the books to HBO, who's adaptation would eventually devolve into a glorified fanfic.

Games[edit | edit source]

Like any fantasy author who finds themselves unexpectedly in the warm embrace of commercial success, Martin quickly licensed the shit out of his setting; spawning everything from resin miniatures to replica great swords. While most of this is worthless junk to foist on obsessive fanboys /tg/ has agreed that a few of the games are made of win. The first two are a collectable card game put out in 2002 by Fantasy Flight Games and a Risk-esque board game that followed shortly after in 2003. One of White Wolf's subsidiaries also put out a d20 RPG in 2005 but it quickly tanked because, come on, White Wolf. Martin since wrested the rights back and developed a new version with Green Ronin Games.

Now let's have some serious talks about the Game of Thrones games, because they have become some sort of endless source of amusement and frustration for the gaming fanbase. Game of Thrones is, roughly speaking, the second franchise with the most licensed board games, after Star Wars. Some of them have acquired quite a legendary status and a fanbase that goes beyond the book or series fans.


The great juggernaut for all the ASOIAF-based games is Fantasy Flight Games:

  • First and foremost we have A Game of Thrones: The Board Game: a game that after two editions still ranks high in /bgg/'s top 100, and has recently had an expansion. The board game has become some sort of meme for the modern board gamers and it could be considered the equivalent of a more advanced Risk, in which dice and blank character got replaced by a very flavourful and brutal combat system and a lot of thematical mechanics fueling the engine. Overall this game has been associated with concepts such as requiring maximum player count to really be entertaining, having an amazing amount of length and depth and being a very faithful representation of the political feeling the series inspired. Almost any boardgamer or wargamer worth his salt has played this game and enjoyed its highs, its lows and the amazing amount of frustrations it brings. This is probably the most well known of all the ASOIAF games and it was released way before Game of Thrones was a cultural phenomenon back in 2003.
It also has a digital edition, sold on Steam and Android
  • Another game that bears mention, both for its excellent mechanics and its historical significance is A Game of Thrones: The Card Game. It is one of the most balanced card game experiences you can get, also full of flavour and with quite a great amount of balance and non-linear thinking. The best part is, unlike certain other popular card games, the game follows the living card game format: players know exactly what each booster pack brings and can buy cards in a more responsible manner, rather than playing bingo and hoping to get a rare card. Also, the sole core set already provides more replayability than some fully-fledged board games.
  • Finally, the last game to mention in the FFG venerable trilogy of games is Battles of Westeros, arguably the most ambitious and least successful of the three. Battles of Westeros was a fully-fledged wargame that used the Memoir 44 and BattleLore rules as a base, but then evolved into its own by introducing mechanics such as commanders, tactic cards, and very creative scenario rules. Miniatures were made in 15mm and, for their time and scale, they were quite detailed; some commanders are real standouts (for example, Robb Stark's has his direwolf jumping at his side).
Thanks to its scale, the game was able to provide players with a great number of options and units at a fraction of the price of other board games. With a core set that was already stacked with units and variety, and then faction-specific expansions that added several more units and commanders. The game also came with scenario books that provided narrative play with quite creative rule variants, such as storming palisades, having decoys in escort missions, and bombarding enemies with catapults. One scenario even tried to bring to life the Battle of the Blackwater (the hybrid invasion of King's Landing by Stannis the God-Damn Mannis Baratheon). The game was incredible and quite a creative wargame, but its main issue was that the setup time was just terrible. Incredibly complex and tiresome when compared to the actual gameplay time.

There are others, such as the ASOIAF-themed Catan expansion called A Game of Thrones Catan: Brotherhood of the Watch, another card game called A Game of Thrones: Hand of the King, and another board game Game of Thrones: The Iron Throne. The quality of those, however, remains to be seen.

And then the miniature-producing Kickstarter juggernaut CMON decided to produce its own wargame, with AMAZING miniatures. The game began with, of course, a Kickstarter, and after that, the game has had at least 2 dozen more releases with 3 more factions added.
The game has some mechanics taken from rank and file games, such as Kings of War, combining them with mechanics taken out of "battles of Westeros" particularly the tactics deck. A new page is in the works: ASOIAF Miniature Game

Books[edit | edit source]

  • A Game of Thrones
  • A Clash of Kings
  • A Storm of Swords:
  • A Feast for Crows: half the characters, the point where the series goes down the toilet: most of the pov characters in AFFC are either unlikeable (Cersei, Sansa, Arianne) or are downright side characters of little consequence (Greyjoys, all of the other Martells); most of the characters you're actually reading the books for are in Dance, which is even longer than this book
  • A Dance with Dragons: split into 2 the first is about the other half of the characters, and manages to pick things up a bit
  • The Winds of Winter: First rumored to be ready by late 2018, then given an official release date of Summer 2020, those times have come and gone and the book is unreleased. Though he has shared chapters of the book. In 2022 he claimed to be "75% done". By extrapolation he should be done in 2026.
  • A Dream of Spring : Unreleased and unlikely to ever be.
    • GRRM will most likely die before writing this, as he confirmed multiple times he hasn't even begun working on it and will only do so once he is done with Winds, though he has given an outline for how he wants the series to end that might be made public knowledge if he dies before the book series is finished.
  • The Dunk and Egg Series: A story about a landless hedge knight travelling across Westeros with a Targaryen squire, so he can teach him how not to be an asshole to peasants. Consists of three small novels, with the fourth one being essentially ready (it was supposed to be published in a Dangerous Women anthology, but was shelved by Martin).
  • Fire and Blood: Martin's Silmarillion (it even had a GRRMarillion working title at one point) that details the rule of Targaryen kings since the Conquest up until Robert's Rebellion. Only one tome, which abruptly ends on King Aegon III sixteen birthday, was relased, with the second one being released never after Winds of Winter.
    • Sons of the Dragon: standalone chapter that was released 2 years before full FoF, detailing reigns of Aenys and Maegor.
    • Rogue Prince: chapter about King Viserys' reign on which most of HOTD's Season 1 is based.
    • The Princess and The Queen: chapter about Dance of Dragons (do not be confused with Dance with Dragons).

On The "Grimdarkness" of the Setting[edit | edit source]

"No matter how much I make up, there's stuff in history that's just as bad, or worse."

– George himself when discussing how Grimdark the series is

One important note: While the setting is usually held to be "Grimdark", it is also very true to Real Life in its nastiness, with real consequences for assholes. Book one is almost exactly the beginning of the War of the Roses, except with England enlarged to a continent's size and the seasons stretched out to let the travel times work. (...And then the dragons wake up, the ice elves and their undead armies return and magic makes a comeback. It's not a perfect analogy. All that stuff is closed in their own sub plots and they don't involve the main continent in the book, that is left to "common" war and plotting.)

For an example of Grimdark, but with consequences: The King can order the execution of the head of the leading noble family of the North, for essentially no reason, but now he doesn't have hostages to exchange when their relatives and/or armies come after him seeking revenge. (And all this is modeled on various occasions where more or less exactly this kind of thing happened in real life medieval Europe.)

In other words: Truly heinous shit goes on, and there's nothing stopping that kind of shit... but there are consequences to that kind of shit that act as an effective counterbalance against being seen to do that kind of shit to the smarter nobles in the kingdom. And, because anyone can die, the shittiest characters are no more guaranteed survival than the nicest.

Also worth mentioning that there's reason to think that, despite the quote that began this page, the series may not actually end on 100% downer note, as Martin has said he hopes his series will end in a way akin to the Scouring of the Shire from Lord of the Rings, which, despite the name, is more of a bittersweet ending. So who knows (though this also presumes the author will actually get around to finishing the series at all).

In sum, whether the setting fully qualifies for "Grimdark" is a matter for debate. Probably the best way of looking at is that it is Grimdark, but in a nuanced way and with a point.

See Also[edit | edit source]