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Heraldry in Game of Thrones

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Heraldry in Game of Thrones genealogy Article The Shields that Guard the Realms of Men: Heraldry in Game of Thrones Mat Hardy School of Humanities & Social Sciences, Faculty of Arts & Education, Deakin University, Burwood 3125, Australia; [email protected] Received: 12 October 2018; Accepted: 6 November 2018; Published: 12 November 2018 Abstract: The vast popularity of the Game of Thrones franchise has drawn a new and diverse audience to the fantasy genre. Within the pseudo-medieval world created by G.R.R. Martin, a great deal of detail has gone into establishing coats of arms for the characters and families that are depicted. These arms fulfill an extremely important role, both within the arc of the story and as part of the marketing collateral of this very successful series. This article examines the role of arms in the Game of Thrones universe and explores how the heraldic system transcends the usual genealogical display and functions more as a type of familial branding. An exploration of some of the practices and idiosyncrasies of heraldry in the franchise shows that whilst Martin sets his foundation firmly in the traditional, he then extends this into the fanciful; in much the same manner as he does with other faux-historical aspects of his work. This study is valuable because Game of Thrones has brought heraldry from being a niche interest to something that is now consumed by a global audience of hundreds of millions of people. Several of the fantasy blazons in the series are now arguably the most recognisable coats of arms in history. Keywords: Game of Thrones; A Song of Ice and Fire; heraldry; blazonry; fantasy; G.R.R. Martin 1. Introduction The entertainment phenomenon of the Game of Thrones (GoT) franchise has captured countless millions of viewers across the world, both through paid subscriptions and illegal downloading.1 In the USA alone, 30 million people watched each episode of the show’s seventh season in 2017 (Koblin 2017) and the broadcast rights see it appear in another 170 states and territories globally. Bootleg file sharing accounted for another one billion downloads of that 2017 season (Andrews 2017). Add to this the countless words and web pages that talk about GoT, the marketing of the original books, spin-off games, location tourism and a myriad of other phenomena, all of this combined makes GoT arguably the most successful fantasy franchise ever in terms of fiscal and cultural impact. Of greatest significance is that the television version has acted as a ‘gateway’ to the fantasy genre, crossing over to become a mainstream product that attracted a new and diverse audience that would not previously have been consumers of such works (Williams 2012). These newcomers and established fantasy fans alike are presented with a backdrop world that conforms to many of the standard tropes of the genre that is largely spawned from the works of J.R.R. Tolkien: a pseudo-medieval culture placed upon a European-like continent (Westeros) with the 1 For simplicity’s sake the name Game of Thrones will be used in this paper to refer collectively to the written and broadcast versions of G.R.R. Martin’s work. Although the book series was collectively known as A Song of Ice and Fire, the global popularity of the story was generated through the TV series, so its title has been selected as the more suitable label. This paper also includes material from the prequel stories set in the same world. Genealogy 2018, 2, 48; doi:10.3390/genealogy2040048 www.mdpi.com/journal/genealogy Genealogy 2018, 2, 48 2 of 15 addition of supernatural elements (Young 2014). Whilst the authenticity of this medieval world is open to debate (for example, see Carroll 2018), there is a definite effort on the part of the author to make the setting credible, if not necessarily an attractive place to live: what G.R.R. Martin himself has referred to as “gritty realism” and a repudiation of the “Disneyland middle ages” (Martin 2011). With an inspiration in the dynastic struggles of the Wars of the Roses, one theme that Martin has chosen to emphasise in GoT is family identity. In a realm that is formed from uniting seven historic kingdoms, the complex interactions between the senior nobility and their vassals places a great weight on shifting patterns of allegiances. Bonds and betrayal are everything in a political landscape where ‘Who’s who?’ is a matter of life and death. Linking this emphasis on family with the setting of medieval realism, Martin has made great use of the historic art of heraldry in a very modern approach to ‘branding’ his characters. The effort that has gone into creating the coats of arms of his imaginary world is significant, with over 400 different designs appearing in the books and related material (Garcia and Antonsson n.d.).2 Such prolific blazonry3 places GoT far beyond any other fantasy franchise in its heraldic detail.4 In a crossover between fantasy medievalism and real-world commercialism, some of these coats of arms have become attached to the marketing of the series and its associated merchandise. Devoted fans have even gone as far as to use these designs as tattoos.5 Given the impact of the saga in popular culture and its central use of coats of arms, an examination of the heraldic system of GoT is warranted. The purpose of this paper is not to attempt a complete historical comparison between fictional heraldry and various historical systems. Rather, by observing the role of heraldry in this imaginary world and describing some of its idiosyncrasies, it will be shown that whilst Martin sets his foundation firmly in the traditional, he then extends this into the fanciful; in much the same manner as he does with other faux-historical aspects of his work. 2. Family Business The right to a coat of arms is dictated by one’s social position in the fantasy world of GoT, with nobles and knights being the primary bearers of these. However, the feudal rank system of Westeros is rather less complex than that of European history. There is a monarch of the united ‘Seven Kingdoms’ and then there are numerous hereditary ‘lords’.6 The latter are not differentiated into any denominated sub-classes such as dukes, earls, barons etc., however their individual status is rather derived from family wealth, history, political connections and so forth. For example, there are several ‘Great Houses’ (such as the Starks and Lannisters) that have significantly higher status and wealth than the average noble family. These hold the fealty of many smaller houses who may in turn have their own ‘bannermen’ or ‘landed knights’ who administer but a few smallholdings. The lesser families range from those with substantial status of their own down to others that are on the edge of penury 2 In the original books (including the prequel novellas) many coats of arms are described only vaguely, but subsequent material has tended to clarify these. This is particularly the case with supplementary publications produced in co-operation with G.R.R. Martin. For heraldry, the coats of arms published on the Citadel website (westeros.org/Citadel/Heraldry (Garcia and Antonsson n.d.)) which has a co-operative relationship with G.R.R. Martin, will be taken as definitive and ‘semi-canonical’. Unless otherwise stated, all blazons described in this paper refer to that website’s versions. Similarly, Martin is an executive producer of the TV series so the representations of heraldry there (and revisions of his original ideas) can be considered to have his imprimatur. 3 The written description of a coat of arms is known as a ‘blazon’ and the practice of describing these designs with the proper syntax and vocabulary as ‘blazonry’. 4 Tolkien, for example, makes very little use of heraldry in his works, and when such symbols are used they tend to stand for entire nations rather than individual families. For example, the white tree of Gondor or the horse of Rohan. 5 An internet search for “Game of Thrones tattoos” or tattoos associated with some of the series’ houses (e.g., “Lannister tattoo”) will display many examples. 6 There are no ‘sub-kings’ in this system. When the smaller kingdoms were united, their rulers gave up their monarchic status and became lords. The exception is the region of Dorne, where the head of the ruling house there maintains the title of Prince. Some specific flowery titles accrue to particular houses, such as “Defender of the Dispossessed” or “Shield of Lannisport”, but these are more to do with family history than any rank structure. Genealogy 2018, 2, 48 3 of 15 Genealogy 2018, 2, x FOR PEER REVIEW 3 of 15 and whose glories may have long receded. Regardless of their place in the pecking order, all of these families range from those with substantial status of their own down to others that are on the edge of noble houses are armigerous. penury and whose glories may have long receded. Regardless of their place in the pecking order, all Key to the study of the heraldic practice in GoT is that the arms of the nobility are fully familial of these noble houses are armigerous. rather than primogenitive. All legitimate descendants and relatives bear the same undifferenced arms Key to the study of the heraldic practice in GoT is that the arms of the nobility are fully familial ofrather their noble than primogenitive. family. Moreover, All legitimate retainers anddescendants common and soldiers relatives who bear are the in same service undiffere to a housenced will arms also displayof their these noble arms family.
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