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This collection features storyboard art for Seasons 1-7 of Game of Thrones.

Network science and data analytics are used to quantify static and dynamic structures in George R. R. Martin’s epic novels, A Song of Ice and Fire, works noted for their scale and complexity. By tracking the network of character interactions as the story unfolds, it is found that structural properties remain approximately stable and comparable to real-world social networks. Furthermore, the degrees of the most connected characters reflect a cognitive limit on the number of concurrent social connections that humans tend to maintain. We also analyze the distribution of time intervals between significant deaths measured with respect to the in-story timeline. These are consistent with power-law distributions commonly found in interevent times for a range of nonviolent human activities in the real world. We propose that structural features in the narrative that are reflected in our actual social world help readers to follow and to relate to the story, despite its sprawling extent. It is also found that the distribution of intervals between significant deaths in chapters is different to that for the in-story timeline; it is geometric rather than power law. Geometric distributions are memoryless in that the time since the last death does not inform as to the time to the next. This provides measurable support for the widely held view that significant deaths in A Song of Ice and Fire are unpredictable chapter by chapter.

The Game of Thrones television program was widely seen throughout the world. The show acted as an advertisement for travel and home purchases in the Republic of Croatia. A hedonic least squares regression model adjusted for autocorrelation is used to consider the impact of the television show, tourist visits to the country and domestic personal income on the housing price index. The descriptive statistics and regression results suggest that the television show and tourism impact existing housing prices. Visitors to the country purchased or rented enough housing to cause demand to increase for residential properties which results in a higher housing price index. Per capita domestic income is not a significant factor influencing the housing price index for existing dwellings.

\"'Winning Westeros' brings together expert strategists to engage with one of the most popular television series of our time: 'Game of Thrones.' By applying geopolitical and leadership theory and asking the question of 'what if?' the minds behind 'Winning Westeros' draw connections between the fantasy world and military strategy. Comparing magic to emerging technology, tamable dragons to nuclear weapons, and swords to guns, 'Winning Westeros' explores how strategies in 'Game of Thrones' can be applied to real world politics\"-- Provided by publisher.

This paper addresses an alternative perspective on tourism success, emphasising sustainability over traditional quantitative metrics such as arrival numbers. It explores the impact of fiction films and TV series on individuals’ mental representations of destinations featured on screen, as well as the capacity of film discourse to construct a brand aligned with local stakeholders’ interests. Qualitative methods have been employed, conducting a literature review on sustainable film tourism and destination branding. Local news and an interview with the head of the Peñíscola Film Office complemented academic insights. The primary goal is to examine the “Peñíscola de Cine” project as a paradigm of success, initiated by the city council of Peñíscola, Spain. This project positions the municipality as a natural film set through productions like Game of Thrones (2011–2019), illustrating how film can contribute to destination branding and community engagement. The study highlights the positive contribution of film tourism to sustainability by diversifying and de-seasonalising a territory’s offerings. It also attracts a more educated and environmentally conscious audience. However, it cautiously discusses the potential risks, as evidenced by misapplications in Goathland, England, and Skellig Michael, Ireland, following their appearances in Heartbeat (1992–2010) and Star Wars (1977–2019), respectively. The paper concludes by suggesting film-friendly measures for destination management organizations (DMOs), emphasising the pivotal role of film commissions and film offices in crafting effective marketing strategies and capturing the interest of audiovisual production companies.

The current study takes the subculture of fans as being the core of productive consumers, and assumes consumption to be asubjectivation practice based on Foucault's theory, which defines subjectivity as the result of an ethical and aesthetic elaborationprocess. The aim of this study is to analyze how fans elaborate fannish (est)et(h)ics by positioning themselves about mediaproducts during their interactions. In order to do so, the main fan community of the TV series “Game of Thrones” (GoT), a majormedia phenomenon, was analyzed. The genealogy of the subject was the method adopted for analyzing fans’ comments aboutthe saga. Results pointed towards two subject-forms, namely likers and guardians. They are based on moral stylizations thatmodulate fans’ relationships with media products through a single ethics, which was interpreted as poaching the differentpleasures that arise from consumption. The study’s suggestion is that this process reveals what Foucault calls true love, whichcorresponds to the completeness of self in its relationship with the other. O presente estudo toma a subcultura de fãs como seio de um consumidor produtivo e assume o consumo como práticasubjetivadora, baseado na teoria foucaultiana que define a subjetividade como resultado de uma elaboração ética e estética.Com isso, o objetivo do estudo é analisar como fãs elaboram uma (est)ética fânica por meio de posicionamentos de si emrelação a produtos de mídia em suas interações. Para tal, analisamos a principal comunidade de fãs da série de TV Game ofThrones (GoT), que se tornou um grande fenômeno de mídia. A genealogia do sujeito foi método adotado para a análise doscomentários de fãs sobre a saga. Os resultados apontam duas formas-sujeito: curtidores e guardiões. Elas se sustentam emestilizações morais que modulam a relação dos fãs com o produto de mídia por meio de uma única ética, a qual interpretamoscomo poaching, uma “caça” por diferentes prazeres advindos do consumo. Propomos que esse processo revele o que Foucaultdenomina verdadeiro amor, uma completude de si na relação com o outro. Tomando la subcultura de los fanes como el seno de un consumidor productivo y asumiendo que el consumo es una prácticasubjetivante, nos anclamos en la teoría de Foucault, que define la subjetividad como el resultado de una elaboración ética yestética. Así, el presente estudio analiza cómo los fanes elaboran una (est)ética fandomera a través de posiciones en relacióncon productos de medios en sus interacciones. Para ello, examinamos la principal comunidad de fanes de Game of Thrones(GoT), que se ha convertido en un importante fenómeno mediático. El método utilizado es la genealogía del sujeto. Con este fin,analizamos los comentarios de los fanes acerca de la saga. Los resultados apuntan a dos formas temáticas: likers apreciadoresy guardianes. Se basan en estilizaciones morales que modulan la relación de los fanes con el producto de los medios a travésde una ética única, que interpretamos como caza furtiva, una \"caza\" de diferentes placeres derivados del consumo. Proponemosque este proceso revela lo que Foucault llama amor verdadero, una completitud de sí mismo en la relación con el otro.

When the king of Galandria dies and Wilha's younger brother, Andrei, claims the throne, he reveals that Elara, Wilha's secret twin sister, has been masquerading as Wilha, and both girls must fight for their lives when declared traitors to their country.