Paying the Iron Price? - Exploring the tourism potential of Game of Thrones for Northern Ireland Matthew Kearney, University of Ulster Peter ...

Paying the Iron Price?
Exploring the tourism potential of Game of Thrones for Northern Ireland

                Matthew Kearney, University of Ulster
                  Peter Bolan, University of Ulster
                 Karla Boluk, University of Waterloo

Introduction
‘Different roads sometimes lead to the same castle’ (Martin, 1996, 362). If that castle is
tourism success through the medium of film and television, then which road should we take?
Which road will lead us there in an efficient and safe/sustainable manner? The aim of this
paper is to investigate the potential that ‘Game of Thrones’ could create for Northern Ireland
if positioned appropriately as a television/film tourism destination. The investigation of
potential opportunities for destination development and enhancement through global online
research, mainly netnography, undertaken with the fan-base of the show, as well as exploring
best practice from a well-established film tourism destination New Zealand. This is further
supplemented with analysis of key informant interviews conducted with a number of industry
stakeholders who have recently begun Game of Thrones tours and activity based experiences.
The paper will proceed with a review on the film tourism phenomenon and the growth of the
film and television industry in Northern Ireland before examining the key findings under
study.

The film tourism phenomenon
Kim and Richardson (2003, 218) note that ‘Motion pictures are an important element of
popular culture. They impact on many people in a short period and few would deny that
movie-going is a major activity throughout the world’. As watching films (at the cinema, and
through television, DVD, blu-ray and digital download) is part of popular culture on a global
basis its ability to influence people is wide-reaching and potentially enormous in its scope
and impact. This is supported by Hudson and Ritchie (2006, 257) who state ‘a typical movie
with international distribution can now reach over one hundred million consumers as it
moves from box office, DVD to television’. Whilst awareness of films influencing tourism
and by extension the study of such is relatively new, film has always had an intrinsic
connection to travel. From the earliest times film has had such a connection. ‘Lumiere’s films
of natural vistas extended film into the realm of travel, connected to practices of mobility and
taxonomy found in the discourse of colonialism’ (Friedberg, 1993, cited in Harbord, 2002,
22). As early as the late 19th and early 20th centuries the power of the medium was becoming
evident. Film-induced tourism or screen tourism can be defined as ‘. . . tourist visits to a
destination or attraction as a result of the destination being featured on television, video,
DVD or the cinema screen’ (Hudson and Ritchie, 2006, p. 256). Today we can add to this the
formats of blu-ray and digital download as yet further ways in which people engage with and
consume their film and television. A growing body of evidence from authors such as Busby
and Haines (2013), Hudson et al. (2011), Heitmann (2010), Hudson and Ritchie (2006),
Beeton (2005), Tzanelli (2004), Grihault (2003), Riley et al. (1998), Tooke & Baker (1996)
and Butler (1990) support this phenomenon of tourists visiting particular destinations because
of their association with particular films and television shows.

According to Bolan et al. (2011, 105) ‘National Tourist Organisations (NTO’s) while slow to
acknowledge this are now beginning to recognise that movies and television shows can
enhance awareness of their locale and affect the tourist’s decision-making process’.
Marketers and those involved in destination branding in some destinations are therefore
increasingly working with film bodies to help promote their destinations. Film production in
the UK contributes over £4.6 billion to UK GDP and supports over 117,000 jobs (up from
100,000 in 2009). The UK film industry directly employs almost 44,000 people (up from
36,000 in 2009). Most notably in relation to this study films depicting the UK are responsible
for generating around a 10th of overseas tourism revenues, with estimates that around £2.1
billion of visitor spend a year is attributable to UK film (Oxford Economics, 2012). This is
echoed around the world. In New Mexico film tourism is estimated to be worth $124 million

to the economy, whilst in Sweden, the media coverage gained from the Millennium films has
been calculated at some EUR 106 million (Connell, 2012).

The majority of film tourism studies since 2002 have made at least some mention of ‘The
Lord of the Rings’ (LOTR). The film trilogy which began with ‘The Fellowship of the Ring’
in 2001 was based on J.R.R. Tolkien’s famous novel. Director Peter Jackson brought to the
cinema screen what many had thought to be un-filmable and produced a series of movies
which received popularity and acclaim from film critics and the cinema-going public alike.
New Zealand was the filming location which was used to represent the fictional setting of
‘Middle-earth’ where the fantasy story takes place. Research carried out by Tourism New
Zealand in 2004 surveying over 2 million tourists revealed the financial value of those
tourists stating LOTR was their main or only reason to visit was estimated to be NZ$32.8
million (Tourism NZ, International Visitors Survey, 2004). Clearly, a huge economic impact
directly from the film for the New Zealand economy, not to mention those who were also
partly influenced by the movies, even if it was not a main motivational reason. According to
Carl et al. (2007, 49) ‘The representation of New Zealand’s landscapes in the films of The
Lord of the Rings (LOTR) has led to the construction of new tourism spaces, thus, new
landscapes of pleasure tailor-made for film tourists’ consumption’. Jones and Smith (2005,
924) not only support these views on the tourism success from the film trilogy but go further
in remarking that ‘The LOTR project has become the poster child for a new kind of New
Zealand national identity’. In other words not only did the films boost tourism to New
Zealand, the effect actually went deeper and created a view of New Zealanders as creative,
entrepreneurial and filled with ingenuity. The intention of this paper is to investigate if
‘Game of Thrones’ could create a similar effect for Northern Ireland.

Methodology
The study took an interpretivist approach, employing qualitative methods of enquiry to
examine critical factors at play with regard to the Game of Thrones fan base and the views of
industry stakeholders in Northern Ireland who are now using association with the television
show to attract tourists. Netnography was employed as a key technique to obtain opinions and
feelings of a qualitative nature from the fan-base of the television show. Specifically, the
methodology utilised the online observation strand of Netnography as discussed by Veer
(2013), whereby data from publicly accessible, online forums was viewed and analysed.
According to Kozinets (2002), Netnography is the research method of choice with regards to
studying online communities, and in particular, understanding meanings that they derive from
their shared experiences and consumption practices. Kozinets (2010) highlights five key
reasons that make netnography ideal for interpretive, qualitative research. Namely,
netnography is natural in that it allows you to encounter these communities of consumption
where they have come to be of their own accord. This also allows netnography to remain true
to one of the central tenets of ethnography itself (Willis & Trondman, 2000). Kozinets (2010)
goes on to state that netnography is also immersive and descriptive – that successful
netnographic research will provide rich, dense datasets for the analysis of consumption
patterns and practices within the communities in question. Finally, he highlights the practical
advantages of netnography due to the fact that it allows (and encourages) mixed method
approaches, and that it is adaptable. Online observation also offers the advantage that it is an
unmediated way of collecting data. As the researchers do not have direct contact with the
bloggers there is no opportunity to influence the responses, which contributes to the
reliability and validity of the data collected.

Given the focus of ethnography (and by extension, netnography) on being a theory-focussed
research method (Willis & Trondman, 2000), grounded theory has been utilised for the
analysis of the data in this research project. Specifically, a combination of classic (Glaser &
Strauss, 1967) and constructivist (Charmaz, 2000) grounded theory has been utilised in order
to provide the greatest understanding of the consumption experiences and demands of the
community in question – namely Game of Thrones fans. Pettigrew (2000), building most
notably on the work of Belk (1987; 1988) who advocated the greater study of the entire
consumption experience, argues that the naturalistic and theory-driven nature of the two
methodologies (ethnography and grounded theory) means that they can be utilised with one
another to great success. Specifically, ethnography provides the rich, descriptive dataset for
which grounded theory is best suited to explore, with the ultimate aim of developing a theory
based on the issue in question.

Research Design
Early in the research design process, a number of leading Game of Thrones forums were
identified for netnographic analysis. The forums were chosen based on a number of factors
including the frequency of posts by members, the number of posts on the forum, and the level
of discussion amongst members. Online observation (Veer, 2013) of these forums then took
place over a number of months. As key discussion themes became apparent to the researcher,
these were used for first-stage coding in the grounded theory analysis. Following this, axial
coding took place to establish links between the aforementioned themes, before further
analysis eventually led to a theory of what Game of Thrones fans want from a tourism
experience. The approach was also iterative in nature, whereby particular forums,
discussions, or posts were re-examined in light of new information that had become apparent
through the coding process.
Whilst the netnographic study was taking place, primary research was also carried out on key
stakeholders within the Northern Ireland tourism industry, including GTO’s and tourism
activity providers. This qualitative research was conducted using depth interviews with the
parties involved to gain a greater understanding of what they currently offered these tourists,
what they could potentially offer them, and what they would hope to gain from such
activities.
The findings from these two strands of research were then combined to offer a theory about
the tourism demands of Game of Thrones fans, and the feasibility of making such an offering
in a sustainable manner, within Northern Ireland.

Research Findings

Location – Northern Ireland as Westeros
The development of Game of Thrones for television began in 2007 with Northern Ireland
chosen as the main location for filming; commencing in 2009. According to the GOT
Location Manager ‘Northern Ireland provides a wealth of dramatic scenery that really fits
with what HBO wanted for Game of Thrones ... the forests and the historic places like Castle
Ward were perfect for Winterfell .... the spectacular coastlines and beaches were an ideal fit
for what we needed in season two and season three for the Iron Islands etc’.
The opinions and expectations of the fans
The blogging activity by Game of Thrones fans mediate between the similarities and
differences between the books and the television adaptation. The blogs demonstrated that the
show was inclusive as people from all walks of life could find something appealing to

captivate their attention. Such inclusion created adoration among fans; a connection to the
story line, its place, meanings and/or set/costume design and the unique food presented.
Consequently, fans expressed intense feelings in their posts demonstrating their
connection/attachment with characters and sometimes an obsessive interest in the show as
shocking story lines unravelled and surprised international audiences.
One blogger had this to say ‘I love every character in this series, they make viewers glued to
the next scene and wait in awe with every blow’ (female, India, Blog 1). Another blogger put
it like this ‘EastEnders will always have my heart but Game of Thrones is deep, it’s heartfelt.
I’ve always liked Medieval films; all knights and swords before guns…it’s proper man stuff
(male, Blog 3). Some particularly shocking Game of Thrones episodes created a heighted
interest among fans to blog. One memorable episode was titled the ‘Red Wedding’ which
resulted in a number of powerful responses expressed by fans demonstrating the emotive
connection between fan and show. For example, “I've never cried so hard. I hate Game of
Thrones right now. I don't know if I'll ever recover from this” (female, Blog 2). Similarly,
another fan said this, “I wanted to tweet five minutes ago about watching this weeks game of
thrones. BUT I COULDN'T BECAUSE I WAS SOBBING AN OCEAN OF TEARS”
(female, Blog 2). The ‘Red Wedding’ episode caused so much shock that one fan confessed
that she was “having a deep Game of Thrones-related depression and psychological distress
(female, Blog 2). Whilst a male fan admitted, “IVE NEVER FELT SO HEART BROKEN
OVER A FICTIONAL FAMILY. GAME OF THRONES QUIT PLAYING GAMES WITH
MY HEART, DAMN YOU!” (male, June 3rd, 2013, Blog 2). Consequently, the comments
presented similar discourses by the fans and demonstrate that they are true fans, significantly
affected by the storylines and continually shocked by some of the outcomes. Seemingly, they
await the next disappointment. Interestingly, in the final depiction illustrated above, the fan
explains that he is fully aware that Game of Thrones is fictional however this knowledge does
not lessen the shock and emotive surprise. Clearly, what the comments highlighted above
indicate is that there is an international cult-like following of Game of Thrones and
harnessing this could create and strengthen a variety of Game of Thrones tourism products in
Northern Ireland.

Trying to make sense of characters and philosophy
Some fans demonstrated an interest in interrogating the complex characters presented in
Game of Thrones. For instance, “I disagree with Danerys' character being complicated. She
comes across as stereotypical delusional do-gooder. George R. R. Martin knows that and
having read the books I am not surprised at where she is headed, post season 3” (male, India,
Blog 1). In the third season entitled ‘Crowdsurfing’ one fan reflected on the broader social
messages of the television show. For instance, “I think the creators of this world are trying to
tell a story about statesmanship, justice, and what it takes to be a good king, a good queen, a
good lord. The game we've been watching will end when someone manages to rule Westeros
wisely and well (male, June 10, 2013, Blog 4). The interrogation of the meaning of the books
and television series could possibly be integrated into a tourism product via trivia and
scattered puzzels on a Game of Thrones site trail, similar to the notion of geocaching.
Perhaps there could be a final stop where all of the puzzles collected could be realised and a
traditional ceremony could follow.

Costume, Hair and Set Design
Several blogs were found to discuss the intricate costumes designed with hand embroidery,
the sophisticated hair styles and set designs. As such, some fans were keen to explore how the
costumes assisted in the story development revealing ‘devious’ and ‘demented’ characters
(Greenfield, 2014). Michele Clapton, the costume designer had the goal of presenting a

‘fantasy reality’ to fans (Greenfield, 2014). For example one blogger posted ‘ How
fascinating! Clapton is clearly very good at her craft and takes great care to present these
characters so thoroughly’ (female, Blog 5, April 2014).
130 comments were made on a blog focused on the embroidery of the costume designer
Michele Clapton. Most of the posts identified that many of the fans were not aware of the
time and effort that went into creating the costumes, as well as the fine detail on some of the
costumes. One fan said for instance, ‘these are blowing my mind. There are so many tiny
things that never come across on camera but together they make the world so much more
detailed’ (female, February 15, 2014, Blog 7). Other bloggers similarly stated ‘I actually feel
guilty not having noticed it (the costumes) while watching’ and ‘It makes me wonder what
other details I’ve missed’. Furthermore, one fan pointed out “I would totally wear Margery'
dress. I love unusual wedding gowns. I am bored at the standard wedding dress. My own
wedding dress was white but was covered with grape leave lace. So Margery's style is right
up my alley” (female, April 20, 2014, Blog 6). Perhaps an interest in seeing the costumes
worn by the characters on the television screen could create an opportunity for product
development in Northern Ireland. A tour of the HBO set including an opportunity to view
and/or possibly try on the costumes may create an appeal of potential Game of Thrones
travellers. Aesthetics was a significant theme in the various posts by Game of Thrones fans.
Another interest put forth by fans in their on-line blogs was the interest in the food eaten by
the characters.

Food
A number of blogs were recognised to highlight the authenticity and creativity brought to the
television series as a result of the food prepared and eaten by the characters. ‘The Inn at the
Crossroads’ was widely referred to by bloggers as a significant reference in aiding with
recipe ideas. As a result fans were keen to try the various medieval and contemporary recipes.
The interest in the food presented in Game of Thrones resulted in two cook books written by
the same author as the ‘Inn at the Crossroads’ website. The first was an ebook entitled Game
of Thrones Party Planning Guide (Monroe-Cassel, 2013). The contents of the book prepared
the reader to plan a medieval event providing ideas and instructions for decorating,
invitations, menus and activities. The second book was deemed the official cook book
including a forward by the author of the Game of Thrones books George R.R. Martin
(Monroe-Cassell and Lehrer, 2012).
A number of bloggers described their excitement in attempting key dishes in for example
France, United States and India. Others described their developments in planning and
organising themed parties. One blogger had this to say;
        We’re planning a premiere party for Season 2 on Sunday and we’re using a whole
        bunch of your recipes. I think I’m going to dress up as a Ghiscari (minus the funky
        hair, unless I can find a suitable wig) to look appropriately fantastical when I serve
        the food. Thanks so much for creating this fabulous cookbook! (Female, Indian,
        March 27, 2012, Blog 9).
Another blogger said,
        Our group split up the cooking and baking, and our menu was: Bread & Salt,
        Chestnut Soup, Sansa Salad, Oatbread, Spiced Squash, Honeyed Chicken, Pease Pie,
        Beef & Bacon Pie, Candied Ginger, Roman Sweets, Lemon Cakes {altered recipe},
        and of course, Weirwood Cake {I tried, but your artistic skills couldn’t be matched!}.
        Everything was divine! My co-hostess and I also went all out and decorated the
        apartment, printed out the menus on vellum paper and sealed them with wax, and
        gave out chalices full of candied ginger as parting gifts. A good friend printed out

GoT inspired wine labels, one for the “Dornish Red”, and another for the “Arbor
        Gold”.
Aside from themed parties some parents posted their intent to cook the various recipes for
their families. For example, “my kids will love it I’m going to be happy out making […] and
enjoying these meals. Thanks for having them posted” (Female, April 17, 2011, Blog 10).
Another fan said this, “It is quite a bit of work, but we love projects, and the reward of
delicious food is really terrific. You should definitely give the honeyed chicken a go; it’s
received rave reviews at our house and many others”! (male, May 1, 2011, Blog 10).
Ultimately, the Game of Thrones books and television series have demonstrated that there is
a sizeable fan based that has been recognised by the media. The blog analysis has established
that the cult-like following are keen and developing specific Game of Thrones products could
help to target the market and turn the international fans of the books and television series into
visiting tourists.

The Game of Thrones tourist
Drawing these various themes together, a clear picture of the Game of Thrones tourist begins
to present itself. They are a passionate and demanding tourist who seeks an experience
situated at the crossroads between experiential tourism, fandom and fantasy-inspired
escapism. They wish to enjoy an experience that fully immerses them in the fantasy world to
which the have become accustomed through the books, television series’ and community
engagement (in this case, online forums). They demand activities and experiences that require
a high level of effort – thus matching their emotional commitment to the romantic & moving
fantasy of the story itself. They also demand authenticity, and will not settle for an experience
that does not stand up to the scrutiny of their understanding of the series. Smith (2006) would
identify these tourists as escapists, whereby they seek active activities that fully immerse
them in the experience. The potential for offerings to escapist tourists is at its highest when
the providers can support the experience with a strong, consistent theme or message; given
the popularity of the Game of Thrones series, this consistent message or theme is already
present. Bonnichsen (2011) explains that those consumers who utilise such all-encompassing
experiences do so for reasons that extend far beyond simply being entertained. Consumers
who have such deeply rooted shared experiences, and who have invested such large amounts
of capital – financial, emotional, and social capital – begin to view these activities as an
extension of their own self-identity, and not merely activities for entertainment’s sake. These
consumers therefore make for deeply committed customers, which carries with it obvious
business implications. It does mean however that they will demand much richer experiences
from the tourism provider.

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