Use skill to make enemy bleed (or whatever). Game of Thrones RPG is riddled with grating wait-a-minute stuff, like trying to pretend that four guys outside a castle constitute a riot, hilariously coy handling of the series' sexual content, and explaining its combat so poorly that you're almost guaranteed to get destroyed once you get out of the unofficial tutorial areas and face a few street thugs.Įven when you 'get' it, combat feels weak and ill-thought out - bland, uninteresting, and based almost entirely around status effects. This is all the more impressive next to the shoddy design. Both are brought together by a mysterious young woman on the run, for reasons I won't spoil but which tie into the first novel pretty well, with chapters jumping between their individual adventures.
Set just before and during the first book, it follows two seemingly unrelated characters: a brother of the Night's Watch called Mors, whose gravelvoiced authority is sadly undercut by the number of times he has to intone the name “Poddy”, and a Red Priest, Alester.
It does however end up a mediocre RPG that at least tells a decent story. Even at its very best, Game of Thrones is a thoroughly mediocre RPG. Voice-acting that smacks of a producer leaning out of a window one Sunday and yelling at random passers-by, “Hey! Want to be in a licensed abomination?” I've had more enjoyable dental appointments.Īfter a while though, almost apologetically, things started to click. For the opening hour or two of this spin-off, the only real question was whether Game of Thrones RPG was merely comedy-bad or active, outright heresy against George R R Martin's amazing, if increasingly bloated, fantasy series. Like books, it's often a bad idea to judge a game by its cover – or even by its first chapters, as tempting as just giving up can be.
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