How does one go about inventing a language?
For decades, film and television creators have been doing exactly that — from Klingon in Star Trek to Elvish in The Lord of the Rings and Na’vi in Avatar. But few fictional tongues have left as lasting an imprint as Dothraki and High Valyrian, the two languages crafted for HBO’s Game of Thrones.
The Birth of a Fantasy Language
When Game of Thrones first aired in 2011, George R. R. Martin’s books contained only a handful of Dothraki words. To bring the nomadic horse-lords to life on screen, HBO held a competition among professional linguists. The winner, David J. Peterson, spent months creating a fully functional grammar and vocabulary — complete with syntax, idioms, and dialects.
Peterson has since spoken about his deep commitment to linguistic accuracy. In interviews, he’s admitted to wincing slightly at how Khaleesi was pronounced on screen. The producers opted for ka-LEE-see instead of his preferred KHAH-lay-see, believing the simpler version would be easier for viewers to adopt.
“Ugh. God. That’s not how it’s supposed to sound. The vowel change bugs me,” Peterson told Vulture, laughing.
Still, the linguistic precision behind his creation was remarkable. Peterson even embedded hidden references and Easter eggs within the language — such as belmon (meaning “chain”), a nod to the classic video game Castlevania II: Simon’s Quest and its whip-wielding hero, Simon Belmont.
Emilia Clarke and the Sound of Dothraki
Actress Emilia Clarke, who played Daenerys Targaryen, helped make the Dothraki language feel natural and alive. Peterson provided her with audio recordings so she could master its rhythm and tone.
“She really does speak Dothraki like a natural,” he said. “She missed a word or two here or there, but such will happen.”
As the series grew, so did its linguistic world. Peterson went on to design High Valyrian, a more refined and ancient tongue — the “Latin” of the Game of Thrones universe. With its melodic structure and layered grammar, it quickly became a fan favourite. Peterson later joked that the language might even be “too pretty” for its own good.
A Living Language Beyond the Screen
More than a decade later, High Valyrian lives on far beyond Westeros. Thanks to modern tools like Duolingo, fans can now learn it interactively — complete with speaking exercises and grammar drills. What began as a fictional language has turned into a cultural phenomenon, inspiring conlang (constructed language) enthusiasts and linguistics students alike.
Peterson himself has become one of the most recognised figures in the art of language creation. Since his work on Game of Thrones, he has developed languages for The Witcher, Thor: The Dark World, and House of the Dragon, among others. His influence has shaped how studios approach linguistic authenticity in storytelling.
The Legacy of Linguistic World-Building
Why does this matter beyond television? Because Game of Thrones proved that language isn’t just a tool for communication — it’s a vessel for identity, emotion, and culture. A well-designed conlang can make a fictional world feel alive and believable. Viewers may not consciously understand every word, but they feel the realism it brings.
For linguists and translators, the rise of constructed languages highlights something profound: people crave authenticity in how stories are told. Whether it’s a fantasy tongue or a real-world dialect, language shapes how we connect with characters, cultures, and each other.
Final Thoughts
From the deserts of Essos to classrooms and fan forums around the world, High Valyrian continues to prove that language — even when invented — can transcend fiction. It shows how deeply words can root us in worlds, real or imagined.
Valar morghulis. Valar dohaeris.
All men must die. All men must serve.
But good stories, and good languages, endure.
Interested in Language and Culture?
If you’re fascinated by how language builds worlds — fictional or real — explore more on our blog. From translation trends to cultural adaptation in media and marketing, we dive into how words shape meaning across borders and screens.