The Evolution of Fantasy Role-Playing Games - Michael J. Tresca [16]
These dichotomies of good and evil clearly designate which side is which, a theme that has continued throughout the Dungeons & Dragons alignment system (Buck 2003). Orcs are the opposite of elves. Minas Morgul and the Nazgul oppose Minas Tirith and Gondor. Gandalf opposes the Balrog.
Middle-earth has a clearly defined evil power that can only be defeated by great force (Smith 2007:155). This tradition, steeped in Tolkien’s work, has been criticized by M.A.R. Barker, author of the Empire of the Petal Throne game, as a “gentlemanly evil.” At heart, the conflict between good and evil is also governed by a sense of fair play, whereby force can be combated by equal force and terrorism is not utilized (Fine 1983:78).
The force of evil is an inherent trait. Once someone turns to evil, he is irrevocably corrupt. There are no good orcs or nice dragons in Middle-earth, and that’s on purpose. As The Lord of the Rings Roleplaying Game puts it, “They aren’t misunderstood, the victims of non-nurturing cultures, downtrodden and oppressed members of the lower class, or anything like that.” (Long 2002:259).
Death is a key part of The Lord of the Rings, a recurring theme that becomes humanity’s obsession. The loss of a child, embodied by a parent’s grief as well as the death of the future, is a plot device Tolkien uses to powerful effect (Crawford 2007:169). Death is an ever-present threat, embodied by the “undead” that are so ubiquitous in role-playing games. In The Lord of the Rings death is greatly feared and that fear drives much of the selfish acts of humanity (Fahraeus 2007:273). Even immortal beings like elves see a decline in their civilization. Contrast this with games where player character death is a minor inconvenience at best.
Another recurring theme is the contrast between fate and free will. Gandalf makes pronouncements about choice throughout the story, which ultimately leads to the destruction of the Ring, reinforcing the importance of the hand of fate. Similarly, Frodo and Bilbo’s decisions to keep or give away the ring are signs of their ability to exercise free will (Long 2002:50).
Curiously, another major theme lacking in most fantasy descendants of Tolkien’s legacy is the corruption of power. Gandalf, Elrond, and Galadriel all reject the power of the ring. Few fantasy games have penalties for a rise in power; instead, they reward it. A player with an all-powerful ring would be envied rather than considered a threat.
The two aspects of standard fantasy gaming tropes that clash considerably with Middle-earth sensibilities are the endless quests for treasure and the use of magic. Treasure-seeking is a holdover from Robert E. Howard’s Conan (Paradox 2010) and Fritz Leiber’s Gray Mouser (Crawford 2010). While treasure is an important part of The Lord of the Rings and specifically The Hobbit, it is not the only reason to adventure.
Magic, on the other hand, poses a challenge in translating Middle-earth into fantasy gaming. It is not meant to be used lightly, and certainly not by weak-willed humanity. As demonstrated by the corrupting power of the One Ring, men are entirely unsuited to wield magic in its most powerful forms; powerful magic is a particularly strong temptation (Riga 2007:211). Gandalf exhibits great restraint precisely because using magic is dangerous. The fear of corruption is entirely at odds with the standard fantasy gaming wizard. The fireball-hurling wizard was heavily inspired by Jack Vance’s Dying Earth series (Wetzels 2002). Today’s adventurers have no such compunctions.
Personalization
At first blush, it may seem that The Lord of the Rings has little in common with tabletop role-playing games except for fantasy elements like elves, dwarves, and wizards. As Nick Montfort states in Twisty Little Passages (2003:75), “The extent to which Dungeons