The Dueling Definitions of Sexism

An image has been going around that I think helps show one of the fundamental disconnects. Someone, while talking about Anita Sarkeesian, says the following:

my biggest problem with anita, is that if I used her logic i could see sexism everywhere.

For myself and my friends, the reaction is often along the lines of "so close but so far." However, this very real disagreement on the meanings of words and the reasons for critique form is part of the so-called "culture war." I'd like to go into it further.

Let me first say, I think there's something to what they are saying, although not the way they usually mean it. It's a well known issue among academics, and Sarkeesian is one, that one's training leads to certain biases. Now, that doesn't mean one is in some sort of unbiased state before training, but rather, political science majors are more likely to want to explain the world in terms of social structures and power, economists want to explain it in terms of markets and capital, etc, etc. So, it's true that Sarkeesian's critique focuses on one fraction of the academic spectrum and that alternate lenses could be used to view the same material and conclusions. All that really means is that we shouldn't be surprised when someone who focuses on the academic framework of gender studies and especially feminism produces an argument that focuses on gender and sexism. I mean, when I listen to the Freakonomics or Planet Money podcasts, I don't rage quit because they don't use other frames for looking at the world.

Crash Course recently had a rather interesting look into these biases, this time by looking at the often taught concept of "The Rise of the West and Historical Methodology." In addition to talking about biases likely to be developed by political scientists, economists, and the like, he even deconstructs the issues with calling any location by its cardinal direction. I also enjoy that he breaks down the false division between science as facts and literature as fiction and shows that different people, even within the same discipline, can come up with different theories.

While I've been talking about separate disciplines to this point, one of the more interesting things to me is that while Sarkeesian does rely heavily on the academic work of women's and gender study research, she attempts to bring in more interdisciplinary approaches throughout her work. The research and literature that supports her points comes from a wide array of academic fields of study. She integrates psychology, especially the work on stereotype threat, she looks at history, comparative literature, film studies, and more. I often get the feeling that many people view women's and gender studies programs as existing outside of academia instead of being integrated within other lenses.

What all of this means is that while I understand the complaints about "one-sidedness" in Sarkeesian's arguments these are 1) not a bad thing, we live in a complex world that sometimes needs to be simplified, 2) are neither uncommon nor outliers, and 3) merely pointing it out isn't really a critique of her work. That last point in particular needs to be emphasized. Pointing out that people who specialize in a particular academic discipline are likely to frame the world in the terms of that discipline is not a critique of the work produced. That's why criticisms of "she's biased!" so often fall on deaf ears.

With that understanding out of the way, I'd like to delve a bit more into the meat of the disagreement. People like the one in the above referenced tweet often are working from a different definition than people like Sarkeesian are working from. It's one that generally centers on the intent of the person being accused of sexism and/or emphasizes overt acts of sexism. It tends be more literal and lacks nuance. I will admit here that this definition is what I, myself, had used for much of my life, even after taking multiple cross-disciplinary women's studies courses, so I don't lack familiarity with it.

Sarkeesian works from a different model, one that generally emphasizes subtext, power dynamics, and outcomes. It's not enough to say that women are powerful in a game; they both can be power and the game can still have elements of sexism, it's all about whether that power comes from societal stereotypes or if people can have their own agency. Sexism isn't merely gender discrimination, the use of gendered terms, and the like, it's about the power to enforce gender discrimination beyond the individual basis. It's about outcomes. For instance, explain away however you like the fact that women in the same jobs often earn less than men in those jobs, the fact that jobs that are traditionally female are paid less than jobs that are traditionally male is also an issue. This frame of the world is the one that I generally hold today.

This disagreement over the word "sexism" causes many, many problems. Because the first group believes it should only apply in overt circumstances and often that people who perpetuate such overt acts should be punished, the more nuanced use causes them to become defensive. For some men, this often manifests since "defending one's honor," a widely held masculine virtue. Not defending one's honor is seen as weakness and, by some, questions that person's masculinity. For some women, the distrust the more nuanced view generates can cause greater issues, either for them personally or for the men that they care about, and they will fight against it. Some women profit from or internalize the messages sexism in our society tells them, leading them to defend the status quo.

Much of this is further complicated by two things. First, we have an issue where men in general, are often not allowed to complain about the status quo, aren't allowed to change things. I had to go through this as a kid when I wanted to play "boy games" in elementary school. In particular, we played a game that was like everyone-for-themselves dodge ball. The boys didn't really want me to play, so they would do things like slam the ball down on my head. If I complained, they would point to it as a reason why I really shouldn't be playing. If I "took it," then I was accepted into the group. While my gender had something to do with the treatment I received, they would have done the same to any child who did not show the values, masculine values, that the rest of the group accepted. The bullying of "sensitive" boys comes from the same roots. Boys and men are often taught at a young age in our society that they cannot complain, that they must "take it like a man." This leads to those accusations that Sarkeesian, Quinn, Wu, and others are professional victims.

Second, it leads to a situation where many of the consequences of sexism in society remain beyond our reach to address. While overt sexism has consequences, I think they are dwarfed by the consequences of implicit sexism. The amount of money people earn has a tremendous effect on their lives, not only in the immediate term of what they can afford, but when it comes to retirement, bonuses, and other long-term financial planning. Whether or not people can get jobs in an industry affects what gets produced in that industry. This belief that the only real harm comes from the people who tell me what my place and role as a woman is hides the real costs of sexism. Much more harm was done to me over the past few years by the people who tried to tell me what sexism should mean or what I should write about than any of those other people have done. It did lead me to not want to write for a time and to withdraw from the community. I understand why that happened and I don't fault the people who did it, but I think it's something worth bringing up.

So why write this at all? Sure, I wanted to present my arguments for why maybe we should be at least willing to see sexism everywhere, but also because until we find a way to address this fundamental disagreement, I think our path will continue to be full of adversity and harm. I keep trying to find ways to reduce this harm, but I can't do it alone.

Group Spotlight: After School D&D

Yesterday I received a tweet from someone about the article I did on the Dynamite! Magazine image of three teens playing Dungeons & Dragons. It turns out that he runs a D&D group at school and that his students adopted that image as part of the official flyer for the group. I asked him to tell me his story via email. It's really awesome and I'm glad he agreed to let me share it with all of you.

I teach middle school science at a small private school in Seminole, Florida. I started a board games club after school and a few people came for a couple of weeks and it was fun. Then two of the girls started asking me about D&D because they knew I played with some teachers and they knew it from the Big Bang Theory. Many kids their age seem to only know the game from that show. So I said we could try it in the next session to see if they liked it. So I made some characters for them and we played the next week. At first three girls showed up. Three of the quieter girls. We had a really good time. And that was the end of board games club. The next week two more showed up and the week after that two more. So now we've leveled off at seven and it's officially Dungeons and Dragons Club. I bought each of them a set of dice to use in whatever color they wanted. They love them. It's all about the color.

One of the really quiet girls really got into the game. She told me specifically what she wanted her character to be and wrote a whole back story for her and her character's family. It was great. A few weeks in she told me her dad used to play and they started having these huge conversations about his experiences when he was her age. He dug into his old keepsakes boxes and found his old set of dice. He passed them on to her so she could use them, and now she plays with them in our games.

There are some boys that I can tell who want to get into D&D too but they can't get past the stigma of being a "geek." I work at a very sports-centric school. The girls all get along and support each other so there wasn't an issue with them. In class the other day, a "cool" boy started giving the group a hard time, saying "that game is for people with no friends." To which one of them replied in front of everyone, "No friends? There were 8 of us playing yesterday. Who did you hang out with after school that wasn't your mom." I have to admit I laughed out loud. And that was the end of that attempt at bullying.

Like I said, I started with the Dungeon Delve and moved on to my own stuff. I used to teach English, so I've been loving the writing. Two of the girls already want to learn how to DM and are developing some side quests for us.

It's been by far the most rewarding after school thing I've done. The social interaction and imagination and cooperation and confidence I've seen in the girls is really fantastic.

Anyway. Thanks for listening to my completely random story. I like what you do and will be an avid reader starting today!

Steven

This is awesome, Steven, and thanks so much for sharing!

How about the rest of you? Do you have a story like this you'd love to share? If so, send an email to mygroup at sarahdarkmagic dot com.

Hoard of the Dragon Queen: Raiders' Camp - Part 1

So, chapter 2 of the Hoard of the Dragon Queen. Just a reminder but I’m going to look at this in depth, so there will be spoilers aplenty. I think the easiest way to describe this section is that it’s a sandboxed area that requires a number of things to happen.

This chapter has three subsections.

  • Stragglers - Really slow and not too bright raiders that the party should be able to not only take but also get information from.
  • Rear Guard - Soldiers meant to either stop people like the PCs from attacking the camp before the raiders have had a chance to rest and regroup or at least warn the camp of an impending attack.
  • Camp life - Infiltrate the camp, find information, and save the monk, Leosin Erlanthar.

The Stragglers

I feel like the stragglers serve three purposes. First, a reminder to the players and the DM that not all of the NPCs are super bright or tactical. I mean, these characters just raided a town, are in no rush to get back to their camp, and they have a campfire that can be spotted from miles away. The second purpose is to show and/or reinforce that there can be factions even among the raiders, an important point when the PCs realize that the camp is full with a hundred or so raiders. Not only do the humans and kobolds do different things when attacked, they provide different information when questioned. Finally, they can provide information to help with the upcoming challenges, potentially allowing a party to skip a challenging fight and having their cover blown before they even reach the camp.

Rear Guard

This one has me scratching my head a bit. The text of the adventure even states it’s the smart thing to bypass this encounter. It feels like a trap encounter for a hack ‘n slash party. In some ways, that’s fine, there are upcoming challenges that will have serious consequences if the party adopts the hack ‘n slash approach, but it also makes me wonder if there are better ways of handling this. Also, it doesn’t really provide the party with a safe space to learn this lesson. If the runner successfully reaches the camp, the person who has to “pay” for the party’s decision is really the DM, I think it becomes both more difficult and less fun to run.

There’s also an issue, maybe due to editing, of conflicting information. In the rewards section, the description says that the cultists outfits and weapons could be invaluable to the PCs when they try to enter camp but the camp section says “[i]f characters are wearing Cult of the Dragon regalia taken from the rearguard, the characters have disadvantage on [a recognition] roll because no one returning to camp at this time should be in uniform.”

The Camp

Obviously, the primary quest in the camp is to free Leosin Erlanthar. Personally, I’m not sure my groups would necessarily care unless I did work upfront to weave Leosin into their backstories.

When they decide to attempt to free him depends on two things: do they want to try to collect information first and if they are recognized. These two things provide the main tension for the area. The more the PCs can learn about the cultists’ plans, the easier the rest of the adventure will go, both from them and the DM. However, with each question they ask, they risk revealing themselves as newcomers and/or running across someone who recognizes them. So, for me, I’d approach pacing by using this tension to work for me.

Now, SlyFlourish has some great suggestions on his blog for how to run this part of the adventure. I particularly agree with not being afraid to split the party here. Safety in numbers isn’t going to work when you are easily outnumbered 20 to 1 anyway and the dramatic tension that can occur when you switch to the next person right after the current PC realizes they have been recognized can be priceless. Of course, it depends on your group.

One of the difficulties I’ll stress here is that while this section fits perfectly within the hero’s journey narrative, it works against the self-concept many people have of heroes, since you can’t directly challenge the bad guys here. I can see this being frustrating for some players. Adding injustices within the camp that the players can defeat might help relieve some of that frustration if it happens. The hunters mght be an interesting place to add this in. For instance, they could steal some of the meat back for them or something. Finding ways to secretly aid the prisoners could also work or even somehow making the prisoners’ guards look bad.

Well, that’s it for now. Next time I’ll come up with a cheat sheet similar to the one I created for the first episode.

Games are about Stories or How We Got Here

One thing that sometimes gets lost in discussions about gaming is that games, at least most of the games we talk about, are about story just as much, if not more so, as they are about mechanics. The stories are how we differentiate games. Otherwise, why create another point and shoot after Duck Hunt? Why have SpyHunter and Bump ‘N Jump? Why can’t Dungeons & Dragons just be the game system to rule them all?

Once you accept that the story is as important to the game system, it becomes impossible to divorce the story from the game play. I’m trying to be a bit light here, but did we not just have a war by some against 4th edition Dungeons & Dragons because some felt it relied too heavily on disassociated mechanics, that it lacked verisimilitude? If not, please let me know because that means I have truly walked through the looking glass.

Given that the story is what makes each game unique, which helps inform and contextualize the mechanics, we cannot review a game without reviewing its story. Ok, that’s a bit of an understatement. In theory you could if your only audience consists of people whose primary care is overwhelmingly about the game’s mechanics, those for whom the story, in the end, doesn’t matter.

However, there is no proof that those people constitute the majority or even the plurality of the audience. I’d argue that for the majority of the audience, story matters. This is nothing new. I’ve heard my friends discuss the stories of games for a long time, and not just in tabletop. The fact that people will attempt to criticize Anita Sarkeesian’s videos with in story rationalizations, including from fiction not included in the game, speaks to the importance of story.

That leads me to ask, what has changed? Why, today, is a game review that adds or deducts points for story so controversial? My understanding is that it’s the internet but not in the way people normally discuss it.

People blame the internet for a wide range of things. They see the toxicity and blame the ability to remain anonymous. However, I don’t think that explains what is going on here, but first I need to explain something else.

You’ve probably heard the song that claims the internet is for porn. If not, look it up, I laugh every time I hear it. The song has a fair bit of truth behind it. A lot of the advancements we enjoy today do, at least in part, come from the developers and systems engineers who kept the porn sites up. (It’s ok to laugh!)

But it hasn’t been a one-way exchange. The internet has also influenced porn. Before the internet lowered the costs of distributing porn, one common critique was that the porn being produced often focused on a limited array of body types. This can still be claimed today with which porn is most often marketed. However, when we start to look at what is being watched, a different pattern emerges. People, it turns out, have a wide range of sexual interests and people like April Flores disprove popular perceptions that heterosexual men are interested in only particular body types.

As people started analyzing web logs and releasing data that proved the wide array of interests, people started talking about how alone they had felt in their interests for a while. The data helped show that they weren’t the exception. But something else happened. People who were well served by the status quo in porn also started pushing back. They felt that these people explaining that the dominant narrative regarding what heterosexual men desired didn’t fit them were a judgment of those for whom the status quo fit their particular interests.

Consumption data can be enlightening and show that the things we believe to be true might not actually be. I think that this is happening in gaming. For a long time, a particular group held dominance over the common narrative. Those who didn’t fit that narrative kept playing, but they were invisible to the group that claimed the label as “core” for themselves. Since so little data about people who bought and loved games was available, there was no way to challenge this position. As a result, we entered a self-reinforcing cycle that isolated certain groups more and more and allowed this fiction to be seen as fact.

I’ve seen this from the actual marketing side. Most of the companies I’ve worked for have been involved in helping others do online marketing. I saw the push from just basic demographic information such as age, gender, residence, etc, to user stories where those individual pieces are used together to create more fine-grained demographic groups. It’s no longer a world of male versus female, young versus old, but middle-aged women versus teenage boys.

With that data comes the inability to continue the pretense that there is a unified core audience in gaming that constitutes the plurality of game-related revenue for game companies. The “gamer” identity, built on years of fiction, turns out to perhaps not be true.

But identity is hard and when you’ve internalized something, when it becomes not only how you see the world but something you find integral to part of who you are, well, that’s going to cause a lot of pain. That’s honestly what I see as happening and has been happening for at least as long as I’ve been writing. It’s going to keep on happening. Some people are never going to leave that denial phase. They are going to fight this for as long as they have breath. But I’ve seen minds change, not all of them, but more often than not people start to see. It just takes time.

This is why the attacks are most strong against people who don't fit the stereotype of gamer. This is why it's being called a culture war and why SJW and other terms are a common thread in the articles in favor of GamerGate. Our existence as gamers as people who are just as important to the video game makers as they are, forces them to reexamine this fiction and see where it is false. That's why women and people of color who don't challenge their narrative are welcomed while they attempt to silence others.

As to what to do, that's difficult. I fear that only time can help this, along with an attempt to speak to the true issues. But it's really hard when my own humanity is apparently on the table for negotiation and debate. So I'll continue with what I can do and have faith that the progress I've seen already will continue into the future.

Art: "Cherry Blossom Knight" © 2014 John W. Sheldon, used under a Creative Commons Attribution license: http://creativecommons.org/licenses/by/3.0/

Black Rock Bandits - Part 1

On Friday I released the main text for Sickness in Springdale. Here's the main text of Black Rock Bandits.

The Black Rock Bandits

In this adventure, the PCs attempt to deal with the infamous Black Rock Bandits, a band of local bandits who have been terrorizing the caravans who pass through Black Rock via the King’s Road. Many of the characters provided with this adventure have direct ties to the bandit leader. Others, like Zazzel, are interested in the ruined temple the bandits currently call home.

Background

The King’s Road winds through the Black Rock Hills. Some say these hills are so named for the large chunks of black limestone mined from the area generations ago. When polished, the stone turns a deep and shining black. Others believe it’s because the rocks on the ground often turned black from blood after the numerous wars fought here over the centuries.

Regardless of the origins of the name, the area now is known for the infamous Black Rock Bandits, a group of caravan raiders who collect their own tolls from the caravans that travel along the King’s Road. The tithe is enough for the bandits to live on but not enough for the King to send out his knights to deal with the problem. Others, would-be bandits and adventurers alike, fear the numerous stories of ghouls and other foul creatures that are said to haunt the hillsides. Thus the King is forced to hire bands of inexperienced adventurers to deal with the problem, paying them so little that they either join the bandits when they see their amassed wealth or they are so inexperienced that they easily suffer death at the end of a bandit sword.

The Village

Here are some of the more interesting locations and individuals in the town of Black Rock.

Blacksmith – The town’s smith is a quiet man by the name of Roland, also known as Roland the Lion. In addition to horseshoes and other necessities of rural life, he can make decent but mundane swords, daggers, arrow tips and other simple weapons. Roland’s mischievous daughter Hope ran away from home a year ago. He and his assistant Tamil are available as player characters.

Apothecary – Sister Rose, cleric of Melora set up shop in the town. In addition to maintaining a small chapel to the goddess, the cleric raises funds by running a small apothecary shop. PCs can buy a variety of herbs and potions from her. She is available as a player character.

General Store – A small general goods store imports and sells most of the necessities for the town. Simon Small, a rather short, quiet man, runs the small shop. Its popularity is due to the work of his daughter, Samantha, or Sam as she is often called. She is close friends with Roland’s daughter Hope and is available as a player character.

Bakery – Zazzel loves nothing more than to study his musty old books all day, but unfortunately books don’t pay the bills and no one was wiling to pay for his research into the peculiarities of the Black Rock region. Most of those with coin view the area as an uninteresting backwater and swear that anything of value has been taken long ago. So Zazzel runs his bakery, using bits of magic to produce the most exquisite desserts and lightest loaves found outside of the major cities. His young apprentice, Paeter, does most of the work both in the bakery and in field research. Paeter is available as a player character.

Town Guard – Sylvia heads the local town guard. She hates the Black Rock Bandits. In truth, she’d prefer the group suffer some horrible accident rather than dealing with incarcerating the band. Sylvia is available as a player character.

Scene 1: An Ambushed Caravan Arrives

One of the caravan leaders, a human named Maynard, decided not to pay the toll. He and his guards fought off the bandits, but at a great cost. They lost 5 of their own and one of their wagons. However, they did bring a prize, a captured bandit by the name of Phaelon.

The adventure starts with the PCs in the center of town. If they play the pregenerated characters, they have reasons for being interested in the caravan’s arrival. If they decide to make their own characters, find a reason for each of them to care about the caravan’s arrival and weave that into the adventure. Perhaps they are waiting for a letter, package or even a visitor to arrive or they are friends with some of those traveling with the caravan.

Quest (500 XP): The town guard wants the Black Rock Bandits defeated. Dead or alive, each bandit is worth 10 GP and 20 GP for the leader. If you run this as a one shot adventure, the Baron pays the reward at the end. If you want a reason to send the characters elsewhere as part of a continuing campaign, tell the players that the town doesn’t keep that sort of money in its coffers but will pay with promissory notes redeemable in one of the kingdom’s larger cities.

Quest (100 XP): The caravan leader, Maynard, asks the group to retrieve a trunk for him. It’s a worn traveler’s trunk, full of dents from years of travel. During the raid, he placed his young son, Theron, within the trunk for safety, but it was on the wagon the bandits stole.

Quest (100 XP): The Baron’s 50th birthday is in a month. Zazzel ordered some special cake flour to use for his cake. It was among the goods the bandits stole.

Interrogating Phaelon
When the party first meets Phaelon, he snarls and snaps at them as if he was a wild creature. A PC who makes an Arcana check, DC 8, or an Insight check, DC 12, learns that an evil spirit took over his body. The PCs aren’t high enough level to cure him of the possession, but they can restore his sanity for a short time. If the players decide to not use the pregens, have Sister Rose or Zazzel step forward in town and mention its existence. They can teach the ritual to a PC trained in Heal.

Glimpse of Sanity
Allow a creature possessed by the spirits of the Black Rock temple a few brief moments of sanity.

Level: 1 Component Cost: 10 GP
Category: Restoration Market Price: 50 GP
Time: 10 minutes Key Skill: Heal
Duration: Special

Glimpse of Sanity allows a character driven insane by the evil Black Rock spirits to temporarily become sane again. The Heal check determines how long the person remains sane. If this is used as part of an interrogation, the DM decides how long each question can be but generally it takes 1 minute to ask and answer a question. The DC is set by level of the spirit possessing the creature, if known, or by the level of the party if not (since it’s assumed that the party is facing enemies of their level).
This ritual helps the person beneath fight off the evil spirits for a time, and as a result physically exhausts the recipient. He or she will be unconscious for a number of days equal to the number of minutes of sanity.

Heal Check Result Effect on Target
< Easy DC The spirit realizes what is happening and turns the target unconscious for 24 hours.
Easy DC 1 minute of sanity
Moderate DC 3 minutes of sanity
High DC 5 minutes of sanity

Questions Phaelon might answer:
How many entrances are there to the temple? There are two. The well-known front entrance and the relatively unknown rear one. His description gives a +4 to perception checks for finding the rear entrance.

How many bandits live in the temple? A couple dozen and a few dogs.

Are there any traps? Yes. His information gives a +4 to perception checks checking for traps.

Who is your leader? A girl named Hope, the daughter of the blacksmith Roland. Since they moved to the new headquarters, she wears a horned helm and swings a mean battleaxe.

Scene 2: The Temple

History of the Temple
Hundreds of years ago, the current bandit enclave started as a temple to the demon lord Baphomet, carved from the black rock beneath one of the hills. Minotaurs carved out a simple maze in honor of the Horned Lord himself.

Eventually gnoll followers of Yeenoghu overran the minotaurs and they made some changes to the original temple to better fit their practices. They tore down some of the maze walls to create kennels for the hyenas they preferred to sacrifice. They carved a skylight in the middle of the central altar, allowing the moonlight to filter inside. The last active worshippers in the temple left over a hundred years ago.

As a result of the years of sacrifices performed in the temple, a number of evil spirits haunt the maze. They try to possess whoever they can and currently control the bandits’ bodies. When the creature they possess is killed (not knocked unconscious), they leave that creature’s body to find a new host.

Areas of the Temple

A. West Entrance – This is the main entrance to the temple. A large rotted oak door hangs open in the entrance. An Insight check, DC 12 (use passive), suggests that the bandits aren’t concerned about unwanted guests. Daylight doesn’t penetrate more than a few feet inside the door.

B. Intrusion Detection Traps – A thin string, painted black to match the floor, is tied across the passageway. A Perception check (DC 12 base, normal vision penalties for darkness apply) reveals the string. Countermeasure: step over it with an acrobatics check, DC 8. If triggered, bones and gore fall from the ceiling, doing 2 damage, causing a loud noise and covering the PC in ichor. PC takes a -2 penalty to stealth checks unless the character removes or disguises the scent.

C. Storage Area 1 – This area holds extra cloaks, boots and other outdoor gear of the bandits. In addition, a Perception check, DC 8 reveals a small pile of rocks, each carved with an eye in one corner. A Perception check, DC 18, reveals a bit of the wall that is oddly shaped and a shade darker than the others around it. A Thievery check, DC 12, reveals the mechanism for opening the niche. Inside is a ceremonial dagger with a handle of bone inscribed with runes of death and destruction. (Magic +1 Dagger).

D. General Sleeping Quarters – These two rooms serve as the sleeping quarters for most of the bandits. To provide some airflow, the doors to the rooms are open as are the doors between the rooms. If the PCs trigger one of the bone traps or runs into a guard, these bandits awake. Their personal belongings are in the room. (See page $page for encounter information)

E. Storage Area 2 – Once used to hold creatures for ritual sacrifice, this room has an air of deep foreboding. Many of the larger items from the caravan raids and collected tolls fill this room, including bolts of cloth, wagon wheels, trunks full of traveler’s clothing, and the flour for the Baron’s cake. If the characters left the town within half a day of the caravan attack: In the northwest corner, a knocking noise emanates from one of the trunks. It is locked and bears marks of someone trying to open it with an axe. An Arcana check, DC 8, tells the character the chest is magically enhanced. A Thievery check, DC 12, unlocks it. Inside is Theron, the caravan leader’s son. If the characters spent more than a half of a day before leaving: In the middle of the room is an open trunk, matching the description given by the caravan leader. A pair of small shoes lies in one corner of the trunk and the inside is smeared with blood.

F. Shrine to Yeenoghu – Long ago, worshippers of Yeenoghu fastened the bones of their victims to the wall in the form of the triple-headed flail. Thick, red water seeps from a crack in the wall above the flail, giving the appearance of blood dripping from the heads of the flail.

G. Ritual Room/Mess Hall/Kitchen – Once the room where creatures were ritually sacrificed, first to Baphomet and later to Yeenoghu, this room currently serves as the mess hall and kitchen for the bandits. The large opening in the center of the room, that once provided moonlight during the sacrifices to Yeenoghu, makes a natural chimney. (See page $page for encounter information.)

H. Shrine to Baphomet – Bits of ancient bones litter the floor. The current occupants have been creating a sculpture out of the bones of their victims. Instead of a skull, a cracked obsidian mirror (250 GP and see below) serves as the head. With a Religion check, DC 8, a character recognizes the broad shape of Baphomet, the Horned Lord. With an Arcana check, DC 12, a character recognizes the obsidian mirror and recalls that such mirrors are often required as a focus to trap spirits or create portals to the planes below. Trap Spirit – Standard Action. Close burst 1. Intelligence vs. Will. Target: Black Rock Spirits in burst. Hit: Spirit is captured in the mirror.

I. Food Storage Area – This dank alcove serves as the pantry for the bandits. Bits of moldy cheese, salted beef and pork, bushels of potatoes and apples fill their larder. Among the foodstuffs are 2 potions of healing, which can be spotted with a Perception check DC 12.

J. Hope’s Bedchamber – A feather bed, complete with four posts and bed curtains fills the southeast corner of the room. Across from it is a small dresser, with a silver brush and mirror set, inlaid with semi-precious stones (set worth 50 GP).

K. Backdoor - Hidden and locked, Perception check, DC 18, to find and Thievery check, DC 12, to unlock. It is on the east side of the hill.

Running the Temple
Run each half of the temple as one encounter. Most of the bandits are in the main encounter locations, although some Black Rock Bandits patrol the halls. When combat starts in a main encounter area, draw the patrols into the fight. If the PCs try to take a short rest after killing a patrol, throw more patrols at them. Remember to give them XP for the additional bandits.

After the Temple

After the PCs finish the temple, there are a few things they can do.

  • If they retrieved the mirror, with an Arcana check, DC 18, they recognize that the spirits left it when it cracked. If they repair the crack (e.g. the Make Whole ritual) within 48 hours, any spirits already trapped inside will remain there permanently.
  • While the bandits share some responsibility for their crimes, the spirits that invaded their bodies had some influence as well. The PCs can learn this through an Insight (DC 8), Arcana (DC 8) or Religion (DC 12). From there, they can decide how they would like to deal with that information.
  • If they remove the spirit who possesses Hope, she will show remorse for the crimes she has committed. The PCs then decide if they want her and the other bandits to answer for their crimes (collecting the bounty along the way) or find some other way of dealing with them.

Black Rock Bandits Map - No KeyBlack Rock Bandits Map - No Key

Black Rock Bandits Map - KeyBlack Rock Bandits Map - Key

Analysis of The Escapist interviews

I posted the first part of my analysis of the series of male developer interviews published on The Escapist on G+ and will add them to the end of this post. For now, I'd like to examine the core questions that were asked of 13 of the male developers.

What is your definition of "gamer"?

This is an important question to ask, although in a few cases it wasn't asked until after the interview was otherwise completed. Since the definition of gamer varies, knowing how each one defines it provides much needed context to the answers.

Do you make games for gamers? (I'm using "gamer" here to mean "core game enthusiast")

Ok, things have already gone off the rails a bit. Really this question should have been "For whom do you make games?" With the current atmosphere surrounding gaming, a "no" opens people up to abuse. It's additionally difficult when the interviewer is using his own definition of gamer, meaning "core game enthusiast." Not only is the term "core game enthusiast" problematic but he's centering on the stated expected audience of his site. Not a good position to put an interviewee in if the interview is supposed to lack an editorial voice, in my opinion.

Do you think gamer culture more toxic than other enthusiast cultures on the web (political enthusiasts, fashion enthusiasts, car enthusiasts, gun enthusiasts, etc.)? (I'm using "gamer" here to mean "core game enthusiast").

What does this question even mean and why would these interviewees be in a position to really answer it? While I get that many people have multiple interests, the number that reach enthusiast level is likely to be rather small. This question would be better served by people who study such communities in the aggregate. Also, why does it matter if group A is more or less toxic than group B if there is toxicity. Finally, the question suggests an assumption of toxicity which some may disagree with but there's no easy way to signal that given the question construction.

What is your reaction to this sentiment, expressed in Gamasutra: "Gamers are over. That's why they're so mad."

I feel strange about this being included in here. I get that this was probably included due to Intel's decision to pull their ads from the Gamasutra site, but there were a lot of articles written around that time period that expressed similar arguments. Also, I'm not entirely sure why I should care about a game developer's reaction to that statement. This seems like a softball question to those interviewees that align with GamerGate but a poor question for just about anyone else.

What is the root cause of GamerGate? Do you see it as part of a larger "culture war"?

I thought GamerGate was supposed to be about journalistic ethics. Why isn't the question here about those alleged ethics violations? Why reference a culture war, especially when that's part of an unsubstantiated and quite lacking conspiracy theory?

Imagine a development team composed of middle-aged white men creates a game explicitly aimed at young men called AMERICAN VENGEANCE that features a lantern-jawed white American soldier attempting to save his exotic-dancer girlfriend (complete with jiggle physics) from torture at the hands of Jihadists. Violence is the only way to advance in the game and the girlfriend's torture is as graphic as anything in the movie SAW. But as far as violent shooter games go, it is exceptionally innovative, gorgeous, and fun. Is it fair to give the game a low review score for lacking inclusiveness? Is it fair to give the game a lower review score for having violent or misogynist themes?

What? Why not just ask what the purpose of reviews are? What people should or shouldn't review? This is needlessly inflammatory if you are trying to conduct an impartial interview with people from many different points of view. Also, these are game developers NOT journalists or people necessarily knowledgeable about ethical standards for reviews. While I would hope that developers would be open to critiques to their work from a variety of lenses, I don't particularly care if they are or are not.

Do you believe videogames can affect the personality of their players, making them more violent or sexist, for instance? If so, how do you as a creator respond to this? How should the industry respond? How should society respond?

Again, how are these people necessarily in a position to answer this? Why not conduct interviews with people who know about this instead of asking someone's beliefs? Why is this a core question when the issue is supposedly journalistic ethics?

Ultimately, which is more important: The individual artist's right to create artistic works, regardless of how distasteful we may find them; or our society's right to create an environment free from bigotry and hatred?

First, this is not how rights work. You can't declare that in all cases one right will trump another. Second, this is a slanted question. I don't know of a single person who is demanding a societal "right to create an environment free from bigotry and hatred." In fact, what I do see are a lot of people who are saying it's ok to enjoy problematic things, in part because people are complex, but with that comes the responsibility to acknowledge their problematic aspects.

These are terrible interview questions. They are stacked towards the point of view that Alexander Macris himself acknowledges he has. They also reveal the true intents behind GamerGate. Notice, not one of these questions addresses questions of corruption or the relationships between developers and press or between developers and fans. I get that other questions ask that but they are not part of the core questions he asked 13 out of the 16 interviews currently on the site.

The whole thing was terrible. As an attempt to provide a variety of points of view, it's a failure because the questions are so tilted it feels like it should be on the Colbert Report. I understand that he put a lot of work into this and that it took weeks, but that doesn't excuse the sloppiness. To top it all off, he didn't disclose his personal relationships with at least two of the interviewees. One is someone he has called a friend for over 15 years and the other is a person who's IndieGoGo campaign he recently contributed to. Jenn Frank was driven away over a much lesser relationship, and while it's not part of The Escapists' ethics clause to disclose these things, I think it's hypocritical that people like Jenn Frank are viciously attacked whereas Macris is applauded.

Anyways, here's the rest of the analysis. This analysis suggests that there are some real issues with the balance between the women's and the men's presentations, the questions asked each, the amount of time given to each, and the like.

Approach
First, let's compare the approach. The female developers were asked to give statements by a fellow female dev, not by the staff of The Escapist. The female developer was one of the 7 who gave statements. It's unclear how long they had to give their statements but multiple of them mention that there is a deadline. Their statements are published on September 24th. Since some of the female developers wanted to be anonymous, all were made anonymous.

The mostly male developers (one of the interviews is with a game design studio that has male and female members) on the other hand is an actual interview and it is clear with several of them that there was a back and forth with questions. Seventeen interviews were conducted although one was removed later due to evidence that he was allegedly involved in harassment of several other people. At least one staff member is conducting the interviews and they happen over several weeks and are published on October 10th, a good two weeks after the female developers statements are published. There is a mixture of anonymous and not.

Format
The female developer statements were presented one after another and are not given separate pages on the site. Only one developer has a statement that goes multiple pages.

The male developer interviews are presented in a table with names and summations of part of their interview. They each have their own page on the site and many of the interviews are consist of multiple pages within each. Information about their credentials is provided along with the type of game design work and other links to the games industry are included.

Questions Asked

For the female developers, they were asked to address the following talking points if they wished.

What do you think about the term "gamer?" and about #GamerGate?
What you think about the press and any corruption you think occurs?
Should controversial games be available (whether that controversy comes from content like rape or a strong "social agenda")?
Do you feel like "social issues" or pressure have changed your personal work or your work for an employer, and if so, in what way?
Has #GamerGate affected you personally or professionally--has it changed the way you feel about your games, your audience, or your work?

For the male gamers, the questions varied. Here are the core ones that the majority were asked.

What is your definition of "gamer"?
Do you make games for gamers? (I'm using "gamer" here to mean "core game enthusiast")
Do you think gamer culture more toxic than other enthusiast cultures on the web (political enthusiasts, fashion enthusiasts, car enthusiasts, gun enthusiasts, etc.)? (I'm using "gamer" here to mean "core game enthusiast").
What is your reaction to this sentiment, expressed in Gamasutra: "Gamers are over. That's why they're so mad."
What is the root cause of GamerGate? Do you see it as part of a larger "culture war"?
Imagine a development team composed of middle-aged white men creates a game explicitly aimed at young men called AMERICAN VENGEANCE that features a lantern-jawed white American soldier attempting to save his exotic-dancer girlfriend (complete with jiggle physics) from torture at the hands of Jihadists. Violence is the only way to advance in the game and the girlfriend's torture is as graphic as anything in the movie SAW. But as far as violent shooter games go, it is exceptionally innovative, gorgeous, and fun. Is it fair to give the game a low review score for lacking inclusiveness? Is it fair to give the game a lower review score for having violent or misogynist themes?
Do you believe videogames can affect the personality of their players, making them more violent or sexist, for instance? If so, how do you as a creator respond to this? How should the industry respond? How should society respond?
Ultimately, which is more important: The individual artist's right to create artistic works, regardless of how distasteful we may find them; or our society's right to create an environment free from bigotry and hatred?

Here are the number of questions each male developer was asked
Brad Wardell 35
Greg Costikyan 23
"Royale" 23
Crowned Daemon Studios 23
James Covenant 22
Scion 10
Daniel Vávra 8
James Desborough 16
Dave Rickey 23
Kyle McConaughey n/a since he wrote an essay
Tadhg Kelly 23
"Damion Schubert" 23
"Oakheart" 22
"Xbro" 8
"Glaive" 16
Roo 21

Word Count

For the female developers
Developer 1 497
Developer 2 1806
Developer 3 667
Developer 4 837
Developer 5 527
Developer 6 262
Developer 7 363

For the male developers (These numbers include the questions since 1) there is a back and forth and 2) the questions are often needed for the context)
Brad Wardell 5015
Greg Costikyan 2627
"Royale" 1202
Crowned Daemon Studios 1672
James Covenant 1370
Scion 1565
Daniel Vávra 1800
James Desborough 1670
Dave Rickey 3950
Kyle McConaughey 720
Tadhg Kelly 1905
"Damion Schubert" 4449
"Oakheart" 3284
"Xbro" 3059
"Glaive" 1182
Roo 1778

(Yes, that's right, the questions and answers in Brad Wardell's interview included more words than the female developers' combined,)

Pull-out Quotes

For the female developers, the layout had 1 pull-out quote per page meaning all but Developer #2 had 1 pull-out quote. That developer had 3 because her statement took 3 pages.

For the male developers, there's no clear rule for pull-out quotes. This is troublesome because these quotes are a break from the supposedly objective, we'll just publish everyone who responded stance because what to put in a pull-out quote and how many of them to put in is editorial discretion. The numbers for the male devs:

Brad Wardell 7
Greg Costikyan 5
"Royale" 3
Crowned Daemon Studios 2
James Covenant 1
Scion 4
Daniel Vávra 4
James Desborough 2
Dave Rickey 5
Kyle McConaughey 4
Tadhg Kelly 3
"Damion Schubert" 4
"Oakheart" 3
"Xbro" 3
"Glaive" 3
Roo 3

Availability of Content

As noted above, the male interviews each have their own page but the female developers' statements do not. This also means that even when on a page that displays what is supposed to be all the different views, the female views are left out.

There are many other issues with article published on Friday, but hopefully this helps show some of the issues with the structure and some of the outcomes of their approach.

Sickness in Springdale - Part 1

Things on the internet are making me sad today, so I'm doing the only thing I can think of. I'm releasing the text of my adventure, Sickness in Springdale, and making it free for everyone. This post will have the story, the next will have the encounters, and the last will have the pregenerated characters. This was originally written to be used with 4e but I think you'll notice that it will fit the 5e structure quite well even though it was written years before 5e was announced.

Sickness in Springdale

In this adventure, the PCs attempt to save the town from a deadly illness by finding a source of Lady’s Staff, a plant that cures the affliction. To do so, they need to travel through the Lady’s Woods where they will meet a series of challenges to gain her favor. During the course of their travels, they find that their town is not the only one with the disease, the local goblins and elves are sick as well. If they gain her favor, she provides a ritual that multiplies the plant, providing enough to heal the town as well as the elves and goblins. If they fail, they will find their trip difficult and arduous.

Background

“Feel the warmth and safety of the Lady’s Blessing.”

When Springdale was founded 100 years ago, after the last great war, those words enticed scores of people
to settle in the small town on the border of the Lady’s Woods. With her blessing, it seemed like anything was possible, even abundance and peace.

However, over the last decade, that feeling has been changing. Small bands of goblins raid Springdale and other nearby towns every year. The crops are less abundant. It feels as though the Lady’s power fades with each season.

To help with the goblin problem and to investigate the larger issue of the waning protection of the woods, the local baron sent a small force, the PCs Reed and Willow Appleberry, Desmona Thaneborn, and Ewen Banister. They are tasked with fortifying the town, training the locals how to fight, and finding out what they can. They are joined by a number of locals including the PCs Meadow Greene and Garleth Strongbow.

The winter started off normally, but things quickly take a turn for the worse. Most of the town spends their days in bed, sick from a terrifying cough and fever. If they have any hope of surviving the winter, the characters must cure the townspeople. The herb most effective against the malady, Lady’s Staff, is in short supply. The heroes must find an additional source. Fortunately, the midwinter thaw opened some of the roads and paths in the area.

Consuming Cough
The townspeople are sick with the consuming cough, similar to our tuberculosis. While consuming cough is a common ailment, the number of cases this winter is overwhelming. It causes frequent coughs, difficulty breathing, night sweats and weight loss. Without treatment, it kills more than 50% of its victims.

At the beginning of the session have each player make a saving throw against the disease. If they fail the saving throw, they have the initial effect.

Consuming Cough – Level 2 Disease
Endurance:
Improve DC 12
Maintain DC 8-11
Worsen: 7 or lower

Stages of the Cough:
0: Target is cured.
1: Initial Effect: Target develops a chronic cough. Gains a -2 penalty to stealth checks.
2: Target loses weight and develops night sweats. Needs an additional 2 hours of rest to achieve an extended rest. The target takes a -2 to Fortitude.
3. The target is weakened. In addition, the effort of combat further fatigues the target. At the end of a combat encounter, roll a d4. On a 1, the target loses a healing surge that cannot be regained until he or she is cured.
4. Final Stage: The target dies.

Scene One: Springdale

Silvanus Greene, the mayor of Springdale and Meadow’s father, calls the PCs to his office.

When the PCs enter the mayor’s office read:

The mayor sits behind an ornately carved wooden desk and motions to you to sit. To his right stands Woodsman Strongbow, Garleth’s father and leader of the Lady’s Thorns, the town’s militia. To his left is Handmaiden Aurora, the town’s herbalist and connection to the Handmaidens.

Mayor Greene: “Our town is in serious peril. Those most ill will last a week at the most. We need you to find a source of Lady’s Staff so we can cure our people. Aurora here believes the Handmaidens may have some or know where you can obtain it. Do you have any questions before you prepare for your journey?”

What the leaders know:

  • The disease, the consuming cough, seems to be natural in cause but it seems strange that so many are sickened by it. They know the stages of the disease.
  • The only known cure in the area is a plant called the Lady’s Staff. It grows about 3 feet high. It’s most common in summer but some of the Lady’s Handmaidens claim that a sacred pool exists in the woods where it grows during the winter as well.
  • The Lady's Handmaidens live in a small cluster of houses about a day’s journey from Springdale.
  • The Lady of the Woods presents those who venture into her woods to seek her aid with tests to deem if they are worthy of her favor. She protects the natural beasts of the area and often gives her favor to those who show them kindness and compassion. She gives her bounty to those who are particularly careful of their actions while in her woods, especially when it puts them in harms way.
    • One tale states that she made whole a man who refused to kill a hunting wolf sent to attack him by a goblin. For those who ignore her wishes, she shows her fury.
    • Another tale tells of a group of adventures who went in seeking an old ruin and the treasure within. They killed everything in sight and soon found themselves beset on by wolves, tangled in vines and swarmed by bees.
    • Yet another tale tells of a small group of children who were lost in the woods with only a few apples and rations of jerky amongst them. They claimed that a voice whispered in their ears a ritual. Each time they performed the ritual, the amount of food tripled. This allowed them to live for a week off the rations of one day.

Quest: Find and bring back 10 Lady’s Staff plants to treat the townspeople.

Scene Two: Ambush at the Well

The townspeople point the PCs towards the Lady’s Handmaidens, a small group of women who live
by themselves in the woods. On their way there, a group of goblins with pet wolves accost the PCs. The encounter provided presents the well as one of the Lady’s challenges, but feel free to mix things up by including one of the other challenges instead. Perhaps the goblins and wolves are chasing down the white stag or are cutting down the wishing tree.

Scene Three: The Lady’s Handmaidens and Traveling the Woods

A small group of women who worship the Lady of the Woods live here. Handmaiden Pearson is the leader of the group and she can provide the PCs with the following information:

  • On the way to her office, there is a small fountain where the PCs may wash their hands and face. Next to it is an offering box. If they make an offering, Haindmaiden Pearson provides them with a recipe for an effective poutice to use against the disease.
  • The Handmaidens are out of Lady’s Staff. The most likely place to find some is at the Lady’s Pool, a heated pool of water that provides a microclimate, allowing certain plants to grow year round.
  • Handmaiden Pearson asks them if they had any trouble between there and the town. If the PCs mention the encounter with the wolves, she will ask what happened to the wolves. If the players helped the wolves, she will thank them. If they harmed the wolves, her face turns grave and she will remind them about the Lady.

Traveling the Woods

Under normal conditions, the trip from the Handmaidens’ home to the Lady’s pool should take 3 days. However, it’s winter and things sometimes take longer than expected. Have the players make 2 checks using nature or endurance, players’ choice. If each of the highest 3 checks are all:

  • 19 or greater: By interpreting the terrain and working together against the elements, characters make great progress towards their destination. This segment of travel takes half a day.
  • 12-18: The heroes make average progress. This segment of travel takes 1 day.
  • 6-11: The path is hard to see through the snow and drifts make it hard to keep up the expected rate of travel. This segment of travel takes 1 1⁄2 days.
  • 1-5: Everywhere they turn, characters run into snow drifts and their bodies are worse for the wear. The exertion and weather conditions threaten their well-being. This segment of travel takes 1 1⁄2 days. After the first day, if they don’t currently have the consuming cough, the characters need to make a saving throw to determine if they come down with it.

Note: Increase the DC for these checks by 2 each time the PCs fail in one of the Lady’s challenges to a maximum of +6. These checks are also a great time to integrate in the additional challenges.

Additional Challenges

Feel free to use these additional scenes to provide role- playing and/or storytelling opportunities in your game. If you choose not to use these additional challenges, it may be more difficult for your group to earn the Lady’s favor.

The Wishing Tree

Locals often leave small notes written on tree leaves in the deep cracks in the bark of this tree. Legend has it that the Lady of the Woods grants some of these small wishes, if she finds those who leave them worthy. Village children leave many of the wishes, asking for simple items such as a pair of new shoes or perhaps a cloak. Adults often visit the tree to read the children’s notes and give them the things they need.

If a character uses the wishing tree to ask for something to aid the current cause, such as help finding the lady’s pool or evading animal attacks, or if he decides to fulfill the request of a village child, provide the character with a one-time boon, such as a +2 to nature or endurance, to represent a Lady’s blessing. It also earns the characters 1 success towards the Lady’s Favor; limit 1 success per session.

The Lady’s Stag

A white stag appears to the characters, its right leg darkened with blood. If the characters take the time to bandage and/or heal it (Heal DC 8 or 12), the creature will aid them in finding the Lady’s Pool, providing them with a +2 to all travel checks for one round. It also earns the characters 1 success towards earning the Lady’s Favor. Refusing to help counts as 1 failure.

Scene Four: The Lady’s Pool

When they arrive at the pool, they first run into the elves. The elves don’t want a fight, but they are in the same situation as the PCs. Their town is sick and the Lady’s Staff is the only known cure. The players decide whether or not they fight the elves. When the rest of the creatures enter the scenario, the elves see that they have a common foe and join forces with the PCs, dealing with some off camera threat.

Winning the Lady’s Blessing and Bounty

Use this list to keep track of the party’s progress towards earning the Lady’s blessings.

Successes

  • They don’t kill the wolves (Ambush at the Well)
  • They heal the wolves (Ambush at the Well)
  • They leave an offering at the well (Ambush at the Well)
  • They give an offering to the Lady’s Handmaidens (The Lady’s Handmaidens)
  • They ask for aid or promise to fulfill the request of a village child (The Wishing Tree)
  • They bandage or heal the white stag (The Lady’s Stag)

Failures

  • They kill the wolves (Ambush at the Well)
  • They take offerings from the well (Ambush at the Well)
  • They refuse to help the white stag (The Lady’s Stag)

Count up the number of success they have towards earning the Lady’s blessings. If they achieved 4 successes before 3 failures, they earned her blessing and her bounty. If they achieved at least 2 successes, they earned her blessing.

If the characters earned the Lady’s Bounty, she will whisper in the ear of the druid:
Collect 10 Lady’s Staffs and place them on the altar. Say a prayer and share in my bounty.”
The plants triple in number, enough to treat both the town and the elves.

If the characters earned the Lady’s blessing, the Lady whispers to them:
Perform the following ritual and receive my blessing. Take a handful of water and offer it to the north, for the frigid winds that bring forth winter and the death that brings life. Take another and offer it to the west, for the miracle of night and the rest it brings. Offer another to the south and the warm rains it brings. Finally, offer a handful of the water to the east for the life-giving sun. After you have done these things, say a small prayer, enter the water and be healed.

If the characters did not earn the Lady’s Bounty:
There’s only enough Lady’s Staff to help one town. With a heal check of DC 8, they think they could create a weak tea that will keep those sick alive for a month. If the elves are still alive and the PCs try to take all of the plant, the elves engage them in combat and will fight to the death.

Art: "Fiordelisa" © 2012 Jenna Fowler, used under a Creative Commons Attribution-ShareAlike license: http://creativecommons.org/licenses/by-sa/3.0/ Find this and more art at Prismatic Art Collection

How a picture of girls playing D&D went from cool to awesome

So, some of my friends were sharing an image around that I thought was pretty cool.

I love it! They claimed that it was a D&D ad from circa 1980. That would be awesome to hear about but something was nagging me about the story. It didn’t feel like an ad. I’ve seen a bunch of ads from that time period. Where was the TSR logo? Or the address to write to for more information?

So I did a Google image search. (In Chrome, I can do this easily by right clicking on the image and choosing “Search Google for this image”). I found this article from 2012 that discusses the image and points to a Scribd page as the source. From this page, it claims that the image, instead of being part of an ad, is actually part of an article about Dungeons & Dragons published in Dynamite Magazine.

Unfortunately, the site would only give me the first page, the one with the image, for free, so I still couldn’t be sure that it was more article than ad. My curiosity overcame me and I paid for a one-day pass to the site so I could download the entire article. I’m glad I did!

While the article itself doesn’t say Dynamite Magazine, it gave me two more clues. The credited photographer, Richard Hutchings, has had over 20,000 pictures published by Scholastic, Inc, the publisher of Dynamite Magazine. Likewise, a search on the author’s name, Margaret Howard, points to a connection to Scholastic. While not conclusive proof, they provided support.

The article is pretty amazing to me. I’m so used to hearing tales about the satanic panic when it comes to the early history of the game. Reading a relatively balanced article from the time period is nice to begin with, but seeing one aimed at kids feels awesome. It was cool to see some of the industry stats too, things like 250,000 sets of D&D were sold in 1979 and that was double the 1978 numbers. It was also interesting seeing it called a FRP, the fact that only Gygax is mentioned as the creator, and that it started from stories his father told him while he was growing up. I also laughed a bit at hearing a group of Orcs called a flock.

After the brief history, it talks a bit about how the game is played and includes two more photos, close ups of two characters, a wizard and a monster.

Dungeons and Dragons is not a game in the usual sense. There are no little “men” to push around a board, no cards to tell you what to do, no race to finish first. There isn’t even a winner. Instead, each player becomes a character in an imaginary adventure set in a mysterious world. The game is acted out under the direction of a Dungeon Master (DM). He or she creates the dungeon in which the adventure will take place and controls the action of the game. Usually D&D is organized as a search for some fabulous treasure that lies at the end of the dungeon. Each character hopes to survive the perilous journey and claim the treasure, which could be gold, jewels, or objects with magical powers. Dice are used on each turn. And throwing the right number can mean the difference between life and death, success or failure.

This is a great introduction to the game and no wonder children responded (more on that later). Those familiar with the history of games and of Dungeons & Dragons will know she points out a lot of what made Dungeons & Dragons a success. This wasn’t about winning or the end. The middle part, the journey, was why one played (with the possible caveat in regards to tournament games). In addition, the game is more than just what it is not, but what it allows to happen, an open world that can be simulated without necessarily limiting.

She then discusses the role of the Dungeon Master, how they create dungeons, the more complicated the better, and how the players create their characters by "roll[ing] some weird looking dice." Even the role of mapping by the players in the game is discussed, something that later editions often left out and a brief explanation of leveling, "as the players move from one fight to another, they gain experience and become more powerful."

Then she gets to the monsters.

And what monsters! One DM we know especially likes something called Green Slime. According to the D&D rulebook, Green Slime acts like an acid. But when it touches flesh, the flesh itself turns into Green Slime. The only way to get rid of it is with fire, cold, or a magic spell. Yecchhh! And Green Slime is only one of the enormous gang of monsters which could be roaming through the dungeon. Carrion crawlers, shrieking fungus, giant ticks and beetles, hell hounds, berserkers, black puddings, orcs, ogres, stirges, trolls...page after page of the D&D rulebook is devoted to descriptions of these nasty creatures, the damage they can do, and how they can be killed, repelled, or neutralized.

I love this! She includes quotes from at least two players, including one boy who is listed as 13. He tells us, "all you really need is some paper, a pencil, and a good imagination." She also tells people where to find D&D games, although it’s part of the paragraph that talks about how some kids take it too far. But astute readers will now know to go to hobby stores and also that they can learn more by reading “issues of Dragon, White Dwarf, and other FRP magazines.”

So, am I just over enthusiastic about this article? Well, that’s where the story gets even more awesome. While researching the origin of the image, I found a number of people who credit the Dynamite Magazine article with introducing them to Dungeons & Dragons. Let’s take a look.

Ryan Dancey

I entered the hobby gaming market as a 6th grader at Westhill Elementary in Bothell. I found an article in Dynamite magazine that had a picture of a map set up with miniature figures and about a half page description of people playing Dungeons & Dragons. Without rules, a firm understanding of how you made a “game” out of that stuff, or much else to go on, something deep in my soul connected with the idea of a roleplaying game, and I was hooked.

Source: https://web.archive.org/web/20070118231810/http://web.mac.com/rsdancey/i...

Frank Brunner

I heard about Dungeons and Dragons in a Dynamite magazine at school. I grew up in a small town in northern Michigan, and being in 4th grade, didn’t know anyone else who played. So I told my mom about it, and she tried to DM for me. She had no clue what she was doing. It was fun because it was a family activity, but we ended up just saying you know what, wait until next summer when you’re at your cousins, and they can show you how to play.

Sources: http://futileposition.com/2012/07/interview-spellbound-kingdoms-designer... http://www.enworld.org/forum/showthread.php?309277-Your-intro-to-RPGs/pa...

Geoffrey McKinney

That's not merely an ad. It's actually the first page of a three-page article about D&D. It's in Dynamite #82, cover story on Buck Rogers and Wilma "TV's Fun Couple of the Future!"

It was this D&D article from late 1980 that first caused my D&D obsession. For days I pored over each and every word in the article, until that weekend when my parents took me to the toy store so I could buy the Holmes Basic D&D set and the Monster Manual (plus a few dice).

Source: http://odd74.proboards.com/post/33807/thread

They aren’t the only ones. I also found this reference by a movie reviewer, Shawn Francis, who credits the article as the source of his weakness for certain types of movies.

I think I got into Dungeons & Dragons back in the sixth grade, hearing about it for the first time in Dynamite magazine, although I didn’t really start playing it until I got into my sophomore year of high school. Because of this, I have a weakness for medieval fantasy movies and there have been a ton of them that reminded me of D&D. They even started making movies based on Dungeons & Dragons; unfortunately, they have all been, for the most part, lackluster.

Source: http://www.youwoncannes.com/2014/01/27/movie-review-vikingdom-2013-dir-y...

So yeah, this tidbit of D&D history went from cool to awesome for me as Iooked into it more. I sent emails to the photographer, Richard Hutchings, and Scholastic to see if anyone has more information about the article. I was also able to confirm that the article is from Dynamite Magazine, issue 82 from March 1981.

Thanks to Jonathan Bolding for bringing the picture back to the forefront.

Jared von Hindman provided moral support and fact and trivia checking during much of this search. I love this tweet of his with a pic of the pimping wizard.

Also, if you’re like me and are curious about what book the girl on the left is holding, apparently it is the Holmes edition blue book.

Finally, if you are looking for a TSR ad with girls in it from around that time period, check out this commercial.

UPDATE: I got an email from the photographer!

If I remember correctly, the male in the picture is my Nephew David, Now 50 who was showing his girlfriend and her friend how the game is played. Whether they continued playing, I do not know, but my nephew played D and D with his step brother and other friends.

Thanks for the memory,

Richard

Unconscious Bias or Why I Write

Discussing bias in terms of gaming is often a difficult task because it's often, but not always, the result of unconscious bias, not active discrimination. Because unconscious bias is the result of societal attitudes and practices, it is both much harder to see and often results in a greater level of defensiveness when people find out that they, too, are contributing to larger social patterns that they might otherwise decry and work against.

I understand this defensiveness because I've lived it. I've always been interested in civil rights issues, especially issues of race. But, like many people out there, I often assumed a rather equal playing field when I approached questions. For instance, when I got a job as an undergraduate advisor (my school's version of residential advisors, fellow students who provided mentorship, especially to first year students), I often worried about what "being fair" would look like on a diverse floor. Would it really be fair to ask someone from the south to take down a Confederate flag they hung in their room? It didn't help that I had grown up relatively poor and much of my extended family lived in poverty, so many of the experiences people of color shared were much like my own and seemed normal.

Eventually I came to see what I couldn't see before. Climbing the class ladder helped a bit. Now when I walk into stores, the clerks want to help me and no longer follow me around, mainly because I buy jeans that cost 3x or more what I did when I was in high school. I probably also walk differently and do other unconscious displays of social status.

I say all that to explain how I got to where I am today and why discussing things like how banshees are portrayed in some book about some elf game matters to me. While I'm forever wary of confirmation bias, my research and my life experiences lead me to a place where I find concepts like privilege, unconscious bias, implicit association, and the like are true. I think we do notice patterns in our lives and the art and media we experience, whether it's fiction or not, and internalize them in ways that we might not like if it's made explicit. And I do agree with research that suggests that the way to counter these biases isn't through censorship but through discussion and that it's through lack of discussion that these things continue. Also, it's not just the dominant group who often has these biases, for instance a research into the hiring of recent science grads showed that women were discriminated by men and women (I believe the research worked within the gender binary).

Now that I've been a bit more explicit about my own approach and biases, I'd like to talk about the Monster Manual a bit more. There is a lot I love about the book. I love that there is a richer history here, things like how hatred simmers below the surface between the azers and the efreeti. I rather enjoy the concept of lair actions and environmental effects, maybe because they remind me of the catastrophic dragons from 4e or my own monster from Lost City. (Aside, I loved Lyndsay's article about how to use these as part of world building.) Likewise, there is a lot of implied world history in the book, as Rob Donoghue points out. I've already used it to help someone knew to the game understand what the monsters we were describing in a discussion look like. Overall, the Monster Manual can be indispensable for a dungeon master as they prepare for their game or campaign and I highly recommend it.

However, that doesn't mean I'm comfortable with all the things it says about the world that we're supposed to play in. One of the goals of this edition of D&D, especially with the way organized play is set up, is that they want us to have a shared experience. I know many of you have had awesome conversations with each other about the older modules. "Man, that Acererak is a real asshole. Why the hell would he ever set up [redacted] in room [redacted]?" "Do you remember when that chick turned out to be a vampire and almost killed our entire party?" These sorts of shared stories help us bond and become our secret handshake of sorts.

Now imagine of that secret handshake left you feeling not only uncomfortable but like your basic humanity was being ignored. When a game starts making one gender the other, makes that gender a symbol for only certain things, that's what happens to many (but not all) members of that gender. Yes, it's true, there are a lot of "strong men" in D&D. But there are also physically weak male wizards who get by on their brains instead of their brawn. There are pudgy men, wise men, evil men, good men, men who lead armies, men who hide in a tower and read books all day, etc. However, women are too often limited to their looks and/or their covetousness of beautiful things. That's why the banshee, in that context, made me take notice. Mythological banshees are none of those things.

It's easy to argue for the existence of any one example or against the inclusion of one example in the pattern. If the banshee were the only example, sure, we need variety. If we had lots of other monsters that were portrayed as explicitly having female members with agency, sure, the fact that the medusa can also be male would be important to note. But those things, in our product today, aren't true. Sometimes, we are missing the forest for the trees.

When you aren't part of the core audience that the book due to explicit and/or implicit bias, which would include people of all genders who like and are well served by current societal attitudes towards gender, it's often easier to see that forest, to see that general pattern that even if it doesn't say stay away, says that you're not exactly welcome either. And that is why I write these things. Not because I hate games or because I want to tell other people that they are bad, but because if I stay quiet, if I don't mention these things, no one will ever know. People will still ask the questions, "Why is it so hard to get this person I care about to play? Are women really just not interested in this?" and no understanding will come of it because the real reasons are never allowed to be spoken, the sentiments censored.

Now, I'm not asking for total agreement. Plenty of people disagree with me on some things much of the time. Disagreement is not only good, it's going to be a fact of life. Humans are incredibly diverse in their tastes and their opinions. Just look at the full spectrum of kinks! But if you want to discuss gender essentialism or how applying the stereotype or the average to the individual is actually a good thing, well, you won't find purchase for your arguments here. That's not censorship, I just hear those opinions way too often as it is.

For those who have supported me through the years, many hearty thanks.

Art: "Scroll Raider" © 2013 Kaitlynn Peavler and Cheeky Mountain Parrot Games, created for Conquering Corsairs, used under a Creative Commons Attribution-ShareAlike license: http://creativecommons.org/licenses/by-sa/3.0/

Fighting female goblins isn't necessarily violence against women

Also in preparation for The Tome Show review of the 5e Monster Manual, I've been reading other people’s reviews and reactions to reviews. One strange argument I’ve read suggests that we shouldn’t have more female combatant NPCs in Dungeons & Dragons because violence against women is a thing. I’d like to address this argument because I see too many people accepting it at face value and I think that actually ends up perpetuating sexism and violence against women.

I don’t know about you, but I know many boys during my childhood were told “don’t hit a girl.” When a local girl joined the middle or high school football team, I read article after article that worried that the boys would get all confused about whether or not they could hit girls if they had to compete with one on the playing field. My own principal in middle school declared at an assembly that it would be over his dead body that any girl in his school earned a position on the football team.

Controlled violence between equals was forbidden if one of the participants was a girl and the other was a boy. However, when the boys snapped my bra or threatened to rape me when the monitors weren’t looking or dragged me around the playground because I had taken out the classroom ball and the boys didn’t want me to play or when a boy blocked my exit from a room unless I gave him a kiss, these things were just boys being boys. When a boy got a little too rough with a girl, it’s because he was too frustrated and just didn’t know any better.

The latter, while many are relatively mild forms of this, illustrate how violence against women is different from people, some of whom happen to be women, being involved in violence. Not every act of violence that involves a woman is included in the term violence against women. It has more specific meanings. For instance, in the Declaration on the Elimination of Violence Against Women from the United Nations General Assembly, it’s defined as “any act of gender-based violence that results in, or is likely to result in, physical, sexual or mental harm or suffering to women, including threats of such acts, coercion or arbitrary deprivation of liberty, whether occurring in public or in private life.”

When we’re in a goblin cave fulfilling our destiny as murder hobos, killing female goblins does not make our acts violence against women. Supporting gender diversity when it comes to what enemies we fight is not a vote in favor of violence against women.

In fact, I’d argue that restricting female combatants only to the common female stereotypes and tropes is a much stronger argument that something supports violence against women. For instance, having the few female monsters be overwhelmingly the ones that charm you, something that real life women are commonly accused of, such that you have to get them down to zero hit points to break the spell, that reinforces myths that encourage violence against women. And yes, I get that charming others isn’t limited to women, there are some male creatures do it as well, but there are far many other male creatures that use other methods of challenge.

By having so few female-centered creatures (ones where the description limits the creature to only the female sex or the text and/or artwork suggests that the female version is much more likely) and having the majority of them tied to female stereotypes, we create a world in which when we fight female creatures, it is often tied to some corruption of their femininity, making it implicitly if not explicitly gender-based.

Fighting against the corruption isn’t in itself bad, but when the only time we fight female creatures is because they are not meeting gendered expectations, I’d argue that not only reinforces those stereotypes, it is violence against women.

We change that by broadening where we use female monsters and by finding other ways than enslaving the females of the race to denote that a monster race is evil. For instance, I loved this scene from the Rat Queens.

The Rat Queens had killed the troll lady’s boyfriend and she’s there for revenge.

However, I’d feel bad if I didn’t point out one thing. When creating scenes where violence is being done to a woman by a man, it would be good if it didn’t look like it came from a 1980s slasher film or an episode of Criminal Minds. For instance, this scene from the Magic the Gathering card, Triumph of Ferocity.

(Note: Wizards of the Coast has apologized for this image.)

Now, I get it, they need to fight each other. But the specific setup, him holding her down and choking her with his knee between her legs, that’s a common pose in the scary “he’s going to rape you” scenes in movies. That’s part of the reason some people reacted to the card the way that they did. It’s not that they were fighting, it’s the pose. Contrast that with this scene from Rat Queens.

Sure, we can make jokes about how that’s a mighty big sword he has pointed at her, but there’s nothing that sexual about the composition of the scene.

Finally, just because I think it’s awesome that Polygon published this post, it’s important to note that these sorts of discussions about our media and our art are nothing new. Back in the 1980s, Siskel and Ebert talked about what they saw as a disturbing trend in how violence against women was being portrayed in some sorts of movies.

Art: Rat Queens © 2014 Kurtis J Wiebe and Roc Upchurch. Magic the Gathering © Wizards of the Coast.

Send feedback using the contact form or through twitter, @sarahdarkmagic.

Resources for FAQs

Prismatic Art Collection

Search

Syndicate

Syndicate content


2011 ENnie Nominee for Best Blog2011 ENnie Nominee for Best Blog