Who Killed the Megaverse?

The popularity of Dungeons & Dragons has helped establish a baseline genre of fantasy that makes the game easily accessible to those familiar with its tropes. But in D&D's early days, the idea of mixing sci-fi and fantasy was built into the game.

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Picture courtesy of Pixabay.​
D&D's Inspiration
Co-creator of D&D, Gary Gygax, was fond of pointing out that the inspiration for D&D was more inspired by R.E. Howard's Conan the Barbarian series than J.R.R. Tolkien's Lord of the Rings, but that does a disservice to the list of authors he identified in Appendix N of the Advanced Dungeons & Dragons Dungeon Master's Guide:
The most immediate influences upon AD&D were probably de Camp & Pratt, R. E. Howard, Fritz Leiber, Jack Vance, H. P. Lovecraft, and A. Merritt; but all of the above authors, as well as many not listed, certainly helped to shape the form of the game.
de Camp's Lest Darkness Fallis an alternate history science fiction novel. Leiber's Fafhrd & Gray Mouser meet "a German man named Karl Treuherz of Hagenbeck who is looking for his spaceship, which he uses to cross the boundaries between different worlds in his hunt for animals for a zoo" in The Swords of Lankhmar. Vance's works are set in The Dying Earth, where "magic has loose links to the science of old, and advanced mathematics is treated like arcane lore." A. Merritt's Creep, Shadow! is a pulpy adventure featuring:
...a witch that murders people with her animated dolls. It’s got sketchy scientists, femme fatales, world travelling adventurer types, and even a hard boiled Depression-era Texan.
H.P. Lovecraft wrote more modern weird horror while R.E. Howard's Conan took place in a fantasy setting -- and yet the two borrowed themes from each other's works to blend into the Cthulhu Mythos we know today. Add all this up, and D&D was anything but "regular" fantasy. So how did we get here?
You've Got Martians in My D&D!
James Maliszewski explains at Black Gate:
However, I think it worth noting that, in his foreword of November 1, 1973, when Gary Gygax is explaining just what D&D is, he makes no mention of Tolkien. Instead, he references “Burroughs’ Martian adventures,” “Howard’s Conan saga,” “the de Camp & Pratt fantasies,” and “Fritz Leiber’s Fafhrd and the Gray Mouser.” Most of the borrowings from Middle-earth occur in Volume 2 of the game, Monsters & Treasure, which only makes sense as many of Tolkien’s creatures are easily dropped into almost any fantasy setting. Of course, Gygax does something similar with Burroughs; D&D‘s wilderness encounter tables include tharks, Martians of every hue, apts, banths, thoats, white apes, and more. I think this makes it readily apparent that, far from being the pre-eminent inspiration of the game, Middle-earth is one of many and not necessarily the greatest one.
The other co-creator of D&D, Dave Arneson, demonstrated his proclivity for mixing sci-fi with fantasy in the Original D&D set, Supplement II, Blackmoor:
While this background provides no real details about the Blackmoor setting itself, it does explain that the high priest of the Temple of the Frog, an individual known as Stephen the Rock, is “an intelligent humanoid from another world/dimension.” Furthermore, Stephen possesses several mysterious devices, such as an anti-gravity unit and an interstellar communicator. I found this information intriguing. I was of course already familiar with Gary Gygax’s Expedition to the Barrier Peaks, as well as the “Mutants & Magic” section of the AD&D Dungeon Masters Guide, which provide guidelines for mixing science fiction and fantasy. But Supplement II was published in 1975, before any of this, which suggested to me that perhaps Arneson was perhaps the originator of this kind of “mixed genre” gaming.
There was the tantalizing possibility of D&D crossing genres, as evidenced by the Gamma World and Boot Hill crossover rules in the AD&D Dungeon Master's Guide. And of course, there was the Expedition to the Barrier Peaks, itself inspired by Jim Ward's Gamma World.

But it was not to be. Gygax frequently defended D&D's inclusion of Tolkien-esque creatures as a necessary sop to the popularity of the genre, but as Maliszewski points out, D&D eventually became its own genre, helping strongly demarcate fantasy vs. science fiction:
Prior to the success of Dungeons & Dragons, fantasy was a very broad genre, encompassing everything from Alice’s Adventures in Wonderland to A Princess of Mars to Howard’s Conan stories and more. The earliest players and designers of fantasy roleplaying games understood and accepted this, but, as these games gained popularity and moved beyond their original audience, they became much more self-referential and self-contained – a genre unto themselves – rather than drawing on the anarchic literature that inspired them.
The onus would be on other RPGs to deliver on the promise of a truly cross-genre universe with Palladium's Rifts being the foremost example. D&D would follow suit with its Planescape and Spelljammer settings that attempted to encompass all the other D&D universes, but even those settings generally stuck to fantasy as a baseline.

New mixed-genre stories have since spun out of that baseline assumption, regularly mixing technology with fantasy in a way that was fresh to fans of the Thundarr the Barbarian cartoon. Thanks to the Internet, cross-pollination between genres is a natural outgrowth of so many ideas mixing together, and that's reflected in our own D&D campaigns where aliens or robots might make a surprise appearance. With the announcement by Goodman Games of the return of Expedition to the Barrier Peaks, it looks like the megaverse still has some life in it yet.
 
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Michael Tresca

Michael Tresca


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I think one of the things with some of the firearm stats such as the Modern Firearms in the DMG is that they took those values right from D20 Modern, where all firearms had to do 2 die of damage because of feats and abilities such as Double Tap, Burst Fire and so on that added damage die, also in d20 Modern you did not add stat bonuses to ranged attacks. Of course D20 Modern used other rules such as changing how damage worked, and getting AC bonuses by class level. In the context of D20 Modern itself it was certainly balanced, and much like many video games, you don't encounter elite military soldiers as enemies at the beginning of a campaign.

In many cases I don't think all guns are more powerful than melee weapons, one swing of a Greatsword is probably going to out damage one .22 caliber round.
 

Reynard

Legend
I think it's about reinforcing a particular view of fantasy that came into sharp focus in the 70s and early 80s. The inspiration for D&D might have been the weird fiction of the pulp era through the psychedelic fantasy of the 60s, but by the time D&D went "viral" traditional fantasy by way of Tolkien was in vogue. You had all kinds of imitators from Brooks to Eddings and then TSR added their own Dragonlance and Forgotten Realms fiction. It was self reinforcing and every time a computer game like Ultima or the Bards Tale came out things went a little more toward safe, uncomplicated medieval fantasy. I don't know whether D&D was responsible but it was certainly part of the same movement to keep fantasy in a Disney theme park version of 15th century western Europe.
 

Panda-s1

Scruffy and Determined
tangentially related, but I always hate when an article about D&D is like "Gary Gygax made a Lord of the Rings game!" like okay there's some superficial similarities, but clearly you didn't do your research. this isn't even limited to mainstream media either, I'll see geek/nerd oriented news do this too, it's annoying.

I don't get why so many still think the d20 system can't do sci-fi or science fantasy... If we look at 5e alone there is:
my personal issue with d20 being used for sci-fi is that I always felt like class based systems don't lend themselves very well to making sci-fi characters. like D&D kinda cheated when it made classes since it borrowed from very well known fantasy characters, but also sci-fi characters just feel too open ended to be stuffed into a class. the original Star Wars RPG felt cool in this regard, unlike every iteration after it where it was like "okay you want to be a Jedi/pilot, but you're only gonna be RLY GOOD at one of those things for the first few sessions".

and personally it probably also doesn't help that during the 3.5 era it seemed like because the SRD was free to use everyone thought it was the best choice for their RPG adaptation of their favorite show or franchise; for every good d20 adaptation there's a bunch of really bad ones :/
 

practicalm

Explorer
I'm surprised that the only mention of cross genre RPGs is Rifts when both GURPS and Hero System predate Rifts by 4 years or 1 year.

As for RPGing in the Metaverse I just don't like the d20 system in modern settings. I prefer point based games (Hero or GURPS) or something else instead of leveling up.

I like games that where someone pointing a crossbow or gun or laser at you should get your attention as you will likely die. At some point d20 heroes are hard enough to kill unless you escalate their opponents.
Modern systems should also reflect the power of money to buy equipment that will help you solve your problems. There's a reason Tony Stark and Bruce Wayne are superheroes when they have that much money to solve some of their problems.
 

It was me.
I killed the SciFi in Fantasy.
Same with Fantasy in SciFi. Never liked Star Wars. Too much Fantasy.
Never liked it, not in the 80s, not now, not inbetween.
Don't know why.
But I had to do it.
Period.
 



cbwjm

Seb-wejem
What I like most about these articles is that I often get ideas of books to read. I loved continuing the adventures of Conan via de Camp's novels and now I'm going to have a read of his science fiction.
 

imagineGod

Legend
There is a British company that unified classical religious iconography, daemons, warp travel, swords, bolters, power-armour, and even magical psi powers, all in a single game world. Blam! Dakka, dakka!!


Brownie points for those in the know..and credits to artist, Diego Giesbert Llorenz.
View attachment 105524
 

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