It's a Good Thing D&D Isn't a Toy

We've previously discussed a time when Dungeons & Dragons was considered as much of a toy as it was a book. The loss of D&D in toy stores was a blow to a hobby that found its footing among a younger generation. Now things have come full circle as the bottom of the toy market fell out from under Wizards of the Coast's parent company, Hasbro.

We've previously discussed a time when Dungeons & Dragons was considered as much of a toy as it was a book. The loss of D&D in toy stores was a blow to a hobby that found its footing among a younger generation. Now things have come full circle as the bottom of the toy market fell out from under Wizards of the Coast's parent company, Hasbro.

[h=3]Toys vs. Books[/h]We discussed previously how D&D wasn't just classified as a toy in some markets, but produced its own toy lines as well. D&D was carried in toy stores in the early 80s. The game's success in those markets was due in part to Dr. Eric J. Holmes' Basic version of D&D, which streamlined the rules and made them more accessible to a younger audience.

But D&D was as much of a toy as it was a book, and bookstores carried the game too...until they didn't. Unlike the toy market, the book trade often carries a return policy. Random House stopped fronting then-D&D owner TSR's loans against book sales in 1996 and returned a third of TSR's products -- several million dollars' worth. That accumulated debt sunk the company, only to be rescued by Wizards of the Coast.

Things came full circle when Wizards of the Coast (WOTC) was purchased by Hasbro. WOTC has continued to shepherd the D&D brand, which for years labored in the shadow of WOTC's other major game brand, the much more successful Magic: The Gathering card game. That all changed in the past few years.
[h=3]Roleplaying vs. Card Games[/h]The tension between D&D and Magic goes back years, with several failed attempts to cross-pollinate the two brands. It's also emblematic of two different markets: Magic, with a smaller physical footprint, can be sold everywhere from book stores to the big box franchises like Target in the U.S.; Dungeons & Dragons left both the book and toy store market behind to focus on sales through hobby store and the Internet. Thanks to WOTC's new CEO, Chris Cocks, the two brands have finally managed to produce joint efforts like The Guildmaster's Guide to Ravnica.

Beyond a D&D product, Magic's digital efforts with Magic: The Gathering Arena have blazed a path for D&D esports, which Hasbro CEO Brian Goldner breathlessly reported (and then retracted). It's clear that Cocks isn't playing favorites and sees both brands as fertile intellectual property beyond the original play spaces that spawned them. That's good news for Hasbro, because the market recently bottomed out of places that carry much of their product.
[h=3]Toys Aren't Us[/h]Toys R Us' collapse has sent shock waves through the industry, but it was a tsunami for the two major toy producers, Hasbro and Mattel. Toys R Us accounted for 10% of Hasbro's sales. Brian Goldner explained on the Q4 investor call:

For Hasbro, in addition to losing hundreds of millions of dollars in revenue from Toys“R”Us, the liquidation of an additional hundreds of millions of dollars of their retail inventory sold into the market at large discounts was more impactful to 2018 than we, and industry experts, estimated. It is an unprecedented yet finite event. Prior to its initial bankruptcy filing, Toys“R”Us was our third largest customer in the U.S., and our second largest customer in Europe and Asia-Pacific. In Europe, its bankruptcy added to a market already dealing with disintermediation across retail by online and omni-channel retailers, as well as political and economic headwinds, notably in the UK. According to NPD, the European toy and game market declined 4% last year across the top six markets.

All this added up to Hasbro revenues declining 12% to $4.6 billion, including a 13% decline in the fourth quarter. The implications for Hasbro go beyond the financial. Nerf, for example, had significant shelf space at Toys R Us, and it loses a major opportunity to showcase its brand with the loss of the toy store.

There was one bright spot in Hasbro's Q4, and it was Dungeons & Dragons. Goldner said the brand delivered "another record year" within the gaming portfolio, and that plans continue apace to expand D&D into digital play. Goldner pointed out in the Q&A that D&D being untethered from toy stores was actually an advantage, as they weren't significantly impacted by the loss of Toys R Us.

D&D has long since become an online brand -- at this point, there are so many resources online that it's entirely possible to play D&D for free -- that gives it an advantage in protecting the game's sales from the downturns in distribution channels. The loss of Toys R Us has put that advantage in sharp relief and Hasbro has taken notice. We'll likely see more focus on intellectual property brands like D&D in the future.

Mike "Talien" Tresca is a freelance game columnist, author, communicator, and a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to http://amazon.com. You can follow him at Patreon.
 

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Michael Tresca

Michael Tresca

D1Tremere

Adventurer
Yes, it was very popular for a few minutes (OK, years) in the 80s, and is even more popular, now, at a time when the 80s are finally getting some overdue play in pop culture. That's a fad & a come-back. It's especially fun if you were around for the original fad.

I'm the sort of 80s throwback who /was/ one of the NERDS, and hasn't changed as much as I should've. ;P

(Though I suppose the fact I still use forward slashes to denote /italics/ shows I'm also kinda a 90s UseNet throwback.)

I've been paying attention /the whole time/. (OK, I may have blinked in the second half of the 90s, and missed what 2e was doing around the time WotC acquired TSR.)

I'm seeing it more with college-age millennials, but, sure, yeah. The geriatric set who where there for the fad are the hoary ice-crystals that seed the cloudburst of the come-back. It's a standard formula, generational demographics had just delayed it, this time around, so we're getting it now, instead of c2004.


#kidsthesedays
#goodoldays
#itsaneffingpoundsign

I would argue that the current success of D&D (and other RPGs to a degree) is less the resurgence of a fad, and more a revitalization movement. The spirit, along with the tools of the game, have been completely transformed such that they are disturbingly different to those who continue to carry the banner of old school D&D, along with many of its outdated ideologies. The move to casual games in open venues such as bars and clubs, an emphasis on storytelling and narrative reward, even the use of D&D in psychology as a therapy tool are so far removed from the original intent (and domain of modern purists) as to suggest an entirely new classification.
I truly love the fact that we are all still here talking about D&D in the year 2019, and watching the birth and maturation of a whole new legacy.
 

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So, quick reminder-

that source is from February, 2016.
Yep. Realized that immediately when I followed the link. I recognized it as very old news and noted that I don't recall reading any follow-up information. Any predictions based on press releases announcing a movie "in development", "in production", or depending on what went into it even after it's "in the can" it might never see the light of day. There's a thing in Hollywood called "turnaround". It means that at any moment a studio can call a halt to everything that's been done on a movie up to that point and simply offer the property for sale just to recoup some costs, and then write off as much as possible as a loss for tax purposes. It's even more likely with a property like D&D which has, shall we say, a dubious history with efforts to translate it to cinema. It happens to big time productions with A-list names as well as "it was doomed from the start" productions from, say, Sweetpea Entertainment. Don't count Hollywood chickens until they are well and truly hatched out of the egg, walking around on their own and chirping. Even movies fully completed and due to be released can be yanked and permanently shelved because they accidentally touch too close in some way on real world events, or the star has one incident of rape, or a director has an entire history of racism, bigotry, or criminality that finally comes to light.
The best D&D Movies so far are Brotherhood of the Wolf, Clive Owen's King Arthur, and the Guardians of the Galaxy movies.

I'm sure I'm missing a few My point is that there HAVE been some good D&D movies.

Just none of them are called "D&D".
The 13th Warrior immediately springs to mind. Saw that with friends and VERY quickly were saying to each other while the film was still rolling, "This is just a fighters-only adventure."

---

The thing about adapting a D&D adventure module for a movie is that, because it IS a movie it lacks one element that constitutes a black-hole scale vacuum, but which it would never exist without as an RPG: Characters.

You can say you want to adapt an adventure like... Against the Cult of the Reptile God. The module is originally set in Greyhawk - but it doesn't need to be and might be better if it weren't for a variety of reasons (securing more rights, sales of an all-new setting, for starters...) But WHO ARE THE CHARACTERS? All you have to start with is a place and a plot. The characters can still be ANYTHING. A trio of neophyte wizards; a standard cleric/fighter/thief/wizard combo; a noble and his retinue; a witch doctor, purple gorilla, Bubba Ho-Tep, and Johnny Quest. It can be written as a farce or a noir thriller. It can be place-shifted to a small town in Indiana. It can be genre-shifted to be sci-fi and an homage to the alien franchise. Starting with a known module means NOTHING, and means less than nothing when you can insert any kind of characters into it - as creative PLAYERS in an rpg undoubtedly would.

You can make a dozen different movies based on the top 12 best modules and campaign settings of all time and watch all them turn out as utter crap because there isn't a compelling roster of CHARACTERS to inhabit those worlds and drive the plot, and draw the audience in with a desire to know more about them and follow THEIR adventures. You can take any one module and use it over and over to create 12 movies and every one will be entirely unique if there are different "player" characters in it, with varying attitudes and motivations.

You don't play D&D to have a nameless, faceless, unmotivated blob experience Ravenloft. You play D&D because you want Fineous Fingers, the cynical and overconfident thief YOU created, to make it through Ravenloft without entirely losing his mind. And maybe he'll be aided in this endeavor by whatever random assortment of other PC's get created, or maybe he'll be more frustrated by them resulting in a completely different game play experience - even though the module would not change.

A 'D&D' movie based on any module, any setting, is irrelevant and IMO doomed to failure without first adding CHARACTERS. And then it's those characters that will make or break the movie, NOT the adventure module or setting it's based around. That is the undeniable chasm that separates movies (and written fiction) from RPG's.
 

billd91

Not your screen monkey (he/him)
The best D&D Movies so far are Brotherhood of the Wolf, Clive Owen's King Arthur, and the Guardians of the Galaxy movies.

I'm sure I'm missing a few My point is that there HAVE been some good D&D movies.

Just none of them are called "D&D".

YET.

Add Hawk the Slayer to that list. Not a great movie by craft, absolutely a better D&D movie than the D&D movie.
 

Hussar

Legend
But, [MENTION=57602]maninthefunnyhat[/MENTION] - isn't that insisting that you must have the characters before the movie is made?

Lots of movies are made that present characters for the first time. It's not like farmboy, flyboy and princess were household names before 1976. Why the insistence that we must have "D&D" characters?
 
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Celebrim

Legend
I would argue that the current success of D&D (and other RPGs to a degree) is less the resurgence of a fad, and more a revitalization movement.

What does that mean?

The spirit, along with the tools of the game, have been completely transformed such that they are disturbingly different to those who continue to carry the banner of old school D&D, along with many of its outdated ideologies.

What does that mean? Please explain what these two spirits are, and how the tools of the game have been completely transformed. How is 5e D&D disturbingly different from "old school D&D", and in particular can you show that 5e D&D cannot be played in an "old school" fashion? Come to think of it, I may need a definition of "old school D&D" from you as well.

The move to casual games in open venues such as bars and clubs...

What percentage of D&D games do you think are occurring in bars and clubs, compared to more traditional formats? Also, this isn't a new thing either as you can find examples of gamers meeting and playing in bars going back decades, and to the extent that it has become more common it may have more to do with changes in the culture of bars and the widening of the subcultures that bars explicitly cater to than it does with changes to RPGs. Consider the rise of board gaming cafes and 8-bit bars.

an emphasis on storytelling and narrative reward...

What does this mean, and how can you sustain the claim that this is new in the light of content like 'Chronicles of the Dragon Lance', 'Curse of the Azure Bonds', the Shadowdale/Tantras/Waterdeep trilogy, the Dark Sun modules, and even things like the 'Desert of Desolation' trilogy or the module 'Beyond the Crystal Cave'? Frankly, compared to past fads in gaming style, I'd not consider the current one to heavily emphasize story telling and narrative reward.

even the use of D&D in psychology as a therapy tool...

One of my college papers discussed this interplay between RPGs as a leisure activity and RPGs as a psychotherapy and training tool in 1993.

are so far removed from the original intent (and domain of modern purists) as to suggest an entirely new classification.

I have no idea what you mean by that, but are you suggesting that 5e D&D - which is at the heart of the current 'revitalization movement' - requires a different classification than table top RPG?

I truly love the fact that we are all still here talking about D&D in the year 2019, and watching the birth and maturation of a whole new legacy.

Great. Unfortunately, I haven't a clue what you are talking about.
 

Tony Vargas

Legend
I would argue that the current success of D&D (and other RPGs to a degree) is less the resurgence of a fad, and more a revitalization movement.
I'm not sure I see a meaningful distinction.

The spirit, along with the tools of the game, have been completely transformed such that they are disturbingly different to those who continue to carry the banner of old school D&D, along with many of its outdated ideologies.
I don't know what ideologies you consider outdated in this context - RPG players in the initial fad tended to be quite young, and often on the counter-cultural side of the aisle, it felt a lot /more/ open & accepting of differences to me, at the time, than it sounds on the internet, today (though, I'm guessing that's just the net, because at the FLGS, it's very open, indeed).

(Then again, I've lived my whole life in the SF Bay Area...)

Ultimately, though, I find the spirit surrounding D&D /more/ like it was in the fad years than just, say, 10 years ago. In the 90s, RPGs got very niche, in the 00s there was a sort of mini-come-back or resurgence with d20, but it was very different in feel, it was more oriented on players, system mastery, and the resistance to it was from very insular groups.

In the 80s/today, D&D was/is in the news, new players were/are plentiful, and the DM was/is the center of the game's dynamics.

The move to casual games in open venues such as bars and clubs, an emphasis on storytelling and narrative reward, even the use of D&D in psychology as a therapy tool are so far removed from the original intent (and domain of modern purists) as to suggest an entirely new classification.
None of the things you mention are new to me. D&D as a therapy tool? Happened in the 80s. Storytelling & narrative reward? Bigger in the 90s than the 80s, but not new, today. Open venues? I don't see how you could run a game in loud club, and bars in the 80s tended to be smoke-filled (and gamers too young for them) - but we were running them at Denny's back in the day. ;P


I thought you were going to go on about people watching streaming RPG sessions, which is newish (c2009?) - that I'll grant you. D&D as a spectator sport is a new thing.
 
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Tony Vargas

Legend
I'm sure I sound a very cynical old man, with my "seen it all before, it's just a cycle" observations …

… that's just 'cause I am one.

::sigh::

And, to compound my infamy, I'm going to point out that every time a trend or cycle does come around again, and history hits the replay button, there's someone - a lot of someones, a veritable chorus someones singing in someone's echo chamber - saying "... but this time, it's totally different!"



#oldmanhasnoideawhattypingsomethingwithoutspacesafterapoundsignevenmeans
 

D1Tremere

Adventurer
What does that mean?
What does that mean? Please explain what these two spirits are, and how the tools of the game have been completely transformed. How is 5e D&D disturbingly different from "old school D&D", and in particular can you show that 5e D&D cannot be played in an "old school" fashion? Come to think of it, I may need a definition of "old school D&D" from you as well.
What percentage of D&D games do you think are occurring in bars and clubs, compared to more traditional formats? Also, this isn't a new thing either as you can find examples of gamers meeting and playing in bars going back decades, and to the extent that it has become more common it may have more to do with changes in the culture of bars and the widening of the subcultures that bars explicitly cater to than it does with changes to RPGs. Consider the rise of board gaming cafes and 8-bit bars.
What does this mean, and how can you sustain the claim that this is new in the light of content like 'Chronicles of the Dragon Lance', 'Curse of the Azure Bonds', the Shadowdale/Tantras/Waterdeep trilogy, the Dark Sun modules, and even things like the 'Desert of Desolation' trilogy or the module 'Beyond the Crystal Cave'? Frankly, compared to past fads in gaming style, I'd not consider the current one to heavily emphasize story telling and narrative reward.
One of my college papers discussed this interplay between RPGs as a leisure activity and RPGs as a psychotherapy and training tool in 1993.
I have no idea what you mean by that, but are you suggesting that 5e D&D - which is at the heart of the current 'revitalization movement' - requires a different classification than table top RPG?
Great. Unfortunately, I haven't a clue what you are talking about.

Apologies, I will try to clarify. And try to keep in mind that I do not pretend to be an authority here, I am just reporting things as I see them.

D&D was born from wargames, through a move to expand the rules for a very niche (mostly white male) hobby. It didn't begin to take on more role playing elements until Dave Arneson expanded the wargaming rules into a role playing setting, but it still retained most of the mechanical emphasis that one could argue reached its peak in the 3.5 edition, and continued to be a niche hobby for white males in many (most?) areas from everything I have seen, heard, read, experienced, etc. “A 1978 survey puts the percentage of female fans at between .4 and 2.3 percent” (Cecilia D'Anastasio). Some have argued that the emphasis placed on competition (seeing the other players and/or DM as adversaries to be one-upd, out-thought, etc.) that comes along with the term game (where often people argue that it must be adversarial in order to be a game), is exactly what has kept it a niche hobby with an insular community (Tony Vargas's experiences seeming more exception than rule to many).
For some examples of what I base this on (outside of my own anecdotal experiences) see interviews with Gary Gygax, Dave Arneson, and leaders of the modern OSR movement (more on that later). You can get a sense of some of the changes I refer to in 5e from interviews such as this these: (https://www.youtube.com/watch?v=yqjLO6YNKV0) (http://slyflourish.com/three_years_with_5e_with_mearls.html).

So, to explain my points...

I consider it a revitalization movement as opposed to a resurgence because it is now (seemingly) reaching new audiences who are embracing it in different ways. A revitalization movement is a "deliberate, organized, conscious effort by members of a society to construct a more satisfying culture” (Anthony F. C. Wallace,1956). These audiences appear to be more diverse, both in character and in their expectations from the game. “Over half of the new people who started playing Fifth Edition [the game’s most recent update, launched in 2014] got into D&D through watching people play online,” says Nathan Stewart, senior director of Dungeons & Dragons. They are using the same tools to achieve new goals, and leading the evolution of new tools.

By spirit of the game I mean that, according to WotC, there is a difference between the way older players approach the game compared to new players. Older players tend to be more mechanically inclined, less open to change, and more likely to play in long standing home games with well-known friends. Newer players tend to be more diverse, more narrative driven, and more likely to play one shots or pick up games with larger groups of relative strangers. “we went from a community that focused on mechanics and expertise, to one focused on socializing and story telling.” (Mike Mearls, 2018).

As some have pointed out, nothing that I have mentioned is all together new. It is just becoming more of the norm than an outlier it would seem. The idea of using D&D as a therapy tool for example was explored in the past, now there are whole psychology practices built around it. Many cities have non-profits now that host pick up games and partner with local venues multiple times a week. Poscasts and streaming shows are many new players first exposure to D&D now, and their focus on narrative choice over mechanical resolution has increasingly taken hold. “This change is best described as fifth edition's focus on the story of our D&D games over tactical combat and heavy mechanics.” (Mike Shea, 2018). When I mention narrative and storytelling I should specify that I do not just mean the story inherent in a module or DM’s adventure, but the story and role that a player feels they are building around their character and identity. A sense of agency and efficacy unique to that player’s experience.

One piece of evidence that I consider when saying that this is a revitalization movement is the existence of counter movements. We see this with the explosion of OSR (Old School Revival) games, and the slew of bad publicity they keep drawing amidst controversies steeped in a resistance to change (see discussions on John “RPG Pundit” Tarnowski and Zak “Zak S” Smith) and reliance on an adversarial relationship between players and/or DMs. “Mechanical expertise is an element of the game, but no longer the sole focus. Ideally, it’s a balanced part of all the other motivators. If balanaced correctly, every has their fun. Enjoyment isn’t zero sum.” (Mike Mearls, 2018). This isn't to say that they are all bad, but that they do draw in some of the worst elements of older gaming culture. “Funny how many of the same “fans” who insist on gatekeeping via rules complexity and lore density also have a problem with women in tabletop gaming.” (Mike Mearls, 2018).

Maybe I am wrong, perhaps it is a fad, but I don't see D&D as being "short-lived and without basis in the object's qualities." (see Dictionary). In fact, it is exactly the qualities of the game, and of its changing player base, that create the intense and widely shared enthusiasm.
 
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