Monthly Archives: September 2023

D&D’s Biggest Controversies Ranked—1. D&D Becomes a Target of the Satanic Panic

Content warning for discussion of murder, suicide, and mentions of child abuse.

Through the 1980s, Satan made regular headlines. Folks kept blaming the devil for luring kids to murder, suicide, and ritual sacrifice. Police dutifully investigated. The falsely accused sometimes went to prison only to be cleared years later. And the media trumpeted every lurid moment. Concerned parents found the devil’s work in heavy metal music, Dungeons & Dragons, and especially day care centers. The fervor became known as the Satanic Panic.

The panic started in 1980, but its power came from the culture of the seventies.

Throughout the seventies, the counterculture of the sixties lingered as a new age passion for astrology, crystals, and such. To some, things like tarot cards and witchcraft just seemed like a way to explore their spirituality in daring ways, but Christian fundamentalists saw the fad as an invitation to the devil.

In 1969, Charles Manson led his followers to perform a series of murders. The group staged the killings to appear ritualistic, leading the public to search for other murderous cults potentially inspired by the devil. The seventies had no more serial killers than other eras, but serial killers now got nationwide attention. The public learned how killers could seem like friends and neighbors, and how their bloody crimes might follow a ritual pattern. The Zodiac Killer even coined his nickname from astrology.

In the media, The Satanic Bible by Anton LaVey reached bookstores in 1969 and went to sell over a million copies. In 1973 the The Exorcist set box office records. The movie claimed to be based on a true story.

Meanwhile, the number of women working outside the home surged. They put their children in day care, but they felt guilty about it and feared time outside the home might somehow damage their children.

To battle what seemed like a rise of a depraved and godless culture, conservative Christians like Jerry Falwell organized the religious right into a voting block and helped elect Ronald Reagan as president.

Together, these trends created the right culture for a panic. The furor started when a 1980 book titled Michelle Remembers became a bestseller. The book tells how its author, psychiatrist Dr. Larry Pazder, treated a housewife named Michelle Smith using a technique called “recovered-memory therapy.” Prazder claimed to have uncovered Smith’s repressed memories from when she was five years old. She claimed to remember being given to a satanic cult and enduring 14 months of captivity and torture, while seeing ritual murders and mutilations, often involving babies. Today, recovered memory therapy is discredited as pseudoscience, but then many accepted Smith’s stories as fact. Pazder and Smith established themselves as authorities in “Satanic Ritual Abuse,” and they became resources for psychologists and law enforcement authorities. They made television appearances on shows like Oprah.

An anxious public came alert to the threat of satanic cults hiding next door, and they started seeing the devil’s influence everywhere.

In 1983, a California mother named Judy Johnson accused staff at her son’s preschool of abusing him. Questioned by investigators, her accusations grew to include sexual encounters with animals and a story of one teacher flying through the air. Prosecutors found no evidence, but the investigation expanded to interviewing several hundred children who had attended to school. Interviewers used suggestive techniques that invited children to pretend or speculate on supposed events. Children told of sexual abuse, and also of flying witches, hot air balloon trips, animal sacrifices, and a goat man. During the interviews, one child identified Chuck Norris from a photo as one of the abusers. Based on media reports, the day care seemed like a front for a satanic cult. The investigation lasted until 1987, and trials until 1990, when all charges were dropped without convictions. After a 12-day psychiatric examination during the affair, Judy Johnson was diagnosed as a paranoid schizophrenic.

Original Proctor & Gamble logo

Original Proctor & Gamble logo

News media and talk shows made the scandal into a national spectacle. Across the country, people found clues that seemed to reveal satanic cults hiding everywhere. Rumors spread that the consumer goods corporation Proctor & Gamble supported Satan. The evidence came from the company’s man-in-the moon logo from 1882. Part of the man’s beard resembled a reversed number 666 and the image included thirteen stars, a reference to the thirteen original U.S. colonies. Law enforcement officers trained to spot cult activities and traded information about satanic calendars, symbols, and supposed organizations. Authorities spent millions investigating hundreds of accusations of satanic abuse, especially in day care centers. They put suspects in jail and ruined lives and families. Eventually though, the cases proved baseless.

While this panic raged, D&D featured devilish-looking creatures and idols on the covers of its rule books. Inside, concerned parents found descriptions of demons, devils, and spells that could summon them. In 1979, the public learned about the game from reports that painted the game as “bizarre” and its players as “cultish.” During the Satanic Panic, D&D became a lightning rod.

D&D co-creators Gary Gygax and Dave Arneson both identified as Christians. Gary’s devotion even led him to refuse to celebrate Christmas, in part because of the holiday’s pagan roots. But Gygax recognized D&D as make believe and happily added elements from real Christian religion to the game. That included holy men who could walk on water and turn sticks into snakes. He added demons named in Christian sources. If demons and devils served as foes to kill, Gygax saw them as fair game for pretending.

However, fundamentalists saw the game differently. In 1980, Utah parents demanded that Wasatch High School ban its D&D club because the game’s lack of holy reverence for biblical miracles like water walking and resurrection. Christian Life Ministries examined D&D and reported on the dangers they perceived. “If it’s only a game, why do they use hundreds of traditional Christian terms? And why do they use them in such blatantly blasphemous ways?? Why??” Across the country, parents fought to rid D&D from their schools.

In 1982, teenager Irving “Bink” Pulling II committed suicide. The Washington Post reported that the boy had trouble fitting in. A classmate said, “He had a lot of problems anyway that weren’t associated with the game.” On his death, his mother Patricia Pulling learned for the first time that Irving had been playing D&D for the last two years. She blamed the strange game for her son’s death and started a crusade against D&D. She founded the group BADD, short for Bothered About Dungeons & Dragons. She sued her son’s high school principal for negligently allowing D&D play at the school. She sued D&D publisher TSR and accused the company of brainwashing kids and leading them to the occult. “If kids can believe in a god they can’t see then it’s very easy for them to believe in occult deities they can’t see.”

Televangelists like Pat Robertson, whose Christian Broadcasting Network reached millions, connected the game to “news reports of murders, suicides, fantasy mental changes. Young people are going totally crazy as a result of this game.” Evangelist Jack Chick published Dark Dungeons (1984), a comic that aimed to show readers how D&D led to Satan.

Many parents saw the alarm about devil worship as silly, but they still worried that the game blurred reality and fantasy in unhealthy ways, potentially causing psychological damage. The news offered plenty of stories to support that fear. For a while in the eighties, anytime a young victim of suicide happened to play D&D, the media reported on the D&D angle. A youth convicted in a murder case even tried to use D&D as part of his defense, claiming the game accustomed him to violence and led him away from God. Whenever tragedy struck the lives of young people who happened to play D&D, parents looked for something to blame, and the strange new game they didn’t understand seemed like an obvious culprit.

In 1985 more than 22 million people watched a segment linking Dungeons & Dragons to suicide and murder on the prime-time news show 60 Minutes. The report interviewed Pat Pulling and her tearful daughter. Gygax defended his game, but he stood little chance against the emotional appeal. On 60 Minutes, part of the entertainment comes from showing apparently guilty culprits squirm under the camera. Gygax tried to explain that D&D’s surging popularity meant that millions of kids played the game and, separately, some of those kids happened to be involved in tragedy. He aptly called criticism of D&D a witch hunt. The segment steered away from the devil-worship angle and toward the notion that the game damaged young minds. Still, psychiatrist Thomas Radecki talked about parents who saw their son “summon a Dungeons & Dragons demon into his room before he killed himself.”

To defend D&D from claims that the game threatened emotional harm, TSR hired psychologist and TV personality Dr. Joyce Brothers. TSR avoided ever showing gameplay that blurred reality with fantasy, so Gen Con banned any “live action events.”

To defend D&D from claims that the game lured kids to the occult, TSR removed the devilish idols and efreet from the covers of the Player’s Handbook and Dungeon Master’s Guide in favor of more wholesome pictures in 1983. Then they renamed Deities & Demigods to Legends & Lore. The game’s second edition removed the words “devil” and “demon” and replaced them with the purely make-believe terms “tanar’ri” and “baatezu.”

Today, most parents’ opinion of D&D completely reverses the fears of the eighties. Parents see the game as a creative activity that teaches teamwork, encourages reading, practices arithmetic, fosters social skills, and creates real-world friendships. Today’s parents fear that children spend too much time glued to screens, so best of all, D&D games encourage kids to spend time with friends together at the kitchen table.

Go back to number 10.

D&D’s Biggest Controversies Ranked—2. Child Genius Disappears, Creating the Media Furor That Introduced D&D to America

On August 15, 1979, a 16-year-old college student and computer nerd named James Dallas Egbert III disappeared from Michigan State University. His parents hired private detective William Dear to find their missing boy.

Dallas Egbert played D&D, a game that seemed strange enough to becomes Dear’s key lead. The detective focused his hunt on the notion that Egbert had played Dungeons & Dragons in the eight miles of steam tunnels under the university and remained lost, hidden, or trapped. Dear wondered if D&D had broken the “fragile barrier between fantasy and reality.” Perhaps D&D left Egbert so deluded that he believed he was a wizard exploring the dungeon. Perhaps his attempt to make the game real had left him hurt or even dead in the tunnels. “Dallas might actually have begun to live the game, not just to play it.”The Dungeon Master by William Dear

Egbert’s disappearance introduced Dungeons & Dragons to America. The reports painted the game as “bizarre” and its players as a “cult.” A story in The New York Times speculated that Egbert became lost “while playing an elaborate version of a bizarre intellectual game called Dungeons & Dragons.”

“Students at Michigan State University and elsewhere reportedly have greatly elaborated on the game, donning medieval costumes and using outdoor settings to stage the content.”

On September 9, The San Francisco Chronicle and Examiner published an article titled, “Fantasy cult angle probed in search for computer whiz.”

“Police hunting for a missing 16-year-old computer whiz, yesterday completed a futile search of tunnels beneath the Michigan State University campus where fantasy lovers acted out roles in a bizarre game.”

Reporters consistently painted D&D as a “bizarre” game enjoyed by “secretive” and “cultish” players. Under the story lies the notion that D&D pulls players so deeply into fantasy that they lose touch with reality—that the game lures players to play out the fantasy in real life.

On September 13, less than a month after the disappearance, Egbert called and revealed his location. The teen’s attempt to flee depression had led him on a trek that took him to the home of an older male “admirer,” to Chicago, and then to Morgan City, Louisiana. During his trek, he survived two suicide attempts.

Egbert had turned to D&D for respite from his other troubles. He faced intense academic pressure from parents who had pushed him to skip two grades. He was gay at a time when few people accepted or tolerated the trait. (Later, he would beg Dear to keep this secret hidden.) In the book Perfect Victims, journalist Bill James writes, “Egbert was living among older kids who had nothing in common with him and who didn’t particularly like him. He was regarded as an irritating little twerp. He was 16, but looked 12. He got involved in numerous campus activities and groups, each of which devised a new kind of rejection for him.”

In a press conference, Dear said the teenager’s disappearance was not related to Dungeons & Dragons. But the detective still saw D&D as a bad influence. “You’re leaving the world of reality into the world of fantasy,” Dear said. “This isn’t a healthy game.”

The story of James Dallas Egbert ends sadly. In 1980, he died from a self-inflicted gunshot wound. Perhaps if he had lived just a little longer, his tale could have led to a happier ending. The intelligence that isolated him could have become an asset. The secret that tormented him became more accepted. Perhaps, in more time, D&D could have helped him find his people.

For the full story, see The Media Furor that Introduced the “Bizarre Intellectual Game” of Dungeons & Dragons to America.

Next: Number 1.

D&D’s Biggest Controversies Ranked—3. Wizards of the Coast Attempts To Revoke the Current Open Gaming License

In 1997 Wizards of the Coast bought Dungeons & Dragons publisher TSR, rescuing the company from bankruptcy. New D&D head Ryan Dancey looked for ways to turn the game into a healthy business. Dancey saw fan contributions as an enhancement to the D&D community that strengthened the game’s place in the market. Support from fans and from third-party publishers encouraged more people to play D&D. Dancey wrote, “This is a feedback cycle—the more effective the support is, the more people play D&D. The more people play D&D, the more effective the support is.” Besides, the numbers showed that the D&D business made money selling core books. Why not let fans and other companies bear the weight of supporting the game with low-profit adventures, settings, and other add-ons?

Dancey’s thinking led to the introduction of the Open Gaming License and the d20 License. Using these licenses gamers and gaming companies could create and distribute products compatible with the D&D rules. Sometimes the products competed with Wizard’s own publications, but the overall contributions from the community helped the game flourish. Other role-playing game companies recognized the success of this strategy and introduced similar licenses for their games.

The OGL granted a perpetual license, encouraging game publishers to view the OGL as a safe agreement to base investments on. “When v1.0a was published and authorized, Hasbro and Wizards of the Coast did so knowing that they were entering into a perpetual licensing regime,” Dancey said. However, the OGL does not grant an irrevocable license, and to lawyers, perpetual licenses can sometimes be revoked.

In 2022, Hasbro CEO Chris Cocks and Wizards of the Coast CEO Cynthia Williams appeared in a presentation for investors. Williams touted D&D’s popularity but described the game “under monetized.” Wizards aimed to do a better job of gaining income from the game, bringing more earnings to stockholders.

With monetization in mind, Wizards executives probably looked at other publishers profiting from D&D-compatible products and felt D&D’s owner deserved a cut. Royalties on a million-dollar Kickstarter for a D&D-compatible product would hardly move the bottom line of a company the size of Hasbro, but multiply that cut by 10 or more multi-dollar dollar kickstarters per year, every year, and the payoff adds up. So, the company asked lawyers to find a way break the OGL, and the legal team found a potential out in the word “authorized.”

The OGL states, “You may use any authorized version of this License.” What if Wizards simply declared current version of the license “unauthorized,” and then replaced the OGL with a new version containing terms that favored the company? Wizards prepared a FAQ that explained, “OGL 1.0a only allows creators to use ‘authorized’ versions of the OGL which allows Wizards to determine which of its prior versions to continue to allow use of when we exercise our right to update the license. As part of rolling out OGL 2.0, we are deauthorizing OGL 1.0a from future use and deleting it from our website. This means OGL 1.0a can no longer be used to develop content for release.”

The new OGL license required publishers to register their products, demanded royaties from larger publishers, and enabled Wizards to revoke the new agreement. Wizards surely knew such a move would meet resistance from the D&D community, but they made some allowances to minimize criticism.

  • The new OGL introduced some high-minded changes such as rules that prohibited material that is “blatantly racist, sexist, homophobic, trans-phobic, bigoted or otherwise discriminatory.” Wizards undoubtedly supported such additions, but they also gave the company a way to claim that the new agreement came from noble goals. In a FAQ, Wizards states, “OGL wasn’t intended to fund major competitors and it wasn’t intended to allow people to make D&D apps, videos, or anything other than printed (or printable) materials for use while gaming. We are updating the OGL in part to make that very clear.”
  • The new OGL only demanded royalties from the few companies who grossed more than $750,000 on D&D-comparable products. Wizards probably hoped that this would leave the vast number of D&D creators with no cause for complaint. That proved a miscalculation, perhaps because most D&D creators eyeing a million-dollar Kickstarter think, someday that could be my project.
  • The high-royalty rates in the new OGL only represented an opening offer in a negotiation. In late 2022 Wizards gathered about 20 third-party creators to outline the new OGL and to offer 15% royalty rate rather than 25% to publishers willing to sign a separate agreement. For growing companies, the OGL promised, “If You appear to have achieved great success…from producing OGL: Commercial content, We may reach out to You for a more custom (and mutually beneficial) licensing arrangement.”

Likely Wizards executives hoped big publishers would come to terms before the new OGL became public, smaller publisher and fans would consider themselves unaffected by the OGL, and any lingering objections would be forgotten. They miscalculated. A draft of the new OGL leaked, igniting a firestorm of criticism.

For eight days, Wizard’s avoided commenting on the leak. According to insiders, the company’s managers saw fans as overreacting and calculated that in a few months everyone would forget the uproar. The company drafted a FAQ they hoped would soothe fans and help speed acceptance.

Meanwhile, many of the biggest OGL publishers announced plans to drop the OGL or to introduce their own gaming licenses for their product. A fan-led campaign to send a clear message to Wizards by canceling D&D Beyond subscriptions went viral. So many gamers went to the site to stop payments that the traffic temporary shutdown the page. The story reached mainstream news.

Wizards of the Coast got the message. They scrambled to make accommodations, first by promising to remove the most onerous provisions from the new license, and then by committing to keep the existing OGL. Ultimately, Wizards put the Systems Reference Document for D&D 5.1 into the Creative Commons using a perpetual, irrevocable open license agreement outside the company’s control.

Related: The Legal Fight Over Happy Birthday and What It May Tell Us About D&D’s Rumored OGL 1.1

Next: Number 2.

D&D’s Biggest Controversies Ranked—4. Fourth Edition Sparks an Edition War and the Creation of the Pathfinder Roleplaying Game

While the Dungeons & Dragons team developed the game‘s fourth edition for a 2008 release, they faced problems from several directions. Corporate owners Hasbro brought a big corporate cost structure and return on investment expectations set by Magic the Gathering and Pokémon. As third edition sales sagged, the D&D team endured annual Christmas-season layoffs. World of Warcraft debuted in 2004 and experienced surging popularity. By 2008, the WoW community hit more than 11 million players. D&D fans saw fellow players switch their attention to the online game and disappear from tabletop games.

To compete, D&D needed a big advance—a new edition that didn’t just improve the game but an edition capable of winning Warcraft players by matching some of what drew players to online games. “As far as I know, fourth edition was the first set of rules to look to videogames for inspiration,” D&D designer Mike Mearls said. “I wasn’t involved in the initial design meetings for the game, but I believe that MMOs played a role in how the game was shaped. I think there was a feeling that D&D needed to move into the MMO space as quickly as possible.”

So, the new edition focused on the elements that might appeal to fans of online fantasy games. Mearls recalled that the team felt that “building a player character was the real thing that drove people to play the games. You wanted to choose your feats, your prestige classes and whatnot.” Lead designer Rob Heinsoo sought to give the game an irresistible hook that tied the game together and compelled gamers to play. “The solution James Wyatt, Andy Collins, and I were excited about was to give every PC an ongoing series of choices of interesting powers. Most every time you gain a level you select a new power or a feat. Every combat round you have an interesting choice of which power or powers to use.”

The game didn’t just need to be fun to play. It needed to be easy to run online. Casual DMs could simply buy an adventure, read the boxed text, and then run a sequence of skill challenges and combat encounters. In a skill challenge, the DM just had to decide if a skill helped the players—but only when the challenge’s description neglected to list a skill in advance. Ideally, Players could drop into the virtual tabletop at any hour, join any available DM, and feel confident that a stranger could deliver a fun experience. A thriving virtual table would let players join a game 24/7, just like Warcraft. And all those players would pay monthly, just like Warcraft.

Despite the lofty goals, the new edition divided D&D’s existing players and failed to win a generation of new fans.

While the D&D team readied their game for release, magazine and D&D adventure publisher Paizo planned their response. They sent future Pathfinder designer Jason Bulmahn to a convention that offered gamers and chance to preview the new edition. Paizo founder Lisa Stevens recalled, “We had trepidations about many of the changes we were hearing about. Jason’s report confirmed our fears—4th Edition didn’t look like the system we wanted to make products for.” She led her company to create Pathfinder, a game that boasted compatibility with the existing, third edition of D&D.

For gamers who shared the Paizo team’s distaste for the direction of fourth edition, Pathfinder offered an obvious alternative. And plenty of gamers chose the alternative. By 2010, rumors circulated that Pathfinder outsold D&D. The rumors proved false, but Pathfinder seemed to dominate many conventions and game stores. At Gen Con, its players filled the massive Sagamore Ballroom that had once hosted D&D play. Meanwhile, D&D players became exiles in a much smaller space.

“No one at Wizards ever woke up one day and said, ‘Let’s get rid of all our fans and replace them.’ That was never the intent,” Mike Mearls explained later. “With fourth edition, there were good intentions. The game is very solid, there are a lot of people who play it and enjoy it, but you do get those people that say ‘hey, this feels like an MMO, this feels like a board game.’”

From the D&D designers’ perspective, the market’s rejection of fourth edition stemmed from two causes: The game dared to change too much at once and suffered from a lack of design time.

The designers came to regret changing so much so fast. Steve Winter, a designer since D&D’s 2nd edition, wrote, “Fourth Edition was a glorious experiment that succeeded technically. Unfortunately, its breaks from the past were too severe for many fans, who didn’t pick up the new banner.” Rob Heinsoo wrote, “Knowing what I know now, I might have worked for smaller changes in the world, since shifting both the world and the mechanics at the same time proved difficult for some of the D&D faithful to swallow.”

More players might have accepted the change if the developers had gained time to perfect the edition. “We just ran out of runway.” Mearls explained “That’s kind of the story of fourth edition in a lot of ways. We ran out of runway as we were trying to get the plane up in the air.”

Fourth edition never emphasized D&D’s unique strengths. As Mearls put it, “I think what was happening was [fourth edition] was really focusing on really hardcore mechanics, the intricacies of how the rules interact. It really became about the rules and about mastering the rules, rather than about the story, or role-playing, or the interaction between the DM and the players.”

By the end of fourth edition’s run, the designers had perfected a game about building characters and showing them off in dynamic fights. Perhaps they lost some of what makes D&D uniquely compelling.

For the full story, see The Threat that Nearly Killed Dungeons & Dragons—Twice.

Next: Number 3.

D&D’s Biggest Controversies Ranked—5. D&D Splits Into Two Games With “No Similarity,” Provoking Lawsuits

D&D’s original Basic Set arrived in stores in the fall of 1977, but in only reached third level. For higher levels, the set directed players to Advanced Dungeons & Dragons—except the advanced game would take two more years to complete. The AD&D Dungeon Master’s Guide, which included the advanced combat tables, came in 1979. For 2 years, D&D players blended combat rules and magic items from the game’s original brown books with monsters from the AD&D Monster Manual, and later with the new races and classes from the AD&D Player’s Handbook (1978).

In the June 1979 issue of The Dragon, Gary Gygax made claims that baffled D&D fans used to playing with a mix of original, basic, and advanced D&D rules. “ADVANCED DUNGEONS & DRAGONS is a different game. Readers please take note! It is neither an expansion nor a revision of the old game, it is a new game. It is necessary that all adventure gaming fans be absolutely aware that there is no similarity (perhaps even less) between D&D and AD&D than there is between D&D and its various imitators produced by competing publishers.”

Gary Gygax

AD&D never proved as different as Gygax claimed. His new version of D&D remained roughly compatible with the original. Supposedly, AD&D featured strict rules while original D&D featured room for customization, but everyone—even Gygax—changed and ignored AD&D rules to suit their tastes. Later, Gygax wrote, “I just DMed on the fly, so to speak, and didn’t use the rules books except for random encounters, monster stats, and treasure.”

Why did Gygax vehemently argue that AD&D held “no similarity” to D&D when the game’s fans found the claim laughable? Because D&D co-creator Dave Arneson felt that TSR owed him royalties for AD&D, while the company claimed Arneson only deserved royalties for the original game.

From Dave Arneson’s perspective, D&D came from his ideas. He had started with a sort of miniature game that had existed for generations and that appealed a tiny hobby, and then he had added the concepts that made a revolutionary game. Arneson invented a game where each player controlled a single character, and where a referee enabled players to attempt any action. He discovered the fun of looting dungeons. His fantasy game added characters defined by numeric attributes, and characters who could improve through experience.

From Gary Gygax’s perspective, he had labored for years on D&D. He had turned 20 pages of notes into the original rules. He had bet every cent he could scrape together on publishing an odd, risky game. In supplements and magazine articles, he enriched D&D. He defended it in letters and editorials. His friend Frank Mentzer wrote that for D&D, Gygax “paid the costs in stress on himself, his marriage, family, and friends.” Arneson had only planted an idea.

Dave Arneson (photo Kevin McColl)

Dave Arneson and Gary Gygax each argued that D&D’s success rested on his contribution. Both were correct, but that didn’t make sharing the wealth any easier. The court fight lasted until March 1981. The settlement granted Arneson a royalty of 2.5% of the cover price of core AD&D books. (In 1985, Arneson sued TSR again. His lawyers argued that the Monster Manual II—a collection of new monsters—qualified as a “revision” of the Monster Manual. Stop laughing. The court agreed.)

After Wizards of the Coast purchased TSR, they dropped the “Advanced” brand for the game’s third edition. In 30 Years of Adventure, Wizards CEO Peter Adkison wrote, Arneson “was supposed to get a royalty off of any product TSR published in the Dungeons & Dragons line. Previous owners ‘got around’ this royalty by publishing everything as Advanced Dungeons & Dragons. To me this seemed silly. I talked with Dave, and we agreed that he would release all claims to Dungeons & Dragons if I simply gave him a big check. I did.”

For the full story, see Basic and Advanced—The Time Dungeons & Dragons Split Into Two Games.

Next: Number 4.

D&D’s Biggest Controversies Ranked—6. The Melnibonéan and Cthulhu Mythoi Disappear From Deities & Demigods

In 1980, TSR published Deities & Demigods complete with sections describing the Melnibonéan mythos of Elric and H.P. Lovecraft’s Cthulhu mythos. Meanwhile, another game publisher, Chaosium, prepared to release the licensed games Stormbringer and Call of Cthulhu based on the same stories. They sent cease-and-desist letters to TSR.

The legal demand put TSR in a bind. TSR had gained letters granting permission to include the sections from Lovecraft publisher Arkham House and from Elric author Michael Moorcock. Armed with these letters, TSR could have fought. “The company wasn’t rich at that point,” explained TSR executive James Ward. Brian Blume, TSR’s head of operations, “didn’t want to go to California, get a California lawyer, and spend time and money winning the case.” TSR could have stopped selling Deities & Demigods, but it sold great. Pulling the book meant pulping copies on hand, reprinting, and paying new costs. Reprinting the book with fewer pages would take time. During the lapse, some customers would lose interest and TSR would lose sales.

So TSR worked a deal with Chaosium. In exchange for keeping the Elric and Cthulhu content in Deities & Demigods, TSR allowed Chaosium to make their Thieves’ World supplement compatible with Advanced Dungeons & Dragons.

Despite trading for permission to keep the mythoi, TSR removed them from new printings of the book. Brian Blume likely feared the content would lead gamers to a competitor’s games. And besides, the change led to a shorter, more profitable book.

For the full story, see The True Story of the Cthulhu and Elric Sections Removed from Deities & Demigods.

Next: Number 5.

D&D’s Biggest Controversies Ranked—7. D&D changes the game’s original handling of races and humanoids

When D&D creators Dave Arneson and Gary Gygax adopted the word race for the playable species in D&D, they used the term in the same sense as the human race. More commonly, “race” refers to human groups who share superficial traits common to their ancestry, and that use recalls a long history of people using ancestry and appearance to justify mistreating and exploiting people. The choice of the word “race” weighed the game with problems that lasted until today. And D&D’s issues with race go beyond the baggage that weighs on the word.

“In the old days, elves and dwarves and some of the other playable options were very much the product of folklore, and in folklore, elves and dwarves were embodied metaphor,” said D&D’s lead rules designer Jeremy Crawford. “They were metaphors for different aspects of the human psyche. So elves were often associated with more elevated lofty aspects of the human psyche. Dwarves were often associated with the industriousness that some people manifest.” If fairy tales, these metaphors became talking creatures. “You can meet a demon that’s embodied evil. You can meet an angel that’s embodied good. You can meet a dwarf that’s the embodiment of industriousness and hardiness.”

Often gamers enjoy playing metaphors and relish taking the role of an ale-loving, hammer-smacking dwarf who craves gold. Sometimes gamers like to play characters who stand out for their unique qualities, such as a dwarf wizard who happens to love tea and gardening. When the D&D team made faeries a playable race, tiny barbarians became widely popular. A chance to play a raging fairy that felt one of a kind delighted players.

Through most of D&D’s history, the rules penalized or blocked players who wanted a character who defied a race’s archetype. At first, rules blocked many combinations of race and class, so a dwarf simply couldn’t become a wizard. Later, the game added racial ability score modifiers that encouraged characters to fit the archetype of their chosen race, so half-orcs gained strength and constitution, but lacked charisma. Originally, half-orcs only excelled as assassins. The modifiers meant a player who wanted to play something like a dwarf wizard had to settle for a less efficient character. Most players disliked suffering a penalty just to play a certain combination of race and class.

Also, ability score modifiers raise troubling reminders of how real ethnic groups can suffer from racist stereotypes that paint people as lacking certain aptitudes. D&D’s unfortunate use of the word “race” makes those reminders far more powerful. D&D races can include robot-like warforged, tiny fairies with wings, and humanoid dragons that breathe fire and lay eggs, but they all represent sorts of people in the game world.

In 2020, the D&D team decided that some of the game’s rules and lore aimed at treating non-human game people as metaphors had to go. To “pave the way for truly unique characters,” Tasha’s Cauldron of Everything stopped linking ability modifiers to race. Now, players could create a dwarf wizard with a green thumb without settling for a less efficient build than a similar character who happened to be an elf.

Players also wanted game people to have just as much potential to be good and virtuous—or to be wicked—as real people.

Humans have a knack for imagining human-like qualities for animals, monsters, and even inanimate objects like desk lamps. When a human-like character also shares qualities associated with a human group, we tend to imagine that that character as part of the group, so a cartoon truck with eyelashes and a bow seems female. When imaginary creatures share qualities associated with real human groups, this tendency can create troubling associations. For example, Gary Gygax created drow to resemble the photo-negative of Tolkien’s elves. Instead of having dark hair and white skin, drow featured white hair and black skin. A dark-skinned race characterized as evil without exception creates a troubling association. Drow are imaginary, and Gygax never intended to link drow to real races, but the association remains. Suppose you read a children’s book featuring imaginary talking dogs. In the tale, all the golden dogs are good and pure, while all the brown dogs are wicked and savage. Instead of thinking, “Well, they’re just imaginary talking dogs,” you would say, “Oh, hell no,” before hurling the book across the room.

The D&D team wrote, “Throughout the 50-year history of D&D, some of the peoples in the game—orcs and drow being two of the prime examples—have been characterized as monstrous and evil, using descriptions that are painfully reminiscent of how real-world ethnic groups have been and continue to be denigrated. That’s just not right, and it’s not something we believe in.”

This belief shows in the alignments listed for creatures in the game. The 2014 Monster Manual listed drow and orcs as evil, but newer books characterize them as having “any alignment.” Even demons and angels now get “typical” alignments rather than unvarying ones. Some of this just reflects an extra emphasis. The 2014 Monster Manual already explained that “the alignment specified in a monster’s stat block is the default. Feel free to depart from it and change a monster’s alignment to suit the needs of your campaign.”

More recently, the D&D team announced that the 2024 update to the game would scrap the term race, likely in favor of the word species. Unlike races, the differences between character species go beyond superficial, so the term “species” fits better, even if its flavor seems a bit scientific for a fantasy game.

Some folks have pointed out that the word “species” brings as much historical baggage as “race,” because real world racists once pretended that people who looked different were different species, and then used that as a way to justify all sorts of injustices. Still, “species” likely rates as the best of all the imperfect options.

The controversy came from different perspectives. Some gamers favored characters that fit mythic archetypes—a valid preference. Some gamers loved the D&D they grew up with and felt angry about any changes that implied the old game included elements that felt racist. Some gamers wanted a game with unalterably evil humanoids, so young and old orcs could be killed without question. And many just followed an allegiance to their ideological team and raged at change.

Next: Number 6.

Related: How D&D’s Rules Changed To Encourage More Varied Groups of Heroes Than Those in the Pulp Fantasy That Inspired the Game

D&D’s Biggest Controversies Ranked—8. TSR Demands That D&D Players Stop Sharing Their Fan Creations on the Internet

TSR's web page in 1997

TSR’s web page in 1997

In 1994, when file sharing on the internet typically meant logging into a FTP server hosted by a university for uploads and downloads, gamers used the new technology to exchange their own D&D creations like monsters, classes, and spells. TSR management felt that even fan creations for D&D belonged to the owners of the game, so to stop gamers from freely sharing any D&D content on the internet, the company took two steps: First, a TSR representative sent letters to the administrators of servers hosting D&D content and in some cases content for other games. “On behalf of TSR, Inc. I ask that you examine your public net sites at this time and remove any material which infringes on TSR copyrights.” Because universities hosted most of these sites, the notices led to a quick wave of shutdowns. Second, TSR insisted that fans who wished to distribute their D&D creations exclusively use a server run by a TSR-licensed company. The process required creators to add a disclaimer granting TSR exclusive rights to publish or distribute the content.

The demands alarmed D&D fans. Many creators feared that TSR would bundle their creations in a CD-ROM or start charging for online access. The more conspiracy-minded worried that TSR would simply gather content and pull the plug, eliminating a source of competition.

After a year enforcing the policy in the face of the backlash, TSR eventually stopped sending cease-and-desist letters that threatened people posting their own D&D creations, and started focusing on actual copyright infringement. TSR online coordinator Sean K. Reynolds said, “Without actually changing the TSR policy, we just kind of mitigated our enforcement of the policy.”

For the full story, see part 1 and part 2.

Next: Number 7.

D&D’s Biggest Controversies Ranked—9. D&D Infringes on Tolkien by Including Hobbits, Ents, Nazgûl, and Balrogs

Battle of the Five Armies (TSR 1977)

Battle of the Five Armies (TSR 1977)

When D&D co-creator Gary Gygax penned the original D&D books, he took fantastic creatures and magic from every source he knew and added them to the game. He never considered who owned the ideas. Surely a few references to hobbits in a game that originally reached a minuscule number of hobbyists would pass unnoticed. So the first D&D books and supplements included references to hobbits, ents, nazgûl, and balrogs.

In April 1977, TSR went too far by releasing an unlicensed game based on The Hobbit called Battle of the Five Armies. A note under the title said, “From ‘The Hobbit’” and revealed that TSR had applied to trademark “The Battle of the Five Armies.”

The board game reached hobby shops just as marketing started for a television adaption of The Hobbit. Perhaps, TSR figured that the game could benefit from the movie publicity, while escaping the notice of any lawyers. This calculation proved wrong. Worse for TSR, the board game drew legal attention to D&D.

Hobbit (TV Movie 1977)

Hobbit (TV Movie 1977)

The Hollywood production company behind The Hobbit owned the non-literary rights to Tolkien’s works, and that included games. The man running the production company, Saul Zaentz, would later gain fame by suing John Fogerty for plagiarizing his own songs. (Zaentz owned the songs Fogerty wrote for Creedence Clearwater Revival, so when one of the artist’s new songs sounded too much like “The Old Man Down The Road,” Zaentz took Fogarty to court. Fogarty would strike back by penning the song “Zanz Kant Danz.”) Zaentz‘s company sent TSR a cease-and-desist notice.

TSR killed the board game and cut words coined by Tolkien from D&D. They used synonyms while leaving the fundamental concepts unchanged. Hobbits became halflings, ents became treants, and nazgûl became wraiths. The Eldritch Wizardry supplement dropped the note that said Type VI demons were sometimes called balrogs. Eventually, the D&D version of the demon would become balors.

Next: Number 8

D&D’s Biggest Controversies Ranked—10. TSR Trashes the Entire Print Run of the Palace of the Silver Princess Adventure

In 1981, D&D publisher TSR printed B3 The Palace of the Silver Princess, but when the new copies reached key TSR management, they ordered the entire print run sent to a landfill rather than to distributors.

The debacle started when, after a year working mostly administrative tasks, the module’s author, Jean Wells, had finally landed a creative assignment writing an adventure that would introduce D&D to new players. Perhaps the company’s management expected a woman to deliver a gentle module that would nurture D&D’s burgeoning young audience. Instead, she wrote a sandbox with the same grown-up sensibilities as prior TSR products.

When TSR co-owner Brian Blume saw the newly printed adventure for the first time, one illustration titled “The Illusion of the Decapus” led him to have the printing trashed. In the picture a woman dangles from a ceiling beam, bound by her own hair. Men taunt and poke her, “pulling at what few clothes she has on.” Just a year earlier, such an illustration might have passed unnoticed. After all, in the October 1980 issue number 42 of Dragon, TSR printed a picture of a bound, naked woman on her knees before the corpulent, goat-headed figure of Orcus.

Illusion of the Decapus by Laura Roslof

Illusion of the Decapus by Laura Roslof

In 1981 though, D&D enjoyed rocketing sales that reached beyond the older wargamers and sci-fi fans who first found the game. Now the public worried that the game blurred reality and fantasy, potentially leading players to real trauma or to act out the violence in the game in real and dangerous ways. Fundamentalist parents feared the spells, demons, and devils in D&D would lead their kids to actual witchcraft, satanism, or ritual sacrifice. TSR strategy focused on building sales to younger gamers while comforting the parents who might worry about a game full of evil creatures and supernatural make believe. The original Palace of the Silver Princess failed to fit that approach.

For the whole story, read Part 1 and
Part 2

Tomorrow: Number 9.