An essential part of running a game set in our own personal version of "Middle-earth" is to make use of at least some of the many well-known aspects of this iconic fictional setting that we are all now familiar with from the published sources, movies, etc. To include some NPC members of the classic Tolkien races - hobbits, elves and dwarves. And to play such NPCs in a way consistent with how they are portrayed in the books. (Obviously, elves in Middle-earth should feel like Tolkien's elves - NPCs that follow stereotype can be your friend here.) Make orcs and goblins the most commonly encountered monsters other than bad/evil humans (remember Middle-earth is a "moral" setting - Good vs. Evil.). While describing things, make occasional reference to the known history from the legendarium and use some familiar place names - unless you prefer the freedom that anonymity will provide your setting. By calling it Middle-earth, Gondor, Rohan, etc. a referee conjures up familiar images for your players that may benefit the game and add to their feel for your setting. Doing so also comes with many player expectations that can also limit your options as referee.
I have frequently heard experienced referees exclaim "D&D just doesn't work for Middle-earth". Your mileage may vary, as they say, but this has not been the case for me. I have found that The World's Most Popular Role-Playing Game can work quite well to give players (including myself) a satisfying Middle-earth gaming experience. If you are in doubt, please allow me to explain further.
Let's take the Basic Rules as edited by J. Eric Holmes (the box image appears above). This version of the game is written as an introduction to role-playing and to D&D and as such it only covers character advancement from levels one to level three. Perfect for a game set in Middle-earth! Character classes are Fighter, Magic User, Cleric (the referee may see this last PC class as less desirable in a Middle-earth setting and eliminate it as an option) and Thief. Character kindreds (races) are human, elf, dwarf, and halfling. The Holmes Basic Set refers to the Advanced game if one wishes to pursue higher level play. We shan't require that for our Middle-earth game, however.
The rules to D&D as written are "generic" in that they present a game that can cover a lot of different interpretations of what fantasy adventuring can be like and in a lot of different fantasy settings. To give a good feeling for Middle-earth, I think Holmes Basic requires just a few (easily administered) changes, but only a few. Most obvious to many would be the relative incompatibility of its so-called "Vancian" magic system, which is common across all the early editions. I suggest we alter the spell list - and perhaps the spell slots and levels practice, replacing such mechanics with spell points or the roll for success mechanic borrowed from Chainmail. Should one see a need for imposing some sort of maximum spell use per day limit, we can that as well.
More importantly, however, is limiting the actual spell choices to only those that seem to fit the fiction. The spells "Light", "Magic Missile" (think flaming pine cones) "Cure Wounds", "Bless", "Sleep", "Protection from Evil", and perhaps "Web" - all from the Holmes Basic spell list - have some equivalent precedence in the literature and therefore feel about right for game use.
Tying magic use to some item, such as to a staff, also seems appropriate. Middle-earth is full of magical things - at least from a humble halfling chronicler's perspective - as is frequently recorded in their histories such as The Hobbit (There and Back Again) and The Lord of the Rings. If we "re-skin" spell casting as making use of various "magical" items - focii, crystals, talismen, herbs, drinks and breads - we can at once give our magic a more believable Middle-earth character that seems in line with its portrayal in the source fictions and limit its usage to an acceptable level for game balance (whatever that is?) and remain consistent with a "low magic" feel.
The magic of the elves in Middle-earth should be distinct from the magic of the wizards and their imitators, or from sorcerers and witches who serve their darkmaster. Elven magic is based on song which seems distinctively in character. (The use of a signature item in casting magic is also useful in achieving the desired feel as in Galadriel's use of her ring of power - Nenya!).
Non combat spells may be best characterized in Middle-earth terms as "ritual magic" involving more than a quick minute. Most divine magic in the Middle-earth game setting may perhaps be seen as involving such ritual - an act which distinguishes it from other sources of magic and perhaps leverages an association with more traditional religious practices. The game use of evil (NPC) clerics devoted to Morgoth works well in my experience as villains, despite their not appearing in any of the official novels as significant characters (possible exception the Mouth of Sauron). The agents of evil were obviously not all ring wraiths, but rather were often just corrupted men.
Monsters of Middle-earth require the same careful approach as is expected of magic if the game is to achieve the proper feel. The referee desiring to present a facsimile of Middle-earth for their game should consider the game's list of monsters and whether each will fit with the setting. (Incidentally, this seems to me like good advice whether the setting is Middle-earth or any other.) The family of goblinoids, including orcs, can be seen as merely the different power levels (hit dice) of the same goblin/orc creature. Each named creature grouping is distinct in the D&D game and are given names like "Hobgoblin" and "Bugbear", but can all be thought of as "orcs" for use in a Middle-earth campaign and described as such by the referee.
Undead are most assuredly appropriate monsters to use in a Middle-earth setting and the game's level draining ability is quite frightening to players - therefore I would keep that as is. Characters may be turned into a wraith - like undead creature in a manner suggestive of Frodo's struggle with the Morgul shard or the hobbits who fall asleep in the barrow. The level draining effect could be seen as "drawing one into the realm of shadow!" How we describe the effect can greatly influence the perceived fiction regardless of the actual mechanics.
How we as referee characterize and describe the setting is what ultimately provides the tone and mood of our game. It is the little details and what we don't say is as important as what we do say. It is often that which is left to the players imagination - the details they supply from memory that will bring the setting alive and incidentally, may also furnish the more frightening encounters! By carefully considering what we say, how we say it and when we say it (or don't), we can spin our game in such a way that we may imagine we are adventuring in Middle-earth.
No comments:
Post a Comment