Magic in Middle-earth

To be or not to be a magic user?
Adventures in Middle-Earth represents one approach to handling magic in Middle-earth which has been popular. The game system released by Cubicle 7 in 2016 and now unfortunately out of print is built using the 5e combat mechanic and under the premise that magic, particularly "spell magic", is beyond the reach of player characters to access during play. As a "low magic/ no magic" version of 5e set in a Tolkien world, it succeeds admirably - but I will argue that no magic is not the only way to play in Middle-earth. 

From its publication in 1974 on, hobbyists (including myself) have attempted to play their favorite FRP game featuring a version of Middle-earth - often while using one edition or another of The World's Most Popular Role-Playing Game. Many have decried their frustration, especially with the game's "Vancian" magic system, and have abandoned the effort to make the game, this game  in particular, feel like Middle-earth. The original edition game seems a better fit for me than for many, however, and that is perhaps due to my personal views on Middle-earth.

As I read about Middle-earth in the published works of its creator, J.R.R. Tolkien, I find the fictional setting to be full of magic...and also a bit scary!  Middle-earth, or Arda as the world is sometimes called, is brought into being through the magic of song - angelic song. Evil is introduced through the discordant voice of the powerful "angel" Morgath. In the fiction, Middle-earth seems to have been created using a form of "magic" - or rather perhaps a "technology" beyond comprehension and therefore indistinguishable from magic!

The world of Arda seems wonderous and very different from our own. There is the light of the lamps and later of the trees, the awakening of the sentient beings including dwarves, elves and men, the presence of various divine immortal beings (Valar, Maia, etc.) who visit Middle-earth, and for a time use their supernatural powers to work wonders while traveling or dwelling among mortal men who stand in awe of such "magic", all this, and still more, seems to me to impart a magical nature to Middle-earth. Add to the context of Middle-earth various and sundry magical items, silmarils, rings, swords, etc. and creatures from legend and myth (werewolves and vampires) and I am feeling the "magic" in Middle-earth.

To be sure, Professor Tolkien avoids the use of flashy spell magic as is most commonly used in The World's Most Popular Role-Playing Game - there are no "fire-balls" or lightning bolts, but healing magics are used by more than one character. Necromancy, undeath, and spirits who walk about breathing death on mortals who get too close, all certainly play a part even in The Lord of the Rings - arguably the least "magical" of J.R.R. Tolkien's several works centered on Middle-earth. 

In The Lord of the Rings and The Hobbit, Professor Tolkien shows us much regarding his fictional world of Arda, and in The Silmarillion and other unfinished works, he describes how much of Arda and its inhabitants came to be. The novels are written as from the point of view of hobbit folk - perhaps the least "magical" of Middle-earth's peoples. They see much that causes them wonder and astonishment - and not a little fear when the shadow is involved. As much as I feel like I know about Middle-earth, there remains many questions - spaces I think the good professor intentionally left blank that we might fill in some of the missing details using our own imagination.

Take Tom Bombadil for example. Who or what is he? It seems he predates Arda - or does he? What is the nature and history of his good wife Goldberry? Exactly how do the Doors of Durin at the gate to Moria work? What is the secret to ring-making? Middle-earth is full of unexplained mystery... And that is precisely how I like my fictional world to be.

I like to postulate beyond what is written (making me a Middle-earth "heretic" to some). I  ask questions to which there are no answers. 

Questions like: 

What happened to the blue wizards? Did they perhaps take on pupils and teach them magic? 

What about the witch king of Angmar? How much magic did he control and does he take on apprentices? 

Saruman and Wormtongue - what is the nature of their relationship? Did it involve magic?

The  Numenoreans who entertained Sauron, did they perhaps learn a few magic spells from the dark master during his "captivity"? 

I like to think that the answer to all these questions about magic in Middle-earth is; Yes, they did and the hobbits just didn't know about it and therefore didn't write it down in their books that have come down to us as The Hobbit and The Lord of the Rings.

Immersion - Just Not Into It?

This may come as a Surprise!

As an RPG player I strive to immerse myself in the setting, putting myself into my character's mindset is part of the challenge, so it comes as a bit of a surprise for me to learn (or remember) that not everyone approaches the game from this same perspective. The fact that I have almost forgotten how to enjoy the game's mechanics as a "game" and not as an immersive tool to "experience adventure" is an insight that I will use to adjust my future approach to the game - at least from a referee's point of view.

Once upon a time, back when I was first learning this new type of game which has come to be commonly known as "role-playing", I saw it as just a new "game". Roll some dice, make some moves, win some gold or "die" and roll up a new playing piece/character. The mechanics were the game. Strategy involved "playing" the game for its own sake. And I loved it!

Then I discovered "role-playing" and imagining that I was actually in the fiction, imagining that I was  "inhabiting" my character's make-believe body (my alter-ego). I strove to answer the question, "What would I do?" Essentially I was projecting or immersing myself into the fiction - and what a fun activity that became!. This new "adventure" appealed to me because it was an experience very similar to how I enjoy reading and engaging with a book written in first person, or when watching certain movies directed in a manner so as to engage the audience on a personal level - emotional responses included. This is the "you are there" experience to borrow a phrase. 

Not everyone experiences an RPG (or movie or novel) in the same way, however. You may be saying, "Duh!" at this point, but I had mostly forgotten this fact until a recently revealing "ah-ha! moment", The player, audience, or reader can enjoy the respective game, movie, or book experience while coming from any one of a number of different interests and expectations. For example, a movie critic may look at the technical aspects of the movie-making art rather than suspending disbelief and immersing themselves in the unfolding story. What we are looking for will vary according to the individual.

For many, experienced and novice alike, the joy of playing a popular RPG may be gained from clever play using the rules to their advantage. For players taking this approach, predictable well established rules are essential. Options and combinations are their friend. At the table "Rulings", which may appear arbitrary to such players, can definitely spoil their fun. I can respect that! This is part of the appeal that I personally enjoy while playing my favorite "rules heavy" games.

I guess the reveal for me as a referee is to be reminded of the old adage, "Know thy players!" Not everyone approaches the game with the same expectations of fun. Some folks just play the "game" and that's okay. A good referee should try to provide each player an opportunity to enjoy the game on their own level.

Your Middle-earth Will Vary

...and that is okay!

Yesterday I posted a somewhat satirical comment on the non-relationship between J.R.R. Tolkien's Middle-earth and the World's First Published Role-Playing Game. Today I will explain how I use my D&D to play a version of Middle-earth as seen through my eyes. 

Middle-earth, or Arda, is the name Professor Tolkien gives to the setting for The Hobbit, The Lord of the Rings, The Silmarillion, and other unfinished tales and histories completed by his heirs. The good professor left us so much material (some of it conflicting) about his fantasy creation that a student of his work may become quite knowledgeable about the fictional history, geography and inhabitants of Middle-earth. So much is written about Middle-earth that a body of generally accepted canon now exists. Other fictional worlds may approach this volume of documentation, but few equal it. The fact that so much is known about Middle-earth makes it particularly appealing as a topic for study, discussion and gaming. It can also present a daunting challenge for anyone attempting to interpret or add to the subject either through gaming or in cinema, illustration or music.

All phenomena is seen through a combination of the time and place, and our own prior experience. Personally, I enjoy taking a few liberties with fictional "facts" (smile!) and riffing off the published material to create something slightly different and hopefully surprising and entertaining for others. "Literary license" is a term often applied to writers of historical fiction when they invent details and put words into the mouths of characters drawn from history. Anyone who makes use of Aragorn or Gandalf as a non-player character in a role-playing situation is doing the same in my opinion.

What is Radagast doing during the events depicted in The Hobbit and The Lord of the Rings? Where are the "Blue Wizards"? Are the fictional novels written by J.R.R. Tolkien written from the point of view of a couple of humble hobbits and subject to their "limited perspective" or are they "holy scripture" not to be tampered with? I suppose each of us will answer that question according to our own counsel.

Players taking a seat at my table frequently find much of the setting familiar because it reminds them of the now quite well known Middle-earth of Professor Tolkien. They will also find a few changes and surprises because I use a setting that is both borrowed and original. Almost every fantasy role-playing game I have ever refereed has been influenced by my understanding of Middle-earth. Halflings are hobbits in my mind. Dwarves are very much like those featured in The Hobbit and The Lord of the Rings. Dragons are Smaug with a name change. 

I also change things. Either through ignorance or a preference for my own ideas, I will freely alter various aspects of "canon" during play resulting in my players frequently remarking that they are surprised by something. Part of my enjoyment in our hobby is from using my own ideas. I have found that my little changes are easier for my players if they have been told the game's setting is called "the middle realm" or "Dreadmor", or anything else. Most of the time I have not called the setting "Tolkien's Middle-earth", even if in my mind that is what it is. Freedom from canon is refreshing and by not using the familiar names I usually avoid conflicts.

To borrow a phrase attributed to the late Greg Stafford, founder of the Chaosium publishing company, and creator of many notable games including White Bear and Red Moon, King Arthur Pendragon and RuneQuest, "Your Glorantha will vary." Obviously my Middle-earth varies as well.

This is not Tolkien

Said with a Smile (and maybe a Wink!)

In 1974 Gary Gygax and Dave Arneson published the first roleplaying game and created a new hobby - role-playing games. Their game was subtitled - Rules for Fantastic Medieval Wargames Campaigns...  because "wargaming" was a thing in 1974 even if "role-playing" wasn't. In their original edition, reference is made to a previously published set of "medieval wargames rules" called Chainmail, which serves as the basis of the new game's default combat mechanic. The published works of J.R.R. Tolkien are mentioned nowhere in those three little brown books (although certain other authors are: Burroughs, Howard, Leiber and de Camp & Pratt are specifically referenced in the author's Foreword). 

Chainmail famously includes a "Fantasy Supplement" penned by D&D author Gary Gygax. In his Fantasy Supplement Mr. Gygax lists a number of fantastic creatures that are given stats for play in tabletop miniatures wargames using Chainmail. Among the creatures listed are hobbits (later on referred to as halflings), (tr)ents, orcs and elves: all creatures that populate the good professor's popular fiction set in Middle-earth. But Chainmail's "Fantasy Supplement" is not directly aimed at playing tabletop battles just in Middle-earth. In fact, it is equally useful for battles set during the reign of King Arthur or any number of other fantastic settings.

The first five printings of the original three little brown books making up the Dungeons & Dragons boxed rules set refers to a number of fantasy creatures, "hobbits", "ents" and "balrogs" - specific creature names that are later changed to "halfling", "treant", and "balor/demon type VI", etc. Why? Because D&D is not based on the works of Professor Tolkien. That would be a violation of copyright because the publisher, TSR, does not hold any rights or license to use those specific intellectual properties.

Starting with the release of the Monster Manual in 1977, Gary Gygax and Tactical Studies Rules (better known today as TSR) began a second era of the World's Most Popular Role-Playing Game with the added moniker "Advanced..." preceding the by then familiar "Dungeons & Dragons" name. In the Monster Manual author Gary Gygax states that halflings may belong to subgroup called the "Tallfellows" or another called the "Stouts". Where might such names be borrowed from?

Elven subgroups listed in the Monster Manual include "High Elves", "Grey Elves", and "Wood Elves" - terms which can be found associated with the folk of Middle-earth known as "Noldor", "Sindar", and "Silvan" respectively. The Advanced game also includes Half Elves and Half Orcs - now playable character types. Elves and orcs are creatures that can be found among various sources that may have influenced or inspired the authors of D&D, but there are relatively few sources for "half elf" or half orc" - both of these terms do conveniently appear in the work of our good professor, however. But D&D is not a game based on Middle-earth!

Part of the genius of the Original Edition of the World's Most Popular Role-Playing Game is that it draws from so many varied sources for inspiration. The authors were both widely read and shared an interest in history, in mythology, in fantastic fiction and in cinema. They brought all their personal loves into their shared game creation and gave the world a tool for exploring virtually any world the imagination can devise through the medium of tabletop gaming (later adapted to play on personal computers). Is the World's First (and still) Most Popular Role-Playing Game about Middle-earth? It is definitely much more than just that as can be seen by the fantastic number of settings published for the game. Can D&D be used to play in a personal version of Middle-earth? Well, I have been doing just that for over forty years now. (Smile and a wink!)