I recently discovered a resource of adventure gaming
historiography at the regional used bookstore that – besides
providing an interesting and critical glimpse into the state of the
hobby in 1980 – struck me by its relative lack of acknowledgment to
individual game designers for their creations. I’m thankful that
over the hobby’s more than 40 year history giving designers their
due credit has become more the rule rather than the exception in
today’s hobby gaming community.
Every few months I make a pilgrimage to the regional used
bookstore with some (often futile) hope I’ll find a few books or
even games catering to my varied interests at affordable prices. In
the past few years the store has thankfully included a section for
used games, ranging from vapid party games and kids fare to hardcore
chit-and-board wargames and Eurogames. I also check out the hobby
gaming shelves to look for adventures and supplements for games I’ve
enjoyed in the past, newer fare to help me explore more recent games,
and books about gaming in general. Alas, most of the choice
roleplaying or wargame books and most of the interesting boxed games
come with prices more suitable for exclusive collectors on ebay than
average people browsing the shelves in used bookstores. I chuckle
sadly to myself when I see a “Free RPG Day” release marked at
$10.
Yet on this last trip I found a wonderful gem for $4.95: The
Complete Book of Wargames. The cover says a lot about the book
and the hobby at that time. The byline indicates “By The Editors of
Consumer Guide with Jon Freeman,” giving it an official aura being
linked to what sounds like a serious consumer magazine; I’m
assuming the gaming-savvy author who probably did much of the hard
work is the early computer game designer Jon Freeman who co-founded
Epyx and developed a host of computer games in the 1980s and 1990s.
The book’s cover claims “The first book ever published for the
veritable armchair army of gaming enthusiasts. Included also is an
original wargame developed by Consumer Guide.” A striking yellow
corner banner declares “Featuring Dungeons & Dragons,”
capitalizing on the game’s popularity at the time. The back cover
alphabetically lists all the individual titles it covers, from Acre
to Yeoman, so prospective buyers get some idea what’s
inside.
The book begins with 71 pages of “An Introduction to Wargames,”
five chapters offering a history of wargaming, description of the
hobby, examination of the elements within many games, and an
introductory wargame (Kassala, “an actual, if obscure,
sixteenth-century battle that took place between Moslem and Christian
soldiers in northeastern Africa). I’ve yet to thoroughly read those
sections, though I intend to for their views on wargaming at the
time; enough interesting bits have caught my eye while browsing that
they might warrant their own discussion in the future. But the real
meat of the book comes in the 200 pages after the first portion, more
than 150 concise and critical overviews wargames released before
1980. The editors organize them chronologically by historical period
before covering the odd ducks of science fiction and fantasy games,
with entire chapters devoted to Dungeons & Dragons and
roleplaying games and “Computers and the Future of Wargames.”
Each chapter begins with a few pages describing the historical era
and relevant gaming considerations before diving into the
“evaluations” (an interesting term for what amounts to a
combination of overview and review). Each evaluation offers a rich
trove of practical information: publishing date, publisher, suggested
retail price (with parenthetical remarks on the format, such as
“boxed” or “resealable plastic bag”), subject, playing time,
scale, size, balance, key features, and comments. Most of these
categories indulge in useful comments beyond a simple answer. For
instance, the “scale” entry for Panzer Leader states,
“This is a tactical simulation. The basic unit is the platoon, but
individual aircraft are also represented. Hexes are 250 meters
across, and each turn equals six minutes.” A summary at the end of
each evaluation rates presentation, rules, playability, realism,
complexity, and overall evaluation.
But one category that’s missing? Designer credits. I’ve
noticed a few designers mentioned in the “Introduction to Wargames”
section and the brief overviews of wargame periods. Obviously such
notables as Charles S. Roberts and James F. Dunnigan receive mention
for their involvement with Avalon Hill and SPI in the overview about
the history of wargames. On very rare occasions does an evaluation
mention someone by name within the comments section: “The culture
upon which Empire of the Petal Throne draws is a creation of
the fertile mind of M.A.R. Barker and, as such, is alien and
unfamiliar to everyone else who comes in contact with it.” But for
the most part – and for individual game evaluations – authors
receive little mention and no credit in the informational summaries.
To contrast this interesting relic from 1980, I paged through
Lawrence Schick’s 1991 opus Heroic Worlds (a title I’ve discussed before) which, in its vast catalog of roleplaying game
products at the time of its publication listed authors and, in many
cases, cover artists for each title.
Game creators across the hobby have enjoyed front cover bylines
and suffered with miniscule credits buried at the end of rulebooks.
Gary Gygax’s name appears on the first edition AD&D
rulebook covers and spines; many of TSR’s earliest modules feature
creator names on the covers. Looking over my collection of games from
the hobby’s past 40 years shows a great variety of credits: some on
the cover, some on the back cover, others on title page mastheads
with all the others who contributed anything – ranging from
essential artwork to the company’s accounting department – to the
project, some buried in obscurity, if at all. Corporate publishers
have sometimes minimized the importance of designer credits, often
when they sought to promote the company’s brand name over those of
individual creators who actually design the base product materials
from which they profit. I’m thankful that during my time at West
End Games management designers received credit listed on the back
cover above the promotional text (to expect a byline on the cover
competing with the massive Star Wars logo was, understandably,
asking far too much). Recent trends in game publishing have
encouraged emphasis on designers. How many Eurogames feature the
creator’s name prominently on the box cover? Reiner Knizia, Klaus
Teuber, and others have become recognizable names in part thanks to
the conspicuous credit on their game boxes (and justly so for
designing outstanding games). The prominence of the creator remains
part of the allure of small, independent publishers who are able to
bring their games to the market through internet e-storefronts like
One Book Shelf and supported by niche-market fans like those who
enjoy the Old School Renaissance movement (OSR). In many cases they
foster online communities of followers dedicated to their work. James
M. Spahn’s work on White Star and his interactions with
people online (a subject I’ve covered before) cultivated a vibrant
community of gamers and fellow creators. Erik “Tenkar” Stiene
began with a ready-made community of online OSR enthusiasts –
including Swords & Wizardry fans – who frequent his
Tenkar’s Tavern website; this formed a ready audience for his Swords & Wizardry Light fast-play fantasy rules, an
ultra-compact form of the
main game
for those returning to gaming
Tenkar
(with support from a talented team of creators and
input from the community)
streamlined
and released for free. How many other self-publishing or
small-press designers have cultivated followings of gamer fans
through the impact of their creations and communities created by
online interactions? The concept of authorship remains core to such
platforms as Patreon, in which gamers choose to directly support
game-design personalities whose work they enjoy.
Perhaps I shouldn’t be surprised that gamers revere a “cult of
the creator,” particularly for roleplaying games. Not only did the
hobby coalesce around a few key designers and their “home games”
(and not just for D&D), but the activity of gaming itself
focuses on the gamemaster, who takes on much of the preparation and
storytelling aspects of running an adventure. Over time and through
experience we’ve ascribed importance to various individual authors
who best satisfy our gaming expectations. I frequently seek out
releases by designers who’ve proven they can provide me with game
material that caters to my interests to varying degrees of
professionalism. I can think of a number of game designers whose
games I seek or whose names garner my interest when browsing for new
games: Reiner Knizia, Greg Costikyan, Mike Pondsmith, Frank Chadwick,
Matt Leacock, and certainly any of the late, “holy trinity” of
early roleplaying game designer-pioneers, Gary Gygax, Dave Arneson,
and M.A.R. Barker (and their many disciples who influenced early and,
in some cases, later roleplaying game design). Sometimes the most
rewarding material comes from creators who lack corporate support
traditional publishers provide, designers like Tim Shorts, Simon Forster, Dyson Logos, Michael Prescott, and James Spahn, who use
outlets like Patreon and DriveThruRPG.com to bring their work to the
public. I have particular admiration for a longtime self-publisher,
the inimitable S. John Ross, who’s independent streak has brought
into my life a host of deliciously satisfying game goodness.
The Internet Age offers us a wonderful opportunity to not only
support creators through purchases but provide feedback on their work
and express messages of gratitude for the hours of enjoyment and
inspiration they’ve provided. As Americans approach the
Thanksgiving holiday, I encourage appreciative gamers to offer some
gratitude to their favorite creators, whether they’re pillars of
the adventure gaming hobby, self-publishing pioneers, or their local
gamemaster working hard to prepare for the next game session.
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