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Orc HolocaustThe reprehensible moral universe of Gary Gygax's Dungeons & Dragons.

By Erik Sofge
Posted Monday, March 10, 2008, at 6:35 PM ET
Gary Gygax. Click image to expand.

When Gary Gygax died, the gaming community lost an icon, its founding genius. At least that's the story being told in countless obituaries this past week by writers as eager to praise Gygax as they are to out themselves—with faux embarrassment—as former nerds whose lives he changed with 20-sided dice. And lo, what a fascinating and tortured bunch we are, with our tales of marathon role-playing game (RPG) sessions in windowless basements, our fingers hardened to nacho-cheese-encrusted talons, and our monklike vows of celibacy. Part testament to Gygax, part cathartic confessional, these obituaries are rapidly cementing his position at the head of the geek pantheon.

But it has to be said: Gary Gygax wasn't a visionary to all of us. The real geeks out there—my homies—know the awkward truth: When you cut through the nostalgia, Dungeons & Dragons isn't a good role-playing game; in fact, it's one of the worst on the market. Sadly, Gygax's creation defines our strange corner of the entertainment world and drowns out all the more innovative and sophisticated games that have made D&D obsolete for decades. (As a game designer, Gygax is far outclassed by contemporaries such as Steve Jackson and Greg Stafford.) It's the reason that tabletop gaming is not only stuck in the pop culture gutter but considered pathetic even by the standards of mouth-breathing Star Trek conventioneers. And with the entire industry continuing to collapse in the face of online gaming, this might be the last chance to see Gygax for what he was—an unrepentant hack, more Michael Bay than Ingmar Bergman.

What's wrong with Dungeons & Dragons? It plays like a video game. A good role-playing game provides the framework for a unique kind of narrative, a collaborative thought experiment crossed with improvisational theater. But D&D, particularly the first edition that Gygax co-wrote in 1975, makes this sort of creative play an afterthought. The problem is most apparent in one of Gygax's central (and celebrated) innovations: "experience points." To become a more powerful wizard, a sneakier thief, or an elfier elf (being an elf was its own profession in early editions, which is kind of like saying being Chinese is a full-time job), you need to gain "levels," which requires experience points. And the best way to get experience points is to kill stuff. Every monster, from an ankle-biting goblin to a massive fire-spewing dragon, has a specific number of points associated with it—your reward for hacking it to pieces. So while it's one player's job—the so-called Dungeon Master—to come up with the plot for each gaming session and play the parts of the various enemies and supporting characters, in practice that putative storyteller merely referees one imagined slaughter after another. This is not Tolkien's Middle-Earth, with its anti-fascist political commentary and yearning for an end to glory and the triumph of peace. This is violence without pretense, an endless hobgoblin holocaust.

Here's the narrative arithmetic that Gygax came up with: You come across a family of sleeping orcs, huddled around their overflowing chest of gold coins and magical weapons. Why do orcs and other monsters horde gold when they can't buy anything from the local "shoppes," or share a jug of mead in the tavern, or do anything but gnash their teeth in the darkness and wait for someone to show up and fight them? Who knows, but there they are, and you now have a choice. You can let sleeping orcs lie and get on with the task at hand—saving a damsel, recovering some ancient scepter, whatever. Or you can start slitting throats—after all, mercy doesn't have an experience point value in D&D. It's the kind of atrocity that commits itself.

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Erik Sofge is a contributing editor at Popular Mechanics.
Photograph of Gary Gygax by Alan De Smet.
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