| High fantasy | Low fantasy | Which is better? | - | - |
| 1st Edition AD&D | - | Dragon magazine | - | Dragon #120 |
| The AD&D® game has had many imitators,
but it is still one of the only fantasy role-playing games (FRPGs) on the market that deserves to be called a "heroic fantasay" game. Consider the combat system, for example. It is unique in that it is abstract, designed to complement your imagination but not replace it. There are no hitlocation tables or critical hits as in other FRPG systems. Furthermore, the melee round is a full minute long and includes dozens of swings, feints, and maneuvers. Not surprisingly, players often complain that this isn't realistic, but they have missed the point. The AD&D game is not meant to be realistic at all; it is meant to be heroic. That the fundamental philosophy behind the game?the spirit and intent of the rules. What's more, realism and heroism are often directly opposed to each other. As Gary Gygax points out in the
For years, there has been a trend
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| Does this mean that the realists are
violating the spirit of the rules? Of course not. The AD&D game is constantly evolving. It NOW seems that there are 2 very different styles of play: the heroic style, often called "high fantasy," and the realistic style, often called "low fantasy." In playing the AD&D Game, the DM must interpret the rules in different ways depending on the style he uses. Using the example of the abstract combat system, it is often useful in low-fantasy campaigns to more fully develop the rules in this aspect, adding initiative modifiers, hit locations, etc. This has been don ein many campaigns. In high fantasy, of course, such additions would be unnecessary and even harmfful. It is not sacriligious to change some of
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| The key to high fantasy is its unusual
and dramatic nature; it makes no attempt to copy real life. Realism isn't everthing, especially in a Game that's supposed to provide us with escapist entertainment. For example, who needs a scientifically accurate system to calculate falling damage? A hero is protected by magic power in the form of HP. If he falls 100' and lives, so be it--it just proves he's a hero. We can't compare a hero to a normal human being. Besides, is there any reason why the laws of reality must apply in a world of fantasy? To a great extent, scientific realism is out of place in high fantasy because it leaves no room for the fantastic and incredible deeds a hero must accomplish if he is to be heroic. In high fantasy, the Game world need not
More than any other form of role-playing,
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We all have a sense of wonder somewhere
within us. Why else are we playing
FRPGs? Like any other skill, this is developed
by practice. The greatest challenge in
high fantasy is maintaining a suspension of
disbelief. As we get older, we tend to
become more skeptical, more willing to
make up elaborate explanations for all the
campaign?s mysteries. This is not a good
idea in a high-fantasy campaign, in which
we must feel more than think.
Are you suited for high fantasy? If the
ordinary details of everyday life in your
game world do not interest you, if you
dream of doing glorious, dramatic, and
perilous deeds, and if you enjoy letting
your imagination run wild (to the extent
that you sometimes go beyond the bounds
of common sense), then this gaming style
is for you.
If you want to create a high-fantasy
campaign, you might consider the suggestions
given below. They are only general
guidelines, and you may alter them or
ignore them entirely, as long as you are
careful to maintain game balance. Remember:
In high fantasy, you should never
hesitate to bend a rule if it helps you
obtain a dramatic effect.
Campaign goals: The basis of any successful
campaign is a clearly defined purpose;
otherwise, the players wander
around aimlessly, bored and confused. In
both high and low fantasy, the greatest
goal (besides having fun) is to accumulate
experience points, thereby rising in level.
It should be obvious that bow one arrives
at this goal is as important as the goal
itself. This is where high and low fantasy
differ. While low fantasy is essentially
money-oriented, high fantasy stresses
glorious, heroic deeds. Paradoxically, the
AD&D game rules, which were originally
intended to reflect the high-fantasy style,
place an overwhelming value on money.
Practically all experience points are gained
in this manner, and you have to raise huge
sums of money to advance in level. It?s no
small wonder that most characters are
primarily interested in treasure and not in
heroic deeds. There?s little to gain in fighting
a huge dragon single-handedly, thereby
rescuing your comrades, if the rules
don?t reward that kind of thing.
To allow the characters to be more heroic,
it is advisable to lower experience-point
awards for treasure (perhaps ½ xp per
gold piece) and raise awards for slaying
monsters proportionately. Especially heroic
deeds should be rewarded as well. For
example, holding off a dragon under desperate
circumstances might merit up to
one-half the experience points normally
gained by killing the thing. Remember that
being heroic isn?t being stupid; never
hesitate to penalize a player who doesn?t
bother to think, no matter how dramatic
he is. The line between bravery and stupidity
is a fine one ? something only the
DM can decide.
To further limit the value of money,
lower or eliminate the monetary cost of
gaining experience levels. It is very likely
that heroes will teach themselves for no
cost. They are, after all, among the
highest-level mortals in their worlds, so
they aren?t likely to find a suitable teacher
anyway. Alternatively, you might allow
them to find some sort of instructor, but
insist that they pay by performing some
quest or other service.
In all cases, players should understand
that some products or services worth
having cannot be bought for any price;
they must be won through great and
perilous deeds. As a DM, you must place
the emphasis on the means, not the end. A
hero rescues maidens and slays dragons
not for any material reward, but for the
sheer glory of his actions and the prestige
which follows. As his fame and reputation
spread, he will be greeted with awe by
normal mortals. Songs will be sung in his
honor, and epic poems will be composed
about his exploits. He will literally become
a legend in his own time. Not surprisingly,
this is quite an ego boost for the average
player. As a result, it can be a more desirable
goal than piles of coins could ever be.
Dominant conflicts: Heroic deeds necessitate
stupendous dangers. It is difficult to
sustain interest in a high-fantasy campaign
when the characters do not have a suitably
grand purpose on which to focus.
This can be as simple as a fundamental
conflict between Good and Evil or Law
and Chaos (this is already built into the
game to a certain extent), or as complex as
desperate war with malevolent forces that
threaten to engulf civilization. Quests are
ideally suited for heroic characters.
Depending on the campaign, even the gods
themselves may be actively involved ?
something which would soon unbalance a
low-fantasy campaign.
Fate plays an important role in high
fantasy. Heroes are often channeled down
predetermined paths, and while they have
the responsibility to determine the outcomes
of individual encounters, the overall
scheme of things is set beforehand.
This might be undesirable in low fantasy,
where free will (or the illusion thereof) is
important. In high fantasy, however, the
characters are often the earthly representatives
of some higher power. As such, they
have grave responsibilities and are not
free to determine their own destinies. In
the long run, a hero has a sense of importance
and purpose that a more conventional
character doesn?t have.
High-level heroes: A high-fantasy campaign
is suited for small numbers of players.
Heroes don?t want to share their glory
with others, and single combat obviously
lends itself to heroism. Because of their
tendency to be solitary and because of
their heroic (i.e., unusual) nature, these
characters must have a high experience
level in order to survive. In fact, it is often
wise to start new characters at high level,
say 10th level or so. By definition, heroic
deeds are fantastic and incredible, and
low-level characters just aren?t equipped
to do something of this nature without
getting killed.
Tragic flaws: Let's face it -- perfect characters
or situations are boring. A hero is
assumed to be better than most mortals,
and he should have high ability scores to
reflect that fact. Nevertheless, a flaw or
two will invariably make a character more
interesting. Perhaps, like Moorcock's Elric,
the character is sickly and weak without
the magical healing effects of his sword.
Perhaps he committed some terrible deed
in the past and is tormented by his conscience.
Perhaps, like Conan, he knows his
fate but is powerless to avoid it. The possibilities
are endless.
Alignment adherence: Heroes aren?t
known for their moral and ethical flexibility.
Typically, they are pure and singleminded
with regard to their alignments.
Thus, characters that have extreme alignments
are especially suited for high fantasy.
The paladin, for example, makes a
great hero in high fantasy, though he
tends to be too pure and righteous for a
low-fantasy campaign. Alignments must
also reflect the central conflict of the
campaign. In a setting where there is a
struggle between good and evil, a lawfulneutral
character would be ineffectual
except as a mediator ? and where?s the
glory in that? Whatever the character?s
alignment, he should stick to it at all times,
and the DM should be strict when graphing
alignments.
It has been pointed out by some that the
alignment system is unrealistic, and some
DMs have dropped it entirely from their
games. However, heroes are not supposed
to represent real people. In a way, they
are simply manifestations of an ethos ? a
fundamental, primal force. Heroes are the
creation of the mind. As such, they represent
ideals that no mere mortal could
possibly live up to. Part of the fun of high
fantasy is leaving your mortality behind.
Heroic atmosphere: High fantasy is
essentially dramatic; it deals with the
incredible and fantastic, not the commonplace.
In order to convey the wonder and
drama of the campaign, the DM must
counter the players? natural skepticism.
This suspension of disbelief may be produced
in a number of ways.
Heroism implies something exceptional
or unusual. If players become too accustomed
to something, it ceases to be exceptional
or unusual, thus defeating the
purpose of high fantasy. The DM must
exercise moderation when giving the
players things which they consider important
and valuable. For example, many
successful adventures culminate with the
discovery of a great treasure ? a dragon?s
hoard or such. In high fantasy, this treasure
is not just valuable because it will
materially aid the characters, but because
it is impressive and awe-inspiring, thus
contributing to the heroic atmosphere of
the game. But something?s value is directly
related to its scarcity. If you regularly
throw mounds of treasure in the characters
characters
? direction, they begin to take it for
granted ? and that?s not conducive to
heroism. Keep the characters unaccustomed
to large sums of money; only when
they are habituated to the simple lives of
average heroes will they be impressed by
wagonloads of gold and jewels. In the
words of Gary Gygax (DMG, page
93):
"What is gotten cheaply is often held in
contempt."
What happens to all this money once the
characters have it? The rules attempt to
get rid of excess money by imposing huge
costs on training for level advancement.
This is not a good approach in high fantasy
because it creates an overwhelming
demand for treasure that is soon the character
?s sole aim in life. Instead, the importance
of treasure should be limited, except
perhaps as a way to get experience points.
How one gets rid of excess treasure largely
depends on the character?s situation. If
he belongs to an organization (a temple,
for example), he will probably donate most
of his wealth to that organization. If he is
the king of some great nation, the money
will be swallowed up by the royal treasury,
perhaps to be spent on the raising of
an army to further the character?s goals.
In the case of most dragon hoards, the
treasure may rightfully belong to some
other deserving group and should be
returned to them (except, perhaps, for a
few choice items). In each of these cases,
the money is well spent. Not only are the
characters increasing their fame and reputations,
but they are actively furthering
their goals in regard to the dominant
conflict of the campaign.
Heroes usually fight against overwhelming
odds. Often at the brink of doom, they
seem to escape at the last instant. This, of
course, is simulated in the AD&D game by
using saving throws. Saving throws, however,
do not apply in every situation. For
example, suppose there is a hero who
fights an epic battle with a huge dragon.
He acquits himself admirably, but the tide
of battle goes against him and he is forced
back into a corner, with no escape from
the great wyrm?s fiery breath. Facing
certain death, the hero mutters a prayer
to his patron deity and hurls his sword at
the dragon?s breast with all his might. The
projectile whistles through the air, turning
end over end. . . . Does the blade fly true
and bury itself in the monster?s black
heart? If the character tried this tactic
before, of course not ? he is doomed. On
the other hand, let us say it was a truly
inspired act; why shouldn?t it work?
The fact is heroes are frequently capable
of actions that are outside the scope of the
rules. Most heroic deeds are once-only
events; no character could make a career
of killing dragons with lobbed swords. The
essence of heroism is that it is unusual,
inspired, and unexpected. Still, heroism
should not be used to justify thoughtless,
unnecessary risk. If the character does not
deserve a heroic escape, the DM should
allow him to meet his doom ? dramatically,
of course.
Alternatively, characters can use devices
such as luck points (described in the
Conan (CB) series of AD&D game modules)
or hero points (see DRAGON® issue #118,
"A Hero's Reward"). Each character has
a
certain number of such points. Every time
the character states he is using a luck
point, for example, he can automatically
make a saving throw or perform another
dramatic action. Of course, if he uses
these points up, his luck runs out and he
suffers the consequences the next time he
is in a life-threatening situation.
In high fantasy, atmosphere is more
important than substance. Heroism is
unusual and fantastic; the DM must milk
every situation for dramatic effect. In high
fantasy, we can put ourselves in the shoes
of Odysseus, Perseus, Cu Chulainn,
Beowulf, King Arthur, Elric, Conan, and
sundry other heroes of myth and literature,
doing glorious and noble deeds in the
midst of great conflict and tragedy. High
fantasy is the stuff of which legends are
made!
Where others might be content
with modest gains, Jubal
continued to amass his fortune
with fanatic intensity. He
had learned a dear lesson
while glaring through hate-slitted
eyes at the crowds
who cheered his gory pit victories. . . .
Money--and Power,
not skill and courage, were
what determined one's standing
in the social order of men.
"The Price of Doing Business:
Robert Lynn Aspirin
For most players, the AD&D game is no
ters like paladins can be allowed to be
longer a game of heroic fantasy In many
ways, a low-fantasy campaign is not so
more morally flexible ? just as the rightmuch
an escape from reality as it is an
extension of it. If you accept a few basic
eous knights of the Middle Ages were
things like magic, the world makes perfect
flexible in their interpretation of good and
sense; it could exist. The DM strives to
give the setting depth and consistency
through the development of economics,
evil. This is not to say that characters are
ecology, politics, climate, and a host of
other details. Depending on the campaign,
more cynical or self-centered than normal.
even the minute details of life can be simulated.
For example, a character might
There is plenty of room in low fantasy for
spend a considerable proportion of his
courage and noble deeds. The characters
playing time just buying things ? provisions,
equipment, weapons, and such ?
and haggling with an endless series of
merchants, usurers, fences, collectors of
magical and rare items, and many others.
This may seem trivial compared to the
heroic deeds of high fantasy. However,
part of the fun of low fantasy is the continued
interaction of the characters with
normal people. Everything may be on a
less-ambitious scale than high fantasy, but
that does not mean that low fantasy is any
less fun. Many players prefer low fantasy
because it is more down-to-earth and less
cut-and-dried than high fantasy.
In low fantasy, the characters are essentially
human beings (or demihuman beings),
with all their attendant faults and
weaknesses. In a world where there is no
absolute distinction between right and
wrong, the DM should allow some leeway
with regard to alignments. Even characters
like paladins can be allowed to be
more morally flexible -- just as the righteous
knights of the Middle Ages were
flexible in their interpretation of good and
evil. This is not to say that characters are
more cynical or self-cenetered than normal.
There is plenty of room in low fantasy for
courage and noble deeds. The characters
are merely more human than high-fantasy
heroes -- and are thus more believable.
Because this campaign requires depth
and internal consistency to make it believable,
the DM must be prepared to put in a
considerable amount of work. If you enjoy
creating campaign material for its own
sake ? just for the satisfaction of seeing
your world come alive as your players
interact with it ? and you add details to
the campaign that few players would ever
be likely to know or even care about, then
you are probably a low-fantasy DM. As a
player, if you are a practical sort of person
and you prefer the devious and uncertain
challenges of real life to the more straightforward
world of heroic fantasy, then you
are probably suited for low fantasy. The
following guidelines will help you set up a
low-fantasy campaign.
Campaign goals: In low fantasy, the
characters measure their successes mainly
by how much treasure they amass. The
money earned helps pay for their training
when they gain experience levels, and
magical treasures make them more powerful.
Thus, every adventure should have
some material reward. However, so that
the characters do not become overly rich
and powerful, one must carefully limit the
amount of treasure in each adventure.
Monstrous dragon hoards with wagonloads
of gold and gems might be the stuff
of high fantasy, but it will send low-fantasy
campaigns down the proverbial tubes. The
players? interests will be held only as long
as they remain hungry for more money
and power. There is an abundance of good
advice on how to avoid the Monty Haul
trap, and it is not the intent of this article
to further belabor the point.
Low-level characters: As characters rise
toward high experience levels, there inevitably
comes a point where they are so
powerful that the conventional goals of
the campaign become meaningless. As
beginning characters, everything they
wanted was connected in some way with
money and power ? that is, the characters
never had enough money to buy
everything they wanted and were not
powerful enough to take it by force. Their
prime objective then was to rise in wealth
and power so they could obtain the things
they wanted. At high levels, though, they
can buy or take just about anything they
please. Consequently, these early goals
become meaningless.
Part of the fun of low fantasy is the
extensive interaction of normal NPCs with
the player characters. But there is no
reason to bargain with a merchant if you
can buy his entire store, and it isn?t necessary
to bribe a guard to let you into a
castle if you can smash a hole through the
wall and march right in. At high levels,
you can lay waste to the carefully balanced
setting and leave all the DM?s work
and care in smoking ruins. In these cases,
there?s no challenge to everyday life anymore
? and everyday life is an important
aspect of low fantasy.
High-fantasy heroes can handle their
utter superiority to normal people; they
have greater goals to consider. In low
fantasy, however, characters are integral
parts of an intricate, extensive design.
They may become powerful, but never to
the extent that the world revolves around
them. When the characters rise past mid
level, a choice must be made: Either begin
again with new characters, or change
styles to accommodate high fantasy gaming
(a process described later).
Realistic atmosphere: While the virtue of
high fantasy is its simplicity, a low-fantasy
campaign must be less abstract. In some
campaigns, for example, a more complicated
combat system is helpful. Heroes
may fight by the round, but many characters,
especially assassins and thieves, often
don?t have that long; realistic combat is
often quick and deadly. There are other
elements of the AD&D game which are
perfect for the high-fantasy style but are
inadequate for low fantasy. Luckily, most
of these have been developed more fully
in articles in this and other magazines.
Realism can be taken too far; it should
never interfere with playability. Players
generally find it easier in low fantasy to
identify with the world and with their
own characters if they find the campaign
is based on the laws of reality. They will
not be impressed if the campaign is so
realistic that the DM must spend minutes
of valuable game time trying to resolve the
most straightforward actions. As many
have observed, if we aren?t careful, the
AD&D game will drown in its own rules.
Flexible alignments: Thieves, assassins,
and other characters who are known for
their flexibility in regard to morals and
ethics are perfect for low fantasy. On the
other hand, characters with extreme
alignments might have problems if they
are forced to stick to rigid codes of behavior.
Alignment works well in high fantasy,
where we assume that Good, Evil, Law,
and Chaos exist in an absolute sense. In
low fantasy, this might seem contrived and
unrealistic. The DM should interpret alignments
as general tendencies, not as tangible
forces. It might be possible, in fact, to
do away with alignments completely (as
Paul Suttie suggested in "For king and
country," back in DRAGON issue #101).
W h i c h i s b e t t e r ?
It would be unreasonable to believe that
low fantasy is necessarily better than high
fantasy because it is more realistic. Many
people like to leave the world completely
behind them when they play a fantasy
role-playing game. For these people, socalled
realism actually detracts from their
enjoyment of the game.
Of course, some people are of a more
practical temperament and prefer a lowfantasy
campaign. In any case, it should be
clear by now that there is no one way to
play the AD&D game. Both approaches are
perfectly satisfactory. A DM?s style of play
should follow the natural inclinations of
the DM and the majority of his players.
Too many campaigns fail because they try
to be all things to all people.
It is possible to have a campaign which
starts as low fantasy and, as the characters
rise in level, changes to high fantasy.
In my own experience, this is not a good
idea because most DMs and players prefer
only one style of play. That?s not to say it
isn?t possible, however.
As the characters rise through the midlevels
(7th to 11th, depending on the campaign),
the conventional low-fantasy goals
become meaningless; buying things is no
problem and the characters get the idea
that the world revolves around them. At
this point, they start becoming bored ?
after all, they are rich, powerful, and have
risen to name level. What more is there?
At this point, the DM must change the
characters? goals. Follow the suggestions
explained under the ?High fantasy? subheading.
If you don?t have a dominant
conflict, get one so the characters have a
new clearly defined goal. Also, change
your emphasis from materialism (what the
PCs get) to action (what they do and how
they do it). The players may at first complain
about the scarcity of treasure, but it
is no longer necessary for them to have
money to go up levels. Also, when they do
get a choice item of treasure, it will be
greatly appreciated. Make the characters
feel special. After all, by now they?re probably
famous (or infamous) in the adventuring
area.
However you decide to approach the
game, there are certain things you should
always keep in mind:
Don't overdo it: Game balance is allimportant.
Whatever the players are after,
don?t give it away -- make them work for
it. As long as the players have a worthwhile
goal, they will be interested in the
campaign. By the same token, don?t be too
stingy either.
Don't be bullied: Many experienced
gamers tend to look down on unrealistic
campaigns, which they feel will sooner or
later degenerate into Monty Haul games.
This is not always true. If you enjoy high
fantasy, stick with it; it can be just as exciting,
challenging, and playable as low fantasy.
The AD&D game is a game of the
imagination, and no one can tell you how
to use your imagination. Of course, if low
fantasy is your thing and you are willing
to put in a little time and work, that?s fine
too. Choose the style that appeals to you
and most of your players. Doing so will
give you a good head start to an enjoyable
and exciting campaign.
Every rule has its exception: If something
fits into your campaign even though
someone says it shouldn?t belong in that
style, that?s all well and good. Your campaign
is your own; it should have its own
special flavor.
As a final note, you may want to read
literature or explore role-playing aids
which reflect the style of play in which
you are interested. This may help you
with ideas for adventures or serve to
stimulate your imagination. A brief list
follows, classified by style.
High fantasy: The Conan series, by
Robert E. Howard; the Elric of Melnibone,
Hawkmoon, and Erekose series, by
Michael Moorcock; The Silmarillion, by J.
R. R. Tolkien; Dilvish the Damned,
by
Roger Zelazny; and the Conan (CB) series
of AD&D game modules.
Low fantasy: The Thieves' World series,
edited by Robert Lynn Asprin; Saga of Old
City, by E. Gary Gygax; the Harn fantasy
world (Columbia Games), by N. Robin
Crossby; and the Fafhrd and the Grey
Mouser series, by Fritz Leiber.
LETTERS
Fantastic highs
Dear Dragon:
I liked your article in issue #143, "The Highs
and Lows of Fantasy" (pages 37-44). But upon
reading the concluding lists of books and modules,
I was very disappointed to not see the
DRAGONLANCE®
series appear. I have read
three of the books (the Legends series),
and I
feel they would qualify for the high-fantasy
list.
I was also surprised because several hardcover
books and modules have been written specifically
dealing with the DRAGONLANCE saga.
Eric Middlecamp
South St. Paul MN
(Dragon #146)
There are so many good fantasy novels out
that it would be impossible to list them all,
much less categorize them. But we appreciate
your mention of the DRAGONLANCE saga.
THE FORUM
The article by Paul Hancock
in issue #143
contains many good ideas
and suggestions.
There are two areas where
I disagree with Mr.
Hancock. The decision of
whether to run a highfantasy
or a low-fantasy campaign
is made by
the players and the DM. This
decision should
not, however, be dependent
on character level
or character class. Many
stories of high fantasy
have the hero starting off
at low level only to
come shining through in the
end. The best
campaign should be a blend
of high and low
fantasy. How many times can
your characters
save the civilized world
without becoming
bored? The campaign should
have several
elements of low fantasy to
draw the players into
the DM?s world and also keep
the players in
touch with their characters.
If the DM is running a campaign
and not just
running players through one
module after
another, the DM should seriously
consider
starting the players at 1st
level and letting them
advance from there. Most
players will initially
say that starting at a higher
level is fine with
them, but after much thought,
I do not think
they will still agree. The
players lose valuable
information about their characters
that cannot
be filled in by a paragraph
of background
material. A player also needs
to develop a feel
for all the abilities of
a character. There is a
major difference between
role-playing a character
up to 4th or 5th level (or
even higher) and
just reading a brief background
paragraph on
how the character got to
his current state.
The DM also loses when starting
characters at
higher than 1st level. First
level is the time
when the DM can develop powerful
enemies for
the characters, establish
goals for the characters
to strive for when reaching
higher levels, and
allow the characters to reach
those goals. Various
other NPCs and traveling
companions can
also be introduced to characters
in their early
stages. The DM is responsible
for challenging
the characters to the fullest
extent, and this can
be done more easily at lower
levels with the
wide variety of monsters
and enchanted items
available. The DM should
also help the players
get a feel for their characters
and the characters
? abilities. While this can
be done at higher
levels, the best results
are obtained when the
characters begin at 1st level.
Peter M. Wilbur
Colorado Springs CO
(Dragon #149)