The Ideologies and Politics of Dungeons and Dragons and Christianity

The Ideologies and Politics of Dungeons and Dragons and Christianity

The primary focus of Dungeons and Dragons (D is on its heroes' actions and not their status. This concept is similar to the theories involving the Romantic Hero in theatre. The Romantics allowed their heroes to act more, and talk less, they would give "greater attention" to what the characters do in given situations; not what they are supposed to act like in reality (Marvin Carlson 256). Primarily, their focus is on the spirit of the individual as they fight oppression. The idea of the Romantic Hero was that he started out as a commoner. As the play progressed, the story focused more on the social issues within the story. The Romantics preferred that their heroes be bold; focusing more on their emotions and not on logic. The Romantics created narratives in which their heroes would interact and prosper. Significant heroes "are no longer the best choice" because an audience would be more engaged with what a hero does and not who they are (Marvin Carlson 257). The freedom of the individual is given by nature and not by the status of any beings whether they are from a deity or sovereign ruler.

In D start out with nothing because they have more freedom to act. Kings, Queens, and other characters of high class are powerful but are not free because of their duties as a monarch. Heroes outside of power have the "greatest freedom to act in unpredictable ways" (Orson Scott Card 67). Those in high status have major responsibility, live uninteresting lives, and are too predictable. Taking heroes away from power is a good rule because a hero needs freedom to act without the worry of social responsibility.

The Dungeon Master (DM) responsibility is to keep their players' occupied within their fictional society. It is the DM's job to give the players' an achievable goal to obtain and something important to lose. There must be something at stake for the players in order for them to undertake an adventure. Overall, the DM must make the adventure have "a purpose to it all." (Gary Gygax, Dungeon Masters Guide, 112). The players' actions have a direct impact on the people within their society. As adventures progress, the characters (players' acting out their roles) realize that their actions have a specific purpose. The DM must connect the adventures to their characters' actions. Whether these adventures have ties to good and evil (or rival forces at work), the characters actions will have "meaning above and beyond aggrandizement." (Gary Gygax, Dungeon Masters Guide, 112). The characters actions will not only have more impact on their fictional world but its people too. The characters performance will inspire its own people into action that they too can conquer oppression.

As D became integrated into our culture, it raised issues about the Christian religion. When players create their characters, they choose a deity who they pledge their allegiance too. Through their allegiance, players' make homage's or "sacrifices to 'appease his deity" in order to keep in good standings with their deity (James Bjornstad and John Weldon 38). The Bible claims that there is only one true God that presides over all. God exists through the creation of his people and only asks us "[to] have a personal relationship with him" (James Bjornstad and John Weldon 39). Players should know that Christianity is a reality and D is not.

In D characters and gods have a direct impact on each others existence. Through their fictional adventures, characters may achieve the right to ascend to the world of the divine if they follow certain guidelines. The characters' god invests "the person with a certain amount of divine power and brings the character into the ranks of the gods' celestial (or infernal) servants." (Robert Kuntz and James Ward 11) Eventually, characters could ascend themselves to the ranks of the divine. But players must understand that D is only fiction. The only way, according to the Bible, to heaven is through Jesus. A person must realize their sins, confess to God, and believe that Jesus died "on the cross as payment for his sins" (James Bjornstad and John Weldon 40). In other words, D is a violation against everything Christianity stands for because when people ascend to Heaven, they can not be equal to God.

When playing D characters actions have a big impact on their world. Characters, as well as deities, are aligned with each other whether they are good or evil. There is no true outcome for D and therefore there is "no final victory for good and evil" (James Bjornstad and John Weldon 41). When a character performs an action such as theft or murder, they may be acting in character but the situation itself could be immoral. Morality is what the Bible is founded on. Through the Bible his people could determine the best course of action. The standards by God are laws and principles that are for "our instruction that we might know what is right and what ought to be done in a given situation" (James Bjornstad and John Weldon 42). When players play D they should incorporate some ideals of the bible when playing because their actions could hurt others within the fictional world and the reality.

In D a characters' death can be averted by a resurrection spell. This spell takes the soul from their deity's plane of existence and places it back into its former body. The character and his/her deity "recalls the soul" which requires that the both the character and deity cooperate (Robert Kuntz and James Ward 11). The character must be careful with this action for they may offend their deity which could result in this privilege to be terminated. The bible describes that mans' soul is destined for resurrection but that can only occur when Jesus is reborn and returns to Earth. God created man as "a psychosomatic unity" where man has both a physical and spiritual essence (James Bjornstad and John Weldon 41).

Like theatre, D claim to be purely for entertainment use even though it goes against Christianity. Its connection to the Romantic Hero gives those who play a chance to perform great actions. The Romantic Hero is focused more on their actions in given situations instead of acting noble or proper as they would in reality. D defy Christianity because it deals with the concept of many gods rather than the true God. But overall, D is a form of creative expression. It should never be taken as a serious religion.

Works CitedDungeons and Dragons. Dir. Courtney Solomon. Perf. Justin Whalin, Marlon Wayans, Thora Birch, Zoe McLellan, Kristen Wilson, Lee Arenberg, Bruce Payne, and Jeremy Irons. Advanced D Adventure Games Dungeon Masters Guide. Lake Geneva: Random House, INC, 1979.

Gary Gygax. Advanced Dungeons and Dragons Adventure Games Players Handbook. Lake Geneva: Random House, INC, 1978.

James Bjornstad and John Weldon. Playing with Fire Dungeons and Dragons Tunnels and Trolls Chivalry and Sorcery and other fantasy games. (Chicago: Moody Bible Press, 1984).

Marvin Carlson. Theories of the Theatre A Historical and Critical Survey from the Greeks to the Present Expanded Edition (Ithaca and London: Cornell University Press, 1993).

Orson Scott Card. How to Write Science Fiction and Fantasy.

Robert J. Kuntz and James M. Ward. Deities and Demigods Cyclopedia. Lake Geneva: Random House, INC, 1980.

Published by Chris Consorte

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