Dungeons and Dragons (D&D) was the evolution of war-gaming, a mutation that was an image of 1960s optimism in the 1970s realism. Fantasy Role-Playing games (FRPG) symbolise a nostalgia for a simpler time which was apparent in the 1960s in popular culture and according to Cliff exaggerated in the 1970s because of social downturn. The social climate of both the US and Britain gave youth a direction, the Vietnam war, civil rights and nuclear deployment all gave intellectual youth a direction for their frustration, their alienation from parent culture which included everything from the government, parents, teachers and the dominant religion. The nostalgic feeling built an interest in occultism and paganism through, Berger, suggests that human nature requires mystery, the need to explore unknown lands. Gygax, the creator, understood this need with D&D as the product, the game offers society an escape into a world that could be explored . He argued that as the world’s mystery reduced man could no longer run away to darkest Africa or into the South American Rainforests to “find themselves” so the next best thing was the creation of a world to explore , using literature and film to create an FRPG allowing players to interact with the story living their character.
The escapism of D&D followed other popular culture, Barrowcliffe, in his memoirs, suggests that his interest in D&D linked also to his love of Heavy metal music which also appeared in the early 70s. As 1970s, began to erode the dream of the 1960s, McCormick argues that Britian’s economic decline, political disputes, the IRA, race riots and strikes allowed a mass disillusionment and moved the focus from changing the world inward . Popular culture began to become more sardonic and less hopeful, this new realism also led to a further interest in fantasy due to the need for escape . Harrison writes that heavy metal began its life in the industrial heart of the “Black Country”, reflecting Krims argument that geography and social conditions impact on popular culture . Barrowcliffe follows this as his negative influences of society come from a similar background, also the same geographical area. He notes in his memoirs about the impact that Black Sabbath on him revolved around the lyrical escape, just as Christe argues that lyrically the frustration of inequality and darkness of working-class life had an enormous impact on their social commentary and escapist fantasy . Sabbath’s, specifically Butlers, love of science fiction and his experience of a need for escape from the working-class slums influenced his lyrics via “Ironman ” and “The Wizard ” where evil is over powered by a wizard.
The use of fantasy to try and process the contemporary society was, according to Diski, part of alienation led to civilised rebellion, a symbol of the 1960s, particularly youth rebellion . The 1960s brought an interest in alternative lifestyles and religions, including the occult and magic, this split the US and Britain. Britain worked towards a tolerance via a move towards secularisation. Secularisation of society during the “sixties” however was not a noticeable decrease in traditional religion , it had been a gradual decline and this decline was perceived as a threat only when other alternatives appeared . Brown argues dominant religion, began to exaggerate its fear of losing power he argues that the traditional sacraments were declining and the panic appears when the future, the reactions of youth, fade . The difference between the reaction in the US and UK can be explained by the US issues with magic, the opposition portrayed by the 60 minutes special were surrounded by religion and used biblical passages to affirm their beliefs. Laycock also cites a British case of “Kate ” who mentioned D&D to her priest and he says I know nothing about the game but I know it’s Satanic, however, Brown argues that the secularisation of British Society over the Evangelic trend in the US meant that D&D was tolerated in British Society . According to Marwick, the increased “enlightenment” followed increased access to education, attending art schools and universities lead to what Gramsci argues are “Organic Intellectuals,” who begin to question the parent culture.
Cohen argues that the device needed for a moral panic was a visible victim and for Britain D&D players were not visible. One of the US arguments around the evil of D&D was that it attacked the victim in their own home . D&D was a cheap leisure pursuit that could create rich worlds and Laycock argues that the introduction of an indoor pursuit actually kept youth out of trouble and that was acceptable for the British public which seems affirmed by Barrowcliffe as although his parents occasionally question some of the actions and do find the games suspicious they did not show any animosity towards it.
D&D is a symbol of the changes to society during the transitional period between the 1960s and the 1970s, the difference between reactions from the US and Britain affirm the gap between the two superpowers. The evangelical and religious reaction of America shows that the country was not secularised whereas Britain was working through a transition to a more secular country and therefore an exaggerated religious panic did not happen . The new liberal feeling brought from the 1960s showed a tolerance for new thought and therefore the almost “religious experience ” threatened the US, in Britain it was another alternative and tolerated, with the players and society being aware that it was a game of imagination.
As war-gaming evolved to include Fantasy, there was no commercial rules or kits created within consumer society, D&D changed that . FRPGs had been played in Britain prior to 1974, however, the players tended to be two controlling armies rather than one character, still following the war-games and Laycock argues that traditional British war-gamers, usually adults with a serious fascination with military, found the inclusion of fantasy as frivolous. Hebdige follows that as the cultural revolution removed the control of culture from elite “quality” culture imposed during the 19th Century, to the amusement of youth which includes pursuits deemed tasteless and pointless .
FRPG symbolises change from aim to improve society and heroic aspiration of the 60s and 1970s realism, began concentrating on the self , this individual revolution is apparent as you control and play one character . Although, the ability for one to change the story is an amalgamation of the two notions. Allowing for the disillusioned intellectual of the 1970s to save the world and become a hero, the ideals of the 1960s for the youth . Another symbolic feature is held in the change from controlling an army to concentration on self, on improving character, rather than winning, for critics removing the purpose. Although, allowing players to live out fantasies, becoming brave warriors, magic using wizards and heroes, the 1960s allowed the possibility of living dreams with working-class fame. In the 1970s the aspiration of the 1960s spiralled to desire for fame and fortune over career and marriage , which led to further disillusionment. Barrowcliffe states that everyone appeared to want something they couldn’t have but for him D&D was the way that he got his dream, he could use magic and save the world. Barrowcliffe and Laycock argue that D&D was an outlet for hidden feelings and an outlet for frustration and anger which for the youth of the 1970s was rife. Barrowcliffe preferred this safe way for two people to work out their differences without a physical fight .
During the 1960s the increased visibility of youth , and an emerging youth targeted market , suggest a boost in youth confidence which was also confirmed by the markets that were increased as the sixties left youth with more disposable income they spent it on their self-expression. However, D&D was an outlet for the quiet and socially awkward, for the intellectual and creative affirmed by Barrowcliffe’s memoirs, not a rebel, didn’t want to fight the system despite its failures, D&D was his escape. D&D was a quiet revolution more suited to Diski’s idea . Laycock concentrates on the extreme US reaction suggesting as Britain was dealing with the louder and more visible anarchy of punk .
D&D also symbolised Gildart’s suggestion that rebellion in the 1960s hid an enduring tradition rather than a new liberation, however, though women were more visible in society both in the work place and socially, they were still objectified and it was still critical if a woman was promiscuous or divorced despite the changes in the law. Also, homosexuality was decriminalised, although many subcultures tolerated homosexuality, overall was still not accepted . D&D was modern in its level of inclusion, acceptance and tolerance, and its non-biased attitude towards race, class or creed, but not modern in attitude to women or homosexuality. When you build a character in D&D males roll dice for appearance: eyes, hair, skin. However, Barrowcliffe muses about rolling for a female’s bust, waist and hips, and female characters tended to be subordinate, an image of lust or a damsel in distress . Barrowcliffe also affirms that homosexuality was criticised, curses that cause a character to act effeminate or homosexually or humiliating himself by having to be a woman.
D&D, like popular culture, continually evolves to reflect contemporary society, and reaction to it reflects the level of tolerance society has. D&D reflected the 1960s and the 1970s: the aspirations, the affluence through the commercial nature of society and the change in marketing. As D&D was a product developed entirely for the youth market, pandered youth consumption creating additional content sold separately, thus following Abrams increasing youth consumer. In offered relief from alienation, congregation of likeminded youth, a fascination with fantasy and, a façade of liberalism, feminism and civil rights. The evolution of D&D helps gauge reactions to youth culture, particularly the differences that religious input has towards culture, the effect of disillusionment on youth and the effects youth culture can have on every level of society. D&D also affirms a cyclical nature of popular culture as each iteration becomes popular for the same reasons at different time in history but with 1970s being the birth of the game began a new level of escapism. D&D emphasises the disillusionment of the 1970s, the lack of affluence, a turn inward and a need for escape, all shown in Barrowcliffe’s memoirs. The transition between the 1960s and 1970s was arguably one of realism and although D&D was the epitome of escapism it helped an alienated youth work through frustration and disillusionment.
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