by Ethan Gilsdorf
Dungeons & Dragons (D&D) may be approaching its 40th birthday next year, and rapidly losing younger players to the irresistible eye-candy of digital gaming. But in one particular sector, the role-playing game business is still booming: Older gamers like me.
I grew up playing D&D, religiously, back in the Reagan Administration. My original "Monster Manual," "Dungeon Master Guide" and sack of polyhedral dice are still precious to me. Lucky for me, I hung onto my trove of rule books that were still covered with a layer of Cheetos dust. Other old-school games weren't so lucky. ("Thanks, Mom, for giving my stuff to Goodwill when I went off to college!") Now all grown up, and sometimes with children of their own, these gamers miss that place that face-to-face dice-rolling and storytelling experience played in their lives.
But fear not, old-school roleplaying games (RPGs) are back, one reissue at a time.
Wizards of the Coast (WotC), the company that owns the D&D brand, has embarked on a new campaign in the past year to recapture older gamers whose magic-users and paladins slayed many an orc and beholder and pillaged many a graph-paper-charted land. All year longWotC has been reprinting new editions of ancient tomes from the heyday of tabletop role-playing games. On November 19, the granddaddy of them all arrives: a deluxe edition of The White Box, the original D&D set (aka OD&D) first published by Tactical Studies Rules, or TSR, Inc, back in 1974. (In a Wired.com exclusive, a new photo of the final product prototype is pictured here.)
The White Box "was the very first roleplaying game, introducing concepts that have persisted throughout later editions," said Liz Schuh, director of publishing and licensing for D&D. "Many of our players have strong emotional connections to our classic products."
They better. This new White Box retails for $149.99.
All this nostalgia comes as D&D hits "middle age." In 2014, D&D, the first-ever commercially-available role-playing game, turns 40. Next year also brings (barring any delays) the release of the game's next iteration, D&D Next.
Is all this product retread a crass commercial move on the part of WotC, or a genuine desire to re-connect gamers in their forties, fifties and even sixties to their beloved dungeon-crawls pasts?
Whatever the interpretation, this is some powerful Spell of Nostalgia that WotC is casting. Go ahead, resist. Roll a saving throw versus
The campaign began last year, with new limited-editions of the 1st Edition rulebooks: the beloved AD&D "Monster Manual" (1977), "Player's Handbook" (1978), and "Dungeon Master’s Guide" (1979). Then, in January, WotC launched dndclassics.com, a site allowing oldbies to download in PDF format hundreds of forgotten and out-of-print gaming products, from the legendary 1978 module D3: Vault of the Drow to a 1981 edition of the D&D Basic Rulebook. Also released earlier this year: two volumes of compilations of classic adventures including one called "Dungeons of Dread" that features favorites like "Tomb of Horrors" and "Expedition to the Barrier Peaks." Second edition core rulebook "Premium" reprints came out in in May. Of course, official D&D merch --- from T-shirts, belts and iPhone cases --- is also being hawked. All of these products are replicated down to the last "to hit" chart and goofy drawing of kobolds, and gelatinous cubes (just testing you: gelatinous cubes are invisible).
That "White Box" facsimile set includes the original three OD&D booklets (Men & Magic; Monsters & Treasure; Underworld & Wilderness Adventures) plus the four supplements (Greyhawk; Blackmoor; Eldritch Wizardry; Gods, Demi-Gods & Heroes); a packet of "reference sheets"; and 10 funky-looking (but not historically accurate) dice. In a nod to the OD&D's original brown wood-grain cardboard box, it's all housed in a fancy engraved wooden case. The booklets' interior art looks the same, but the box's cover modern fantasy art (see photo) might annoy purists.
Original "white box" sets are rare, and can sell for $500 or more on eBay. With the reprints, anyone can own a piece of D&D history. Sort of.
Game designer James M. Ward, a veteran TSR employee who wrote the games Gamma World and Metamorphosis Alpha, and co-authored the core rulebook Deities & Demigods, took a more skeptical view towards WotC's decision to release items from the game's golden age. "Just think of the profit for releasing something they didn’t have to pay for or edit," Ward said. "It’s a move to make lots of money considering consumers are really liking the idea of old style material."
From the tabletop resurgence that’s been happening over the past few years, it’s clear that older gamers miss the dice-rolling and face-to-face interaction of an analog dungeon crawl. Even the the original TSR brand had been rebooted (not by Gygax's heirs or Wotc) and has released a publication, aptly named Gygax Magazine, in the spirit of the old Dragon and White Dwarf magazines. GenCon, Pax and Pax East prove there's an audience for non-digital entertainment. Older school-style RPGs such Pathfinder, from rival company Paizo Publishing, routinely outsells the last version of the D&D, the much-maligned 4th edition, released in 2008.
This "Old School Renaissance" is a welcome resurgence for people like Tim Kask, the first employee TSR ever hired and former editor of "Dragon" magazine. Kask and other older gamers maintain that newer iterations of D&D stripped out all the fun. "The game got so tabulated and charted that people forgot to ask questions," he said. "I think what has been ruled to death is that sense of wonderment, of not exactly knowing what is around the next corner."
So it makes sense that WotC also hopes some of the gamer will find their way back to a purer form of D*&D -- namely, the storytelling and mystery. "When you lose that, roleplaying," Kask said, D&D "becomes just killing at the zoo.”
If Wizards of the Coast wants to take old gamers like me on a journey down memory lane -- or back into memory's dungeon -- I can't complain. Maybe I'll never play that fancy White Box edition. In fact. I'm pretty wedded to my AD&D rule set from the 1980. But just to hold these new/old tomes, and flip through them, and roll the dice again ... Ahhh. Gary Gygax and Dave Arneson, D&D's co-creators, may be dead, but their legacy of Doritos-eating, dice-rolling and bantering around some basement table lives on. Hopefully, with these D&D reissues, enough younger players will also find their way to that experience.
So even if your original DM's Guide got tossed back in the Reagan Administration, you can game again, and play whatever version of D&D you like.
"From my way of thinking," James M. Ward said, "nothing was lost."
Tolkien & other nerds: I recently had the pleaure of nerding out about The Hobbit (and the new Desolation of Smaug trailer) and other Tolkien, D&D and fantasy topics with the Tolkien Professor, aka Corey Olsen, and Noble Smith (my collaborator over at Dungeons & Dorkwads)
The Tolkien Professor chats with authors and uber-geeks Ethan Gilsdorf and Noble Smith. Ethan Gilsdorf is the author of Fantasy Freaks and Gaming Geeks: An Epic Quest for Reality Among Role Players, Online Gamers, and Other Dwellers of Imaginary Realms. Noble Smith is the author of The Wisdom of the Shire: A Short Guide to a Long and Happy Life.
You can find them both at the webpage Dungeons and Dorkwads.
Download this episode here, or subscribe to The Tolkien Professor on iTunes.
Once again (for the third year running), I particuated in a fantastic collaborative audio fiction project called Books, Actually.
If you missed this year's edition --- "Books, Actually: What If?" --- at the 2013 Boston Book Festival, you can listen to it here.
Books, Actually is The Drum's collection of interlaced stories set in and around the Boston Book Festival. A thief, a teenaged poet, a coxswain, and a disgruntled author are just a few of the characters created by Boston authors Catherine Elcik, Ethan Gilsdorf, Katrina Grigg-Saito, Ted Weesner, Becky Tuch, Clarence Lai, Stace Budzko, and Henriette Lazaridis Power.
Hear them all, or go directly to a selected story. Here are the authors and the times on this audio file where Elcik (00:31), Gilsdorf (6:20), Lai (11:47), Power (17:12), Weesner (22:51), Tuch (29:23), Budzko (35:39), Grigg-Saito (37:17), Elcik (42:21).
I had a great time at the Boston Festival of Indie Games, geeking out and waxing nostalgic with Brian "Clerks" O'Halloran about how D&D changed (and warped) our lives and saved our asses.
Our slide-lecture / unreheased stand-up comedy talk was officially called:
"Back in the Dungeon – A conversation with Brian O’Halloran and Ethan Gilsdorf on how D&D changed their lives"
Digital gaming all began with graph paper dungeons, a handful of dice and the Monster Manual. Join actor Brian O’Halloran (“Dante Hicks” in Clerks) and writer and critic Ethan Gilsdorf (author of Fantasy Freaks and Gaming Geeks) as they geek out about the importance and impact of Dungeons & Dragons and other RPGs and tabletop games on the gaming industry, and how these old-school games changed their lives for good, not evil (mostly). There’ll also be giveaways of Ethan’s book and other goodies We’ll end with a Q&A, book signing, and autograph session immediately following the event.
Thanks Brian and thanks BostonFIG.
Let the dork-offs begin!
Announcing Dungeons & Dorkwads, a site for all things D&D, nostalgia and bad jokes. In our first post, Noble Smith and I geek out about a 1970s Smaug the Dragon miniature figurine and its resemblance to Pinky Tuscadero, the Fonz's +7 Motorcycle of Shark Tank Jumping, and a hobby shop called Unicorn Castle where they had girls for sale.
What are we trying to accomplish? We’re not sure. What is our mission statement? We don’t have one (yet). But what is this site all about? Dorking-off.
What is a dork-off, you ask? Noble and Ethan, we are not-so-youthful dorks, with an unhealthy attachment to the role-playing games of our glory years — D&D especially — and assorted fantasy, science fictional and pop cultural artifacts. Here at Dungeons & Dorkwads, we exhume and celebrate these lost relics, be they worn dice, faded hand-drawn maps, broken lead figurines, beat-up Tolkien boxed sets or Hoth or Happy Days dioramas. (We’d like to see one that combines both universes.) Then, we geek out about them.
What stories do they unleash from the Tomb of Memories? What did it all mean to us? Were those years in the dungeon a complete waste? We think not. Along the way, we let these dork-offs take us in whatever direction that pleases us. Expect side trips to the lands of Tatooine, Middle-earth, Gilligan’s Island, Lego, and Loni Anderson.
- See more at: http://www.dungeonsanddorkwads.com/whats-a-dork-off/#sthash.unqTcAjf.dpuf
I was lucky to be able to write about my a town dear to my past and heart, Portsmouth NH, near where I grew up in Seacoast NH. This appeared in the New York Times Travel section, Aug 1, 2013, and covers everything from Strawberry Banke to the Press Room, Market Square to dining options like the Black Trumpet.
NATICK — Sometimes, the world can seem overwhelming. Overbearing. If only you were tiny enough to build a house out of cards and climb inside, or escape to a miniature treehouse suspended between stalks of broccoli.
Or better yet, just fly away. Fold a giant paper airplane, then grasp its thin fuselage for dear life and sail across a field into summertime.
Such is Zev Hoover’s fanciful photographic take on reality. His arresting images evoke a wonderland of imaginary environments, built from f-stops and pixels, and hinting at characters with secret stories to tell.
Hoover’s work, which he posts on the photo sharing site Flickr using the handle “Fiddle Oak” (a play on “Little Folk”), has caught fire across the Internet. He has been profiled in the media and on design and photography blogs. On Monday, he will fly to New York to appear on ABC’s “Good Morning America Live” webcast.
One post touting his “surreal photo manipulations” has received 108,000 Facebook likes.
“Maybe a million people saw it,” said the slightly stunned Hoover, who is only 14.
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COLM O’MOLLOY FOR THE BOSTON GLOBE
“He’s enjoying this little ride,” said his father, Jeff. “But he’s familiar with Andy Warhol’s idea of 15 minutes of fame and realizes this may be transitory.”
The skinny teen deadpanned, “If I was older, it wouldn’t make as good of a story.”
But it’s Hoover’s talent that has captured imaginations. A film production company contacted him about designing a movie poster. He has been approached by a publisher for a potential narrative photo textbook project. Nikon World magazine asked him to contribute a photo. A lens manufacturer sent him a free lens, saying only: “Take some pictures with it.”
No doubt he will. Plenty of his peers would be happy playing soccer or video games, but not Hoover. He needs to be creating. “I get anxious if I’m not doing something,” he said, sitting outside his family’s Natick home this week. “What’s next?”
His series of “Little Folk/Fiddle Oak” images began during a walk in the woods with sister, Aliza. He remembers thinking, “Oh, wouldn’t little people be cool?” Crouching near the ground, he imagined seeing the world from their perspective. He felt the miniature genre had never been done in photography — “at least not very well.”
“There’s a fine line to walk between having it be too abstract and having it be too cheesy-obvious,” he said.
He performs his sleight of hand in Photoshop, which he taught himself via Internet tutorials.
Read the rest of the front page Boston Globe story. For a photo gallery of Zev's work, look here.
The death of stop-motion animation pioneer Ray Harryhausen raises questions about the future of special effects, writes Ethan Gilsdorf. In the good old days, it did not take so much to trick the eye.
"There comes a point where people will reject digital effects and want movies where we actually did something in real space, and real time.”
That's a quote from a film director perhaps the least likely to decry computer-generated special effects: Peter Jackson. Interviewed for the 2011 documentary Ray Harryhausen: Special Effects Titan, Jackson said, essentially, that as digital special effects in movies become increasingly advanced, we'll crave the real even more. Real, as in "real" fake -- physical puppets of gorillas and T-Rexes, Medusas and animated statues, not ones made from pixels. Real, as in physical models manipulated by hand and filmed one frame at a time, not rendered in some fancy computer program.
But Jackson's comment about a movie being something that happens "in real space, and real time" feels surprising, if not ironic. The director most known for creating miniature models and sets (and so-called giant miniatures, or "bigatures") for The Lord of the Rings, and seamlessly mixing them with digital trolls and elves, later turned away from the "real" miniatures he used in that trilogy. In his last film,The Hobbit: An Unexpected Journey, Jackson finally and fully embraced digital effects. It's a film in which nary a miniature or puppet exists.
Now, the death on May 7 of stop-motion animation pioneer Ray Harryhausen poignantly brings these issues of real and fake, analog and digital, info focus. Harryhausen's passing represents the end of an era. It closes a crucial chapter in special effects history. It's also a kind of turning point in film technology. From here on out, it's too late to return to the analog.
If you don't know who Harryhausen was, you've probably seen his work. The master animator is best known for breathing life into giant, writhing serpents, sword-wielding skeletons, and marauding dinosaurs in such fantasy adventure and monster movies as The 7th Voyage of Sinbad(1958), Mysterious Island (1961), Jason and the Argonauts (1963), and Clash of the Titans (1981). Harryhausen was an innovator, and in many ways the father of the modern special effects craft and industry.
Harryhausen's trademark action sequences featuring animated model figurines -- always pictured interacting with, or more often, fighting with human foes, or crushing them, or biting them in half or flying away with them -- might seem clunky and old-fashioned when measured by today's standards. But in their day, the effects Harryhausen pioneered were cutting-edge. He painstakingly filmed his "creatures" frame by frame. The process was exhausting: The 4 minute, 37-second skeleton and human fight sequence from Jason and the Argonauts reportedly took four and a half months to photograph and Harryhausen had to readjust and film around 184,800 movements of the puppets.
Then, using his patented "Dynamation" technique, those skeletons and serpents could interact on screen with actors in a remarkable realistic way. The Dynamation process combined foreground and background footage by photographing miniatures in front of a rear-projection screen. Sometimes, he shot sequences through a partially-masked glass pane. Live footage would later be superimposed on the masked portion of the frame, and voila, the creature or creatures seemed to exist in the midst of "real" human-scaled action, or even appear to move in front of and behind "live" elements. Harryausen also carefully controlled lighting and color balance to make sure the image quality of his animated sequences matched the quality of the live action. His effects were more convincing than the standard use of optical printing and mattes. This was before green screen, folks.
iTunes turns 10 and I long for my vinyl
First, we had vinyl, audio’s standard for decades. Then, in the 1970s and 1980s, the audio cassette rose in popularity, and we bid adieu to the cultural relevance of our record collections (not to mention our 8-track cartridges). The 1990s brought the next battle of the format wars, the compact disc, music storage’s next evolutionary stage. Then came the Internet, and the advent of Napster and online music distribution. And now, the reigning champions, the MP3 and iTunes, which effectively made every previous format obsolete, and completed music’s journey from actual object to ethereal digital presence.
As the iTunes Store celebrates its 10th anniversary this week — and the folks at Apple have their birthday cake and eat it too — I’ve been thinking about how the revolutionary media player, library and sales portal has upturned the way we consume media.
What began as a way to download and play music — legally — has become the new standard for buying, playing, and organizing our electronic A/V passions. We’ve come to expect instant access to content. We see a song or TV show or movie, we buy it, and we watch it or play it or listen to it in mere moments.
In the decade since it launched, the iTunes Store has become not only music’s biggest retailer, it’s also captured two-thirds of all TV show and movie sales. In the first quarter of 2013, the service recorded $2.4 billion in revenue.
Together, iTunes and the iTunes Store represent the most important media innovation since the Internet.
But in marking the anniversary and thus reflecting on music’s fickle format history this week, I’ve also become extremely nostalgic for my old media consumption habits. I even miss CDs.
Yes, those silvery digital objects. When CDs usurped records and cassettes, their groove-less surfaces seemed to reflect the impersonal computer-age future. They were reviled by audiophiles, who found the sonic quality inferior and the quiet playback eerie. A laser reads the music? Where are the pops and scratches? The clunk of the needle? It made no sense.
CDs were also denounced for shrinking album art from the LP’s 12-by-12 inch canvas to a roughly five-inch square postage stamp. (Though cassettes were even worse.)
But now, in light of iTunes, the compact disc seems old-school. Retro-cool. Even a savior: At least the format had cover art and liner notes. And fragile and annoying as those plastic jewel cases were (are), it was kind of nice to see your music collection neatly organized on shelves.
Your music collection used to occupy a physical space. Remember that?
Read the rest of this essay at WBUR's Cognoscenti
The Best Cure For Fear? Maybe, A Little More Trust
In the wake of terrorist acts, or school shootings, or other horrific acts of violence, we feel duped. How could we have missed the signs? Or have been susceptible? We remind ourselves to be vigilant. Be suspicious. If you see something, say something. In other words, mistrust thy neighbor. We look at people differently. Everyone becomes a potential enemy. We ask ourselves, how well do we know the people who live next door? What do we really think of our children’s teachers or day care workers?
I admit that after the Boston Marathon bombings, even I began to look at my neighbors with more apprehension. I didn’t like this fact. But there it was.
Perhaps at no other time in American history — at least since the Red Scare and the rise of McCarthyism — have we been more skeptical of our fellow citizens. While our inclination might be to circle the wagons and become more suspicious than ever, there is another way to combat this proclivity towards wariness.
But how?
With more openness, not less.
It may seem counterintuitive — but it’s actually quite logical. After all, many of these deplorable acts of violence arise because perpetrators feel disconnected. Their social networks decay. They develop anti-social and extremist views. When people detach, bad things are more likely to happen.
I’ve been thinking of some simple steps that, at least for me, help me feel more confident and connected. Call it intentional faith. Or, radical trust.
My five-step plan:
Time traveling adventurers in Time BanditsA travel guide to imaginary realms
How do you get to Narnia, Neverland, Oz, or Hogwarts? The way to these parallel other worlds that sometimes intersect with ours is not always obvious. All you need to know is the secret. Here is a brief guide to common tropes and modes of transportation. When in doubt, try a dash of fairy dust.
Natural (or Unnatural) Phenomena
In “Epic,” it’s a magic flower bud, or “pod,” as well as the spirit of a dying queen, that transports M.K. to the land of the Leafmen. Tornadoes also do the trick, as in “The Wizard of Oz.” Or a whack to the head works, too, like the one the kid in “The Pagemaster” suffers before the fantasy world of the library comes to life.
Tunnels, Caves, and Dark Spaces
Slither into a tunnel or cavern (“Pan’s Labyrinth”), fall down a hole (“Alice in Wonderland”), or explore the back of your closet (“The Chronicles of Narnia: The Lion, the Witch and the Wardrobe”). By means of this reverse birth-womb experience through the darkness — paging Dr. Freud — you’ll reach that hidden world.
Portals and Hidden Places
What's down that rabbit hole or in that wardrobe?: ‘Epic’ follows tradition of children’s fictions bridging earthly, fantasy realms
In the just-opened animated adventure film, “Epic,” a teenage girl named Mary Katherine (voiced by Amanda Seyfried) has effectively been abandoned. She arrives in the country to reconnect with her harebrained dad (Jason Sudeikis), a nerdy scientist obsessed with finding a woodland kingdom of miniature creatures. Grieving the loss of her mother, Mary Katherine, or “M.K.,” needs her father more than ever. But her dad’s belief in a secret world makes him all the more distant. “I’ll be right here,” M.K. huffs. “In reality.”
Naturally, M.K.’s ideas about magical realms are about to change. Stumbling into the woods, she snatches what looks like a glimmering leaf as it drifts down from the trees. The “pod” glows brighter in her hands, and then, KA-POW! our heroine is transported (and shrunk) to the hidden land of the Leafmen. There, she finds her purpose among a race of tiny people who, armed with bows and swords and mounted on sparrows and hummingbirds, protect the forest from the baddies in, yes, an ongoing battle between the forces of good and evil.
Movies about worlds disconnected from our own are commonplace. Think of the many science fiction and fantasy narratives that lie along the “Star Wars” to “The Lord of the Rings” continuum. These separate realities are filled with orcs and wizards, siths and spaceships. Humans may live there, but we Earthlings can’t visit them. No magic door leads from Boston to Tatooine, no trip down a rabbit hole or along the Red Line arrives in Middle-earth.
“Epic” belongs to a different but equally longstanding tradition of fiction that bridges our world to other realms. Via some gateway, a journey is made to a kind of Neverland or Narnia. The trope is as old and dark as the burrow in “Alice in Wonderland” and Dorothy’s twister in “The Wizard of Oz.” You can follow these tunnels from “Labyrinth” to “Pan’s Labyrinth,” through “Harry Potter” and “Percy Jackson and the Lightning Thief” and beyond to every story that maps that liminal space between us and some parallel place.
As sophisticated and tech-savvy as we’ve become in the 21st century, apparently we still need to believe in hidden worlds that coexist with the real world. In fact, we might need them more than ever. As we get more attached to our digital devices, our traditional spells don’t work anymore. Satellites have mapped every square inch of the planet; Google conjures an explanation for everything. We’re disconnected from witchcraft, nature, and the mysterious. Myth and fairy story gain no purchase on our daily lives.
Consequently, as we’ve galloped from industrialism to post-industrialism to digitalism, we’ve seen an explosion of fantasy and adventure movies in the last 30 years — from “The Goonies” (1985) to “The Golden Compass” (2007) — which reconnect us to these concealed worlds. We cling to old stories, newly enhanced by advances in special effects whose verisimilitude makes these worlds feel more convincing than ever.
Read the rest of my story at Boston Sunday Globe
A woman carries a girl from their home as a SWAT team searching for a suspect in the Boston Marathon bombings enters the building in Watertown, Mass., Friday, April 19, 2013. (Charles Krupa/AP)An author friend writes a tribute to his country on his Facebook page. A stay-at-home mom, guarding her bevy of children, becomes a citizen reporter on the scene in Watertown, tweeting about the view from her backyard of snipers staking out a position on the roof of her garden shed. An otherwise non-aspiring writer is inspired to try his hand at capturing his version of this past week’s dreamy miasma of exhausting, hand-wringing events.
As we Boston-area residents have been recovering from the Boston Marathon bombings, the lockdown, and from our media hangovers, out gushed the words, like a fresh wound. Not spoken words, which can evaporate as soon as they are voiced. But stories, written down.
Sure, we’ve all experienced the flurry of hastily dashed-off texts, sent to loved ones to check in, to say, “We are safe.” But even before the dust settled on Boylston Street, I’d noticed a burst of blog posts, Facebook posts, and other personal accounts popping up on the Internet. Those longer stories that cannot be contained in a mere tweet.
All these written words prove our need to find our place within the events. To be part of the story, to insert our own heart and mind into this larger narrative. Who doesn’t want to comment, to communicate, to reflect, to engage in some way? Or, as Neil Diamond himself belted out at Fenway Park, to use words as, “Hands, touching hands / Reaching out, touching me, touching you”?
This urge to participate and to tell one’s individual story humanizes pain and makes big, sweeping events human-scaled. The tradition is as old as Homer and the Icelandic Sagas. We cope with trauma by injecting ourselves into the wider story. The gesture says, “I, too, was there.” The gesture also says, “This is how I process grief.” Story helps transform chaos, crisis, and helplessness into something we can retell, and therefore transcend.
Read the rest of my commentary "Writing Our Way Through The Terror" for NPR affiliate WBUR
Yes! D&D is Evil Again! Pat Robertson scares us like it's 1982
Save vs. disbelief.
Pat Robertson, former Southern Baptist minister, Chairman of the Christian Broadcasting Network and erstwhile presidential candidate, had this to say last week about the latest blight on America: Dungeons & Dragons.
Wait — Dungeons & Dragons? Yes, D&D is back. And it’s more evil than before.
This would be amusing, if it wasn’t so scary.
Once again, from the front lines or bowels of pop culture, we find another freak out by those who are clueless. No, it’s not violent video games that are poisoning the minds (or loins) of America’s youth. Nor is it the Internet, or texting, or sexting, or Facebook or Twitter. Nor is it rap, or hip hop, or raves, or Oxycontin, or punk, or comic books, or Pixie Stix, or Pop Rocks.
Worse: D&D. That old-fashioned game of dice and graph paper and demonic possession.
It’s as if Robertson was encased in carbonite back in 1980, only to be thawed out by a benevolent Boba Fett three decades later. As if Roberston’s never even heard of Call of Duty, let alone Harry Potter or Pac-Man. And magically, still dripping wet from the dry ice and experiencing the brain freeze of a lifetime, he keeps jabbering away on his show The 700 Club, about magic and evil and the occult, and D&D which, in his words, “it was, like, demonic.” (Yes, he actually, like, said, “like.”) “Stay away from it,” is his advice, in 2013.
Read the rest of my post on GeekDad.
Jack Chick’s infamous 1984 anti-D&D comic book, “Dark Dungeons.” Ooh. Scary. (Image: Chick Publications)
The Cell Phone Turns 40: My skeptical commentary by Ethan Gilsdorf
[originally appeared in NPR/WBUR's Cognoscenti Tue, Apr 09, 2013]
The cell phone hit middle age last week.
Forty years ago, on April 3, 1973, a Motorola inventor named Martin Cooper made the first-ever call on a handheld cellular phone (curiously, to a rival employee at AT&T). When the Motorola DynaTAC 8000X finally became commercially available a decade later, the two pound device cost about $4,000. Known as “the brick,” the phone was about as smart as one, too. Then, the BlackBerry and its ilk arrived in the early 2000s, ushering in a new age of instant, on-the-go communication.
After the iPhone hit the marketplace in 2007, the smart phone soon became as indispensable as a wallet and keys, and a commonplace accessory to everyday life.
But what changes — for good or for evil — have cell phones wrought? At what cost have we invited these tools into our lives? Like with other technological innovations, from the automobile to the nuclear weapon, we embrace cell phones without much reflection or question. We embrace them because they are new and because they seem to solve problems.
To be sure, these devices come in handy, especially in emergencies. But remember, our smart phones are more than phones: They’re actually communicators, a la “Star Trek,” cross-bred with small computers. They know all. They cut across time and space. They have turned us into roving reporters and documentarians of our every move and thought and location. They give us the ability to talk and text with anyone on the planet. No longer must we wait and wonder the answer to a question or risk being wrong. With a few quick finger pecks in the Google Search app, mysteries are solvable. Evidence is found. Friends who said they can’t make the baby shower because they are “out of town” can be busted, on Facebook, anywhere, anytime. Smart phones have also ruined trivia nights in Irish bars across our fair city.
Yet, as we step off the cliff of another science fictional precipice — the possible widespread adoption of wearable devices like “smartwatches” and the Google glass head-mounted computer — it’s worth considering what questions cell phones already raise. What does it mean to be in public? What social and interpersonal obligations do we have in our interactions with each other? What does it mean to be “here” — to truly inhabit a physical space — and how do these devices blur the boundaries between presence and absence? MIT professor Sherry Turkle has documented many of these issues in her book, “Alone Together: Why We Expect More From Technology and Less From Each Other.” Her research looks at how online behavior, such as posting on Facebook and tweeting, creates an illusion of closeness and connectedness that, paradoxically, leads to the very solitude from which our technologies supposedly save us. Personally, my heart drops every time I see parents with their child on the bike path, or in the playground, not interacting, not holding their kid’s hand, but punching or jabbering into whatever device they are holding. Not to mention the endless beeps and interruptions and distractions. Or how my iPhone plays into my already challenged ability to focus. Or how I sometimes feel a phantom buzzing in my pocket. Nope, no one called. But my body has developed an almost Pavlovian response to my iPhone. Studies even suggest our cell phone buzzing activates the same part of the brain connected to feelings of love and compassion. When I’ve left my cell phone behind, I experience what can only be described as small pangs of separation anxiety. What am I missing? Who might be texting or emailing? I have taken to making rules for myself. I try not to check email or text while I walk from one neighborhood to the next. If I must take a call or write a text while I am already talking with a friend, I will acknowledge the interruption and say, “Excuse me” and leave the room. I try to “be there” when I am there. Wherever I am. I am not always successful. And yet, as a self-employed person, who works primarily from cafes and other remote locations, I enjoy the freedom my iPhone provides, liberating me from my desk and 9-to-5 environments, even if that freedom comes with a price. A recent episode helped focused these matters like a laser beam — and made me feel more profoundly how our world has been changed by cell phones. The other night, I walked to my corner bar to watch the Red Sox game. Settling in, I ordered a drink and then began my usual routine of checking email, social media feeds or texting a friend. A moment later I looked up. The bar was empty, except for the bartender, one other patron and me. All three of us were checking our phones, adopting that all-too-familiar hunched over posture, and hypnotized by our respective little windows. “Well, isn’t this funny,” I blurted out. “We’re all looking at our iPhones at the same time.” The bartender laughed, and the other guy laughed. Then, after a moment of awkwardness, we put down our phones and something miraculous happened: We had a conversation.
Dungeons and Dragons is the single most famous roleplaying game in the world. Writer Ethan Gilsdorf didn’t grow up in Wisconsin, but his love of D&D led him to fantasize about visiting the game’s hometown: Lake Geneva, hometown to Dungeons & Dragons co-creator Gary Gygax. In this cool radio piece, Ethan explores the origins of D&D for Wisconsin Public Radio.
Or you can listen to the mp3 here.
[originally appeared in the Boston Sunday Globe, MARCH 24, 2013]
Angelina Jolie in "Maleficent," due in theaters next year. (PHOTOGRAPH BY PETER KRAMER/AP/NBC)FEE-FI-FO-FUM,I SMELL THE BLOOD OF A HOLLYWOOD TREND.
After nearly a century of fairy-tale films targeted in large part at kids — starting with Walt Disney’s 1937 Snow White and the Seven Dwarfs — there’s another, edgier treatment on the rise. Last year, moviegoers saw two versions of the Grimm Brothers’ Snow White story in Mirror Mirror with Julia Roberts and Snow White and the Huntsman with Kristen Stewart. Next year, Angelina Jolie will star as Sleeping Beauty’s nemesis in Malificent, and Disney is looking to release a live-action version of Cinderella directed by Kenneth Branagh. We’ve recently seen movies like Hansel & Gretel: Witch Hunters and Jack the Giant Slayer in theaters and Grimm and Once Upon a Time on TV. The list goes on and on. What accounts for this boom in adult-sized fairy tales?
Part of the answer is that the stories and themes of the Grimms and Hans Christian Andersen never really left cineplexes — they’ve just been in better disguises. Working Girl, Pretty Woman, and Maid in Manhattan all borrowed heavily from the rags-to-riches Cinderella story. Snow White, so concerned with beauty and aging and jealousy, can be seen in countless mother/daughter rivalry plots. “We use bits and pieces of fairy tales all the time to fashion new stories, but often in ways so subtle that they escape our attention,” says Maria Tatar, chairwoman of the Program in Folklore & Mythology at Harvard University. Even Quentin Tarantino’s bloody Django Unchained, Tatar points out, draws from theSleeping Beauty tale.
The trend can be partly explained by practical concerns. After years of fantasy-themed bombs in the ’80s and ’90s (remember Legend with Tom Cruise?), the wildly successful Lord of the Rings and Harry Potter movies — which both started appearing in 2001 — convinced Hollywood that audiences were once again willing to suspend disbelief and embrace worlds of wizards and goblins. But with cash cows like The Hobbit by J.R.R. Tolkien already spoken for, studios began looking to mine gold in older stories. (And since fairy tales tend to be in the public domain, they offer a bonus: no pesky author estates with which to negotiate film and toy rights.)
But I also think something deeper is going on. Maybe it’s that these sexier action-packed tales — with epic plots and gloomy themes — are finally returning to their roots.
Once thoroughly dire and dark, fairy tales were re-imagined as entertainment for kids in the 19th century. “They were moved like old furniture from the parlor into the nursery — that’s how Tolkien put it,” Tatar explains. With the arrival of the movies, the yarns became “cartoon versions of what adults once told around the fireside.” Disney, in particular, made a point of leaving out the nastiest stuff — the child abandonment, the cannibalism, the incest. “Today,” Tatar says, “we are back in touch with the darker elements in the tales.”
And yet those terrible stories projected up on the screen can also be comforting, if only because we know their endings in our bones. The land of Real Life, located just outside the darkened theater’s doors, remains a fairly bleak place of taxes, political gridlock, and climate change. A realm of chain mail, swords, and magic spells will always be more enchanting than that.
“Fairy tales give us a burst of melodrama,” Tatar says, “confronting us with worst-case scenarios and reassuring us that there will be a happily ever after.”
In fairy tales, the evil and greedy get true punishment, not just a slap on the wrist from Congress, and the hero always overcomes his or her travails to emerge victorious, albeit a little traumatized, from the experience. With the help of his sister, Hansel managed to escape getting eaten by a witch. Compared with that, doesn’t digging out from under a mountain of credit card debt or dodging a looming foreclosure seem like child’s play?
Ethan Gilsdorf, a frequent contributor to the Globe Magazine, is the author of Fantasy Freaks and Gaming Geeks. Send comments to magazine@globe.com.
On the road! Here are some events -- talks and teaching, writers conferences and writing festivals -- I'm doing this spring in the Boston area, plus the North Shore, and Philadelphia
On the road! Here are some events -- talks and teaching, writers conferences and writing festivals -- I'm doing this spring in the Boston area, plus the North Shore, and Philadelphia
Tues, April 16, 4:30pm
Bryn Mawr College, Phildelphia/Bryn Mawr, PA
Gilsdorf reads from the book and shows images from his adventures in a slide/lecture talk entitled: "HOBBITS HEROES GAMERS GEEKS: What Explains the Rise of Fantasy, Gaming and Role-Playing Subcultures?" on TUESDAY, APRIL 16 at 4:30 pm in THOMAS 224, Bryn Mawr College. Gilsdorf will also read an excerpt from Fantasy Freaks and Gaming Geeks, and the event will end with a Q&A and book signing. The event is free, and sponsored by the Provost's Office and the Departments of History & English at Bryn Mawr College. More info. I'll also be visiting classes 4/15 and running a private D&D sessions 4/16.
Sat, April 27, 2:30pm
Newburyport Book Festival, Unitarian Universalist Church
"What's Wrong with the Real World? A Fantastic Conversation About Fantasy"
Fantasy is hot. So what explains the rise of this genre -- be it pure swords and sorcery epics about hobbits and quests, or some fantasy/science fictional/dystopian/steampunk hybrid? What elements go into a believable, make-believe universe? And what's so wrong with the real world, anyway? Join Ethan Gilsdorf author of the award-winning travel memoir pop culture investigation Fantasy Freaks and Gaming Geeks: An Epic Quest for Reality Among Role Players, Online Gamers, and Other Dwellers of Imaginary Realms, and Max Gladstone author of the magical-urban-fantasy-legal-thriller Three Parts Dead, in conversation to discuss the ascendancy of all things fantasy -- from Tolkien to Harry Potter, along with associated topics such as gaming, balrogs, the genre divide, and dice collections. Discussion, reading and Q&A. More info
May 3-5: Muse and the Marketplace Conference
Grub Street, Park Plaza Hotel, Boston
I'll be part of three events. Sign up in advance if you want to attend:
Session 2B: Charting the Non-Fiction Writing Career
2:30pm-3:45pm on Friday, May 3rd
If you want to write nonfiction -- memoir, literary nonfiction, creative nonfiction, journalism -- what is the best way to break in? How do you pitch ideas to editors and agents? What is a book proposal? What is the difference between a promising but vague topic and true story with a hook? How can you build a platform in a unique area of expertise to gain an audience and legitimacy and make yourself attractive to agents and editors? What is a scene, a character, a compelling lede, a coherent theme? In this session based on the success of Grub's Nonfiction Career Lab Program and led by one of its instructors, we'll look at nitty-gritty advice as well as general strategies to map out a career as a nonfiction writer. We'll discuss how to see beyond the one memoir or book idea and how to you turn yourself into a lean, mean, versatile, nonfiction writing machine, capable of churning out essays, op-eds, feature stories, blogs, book proposals and marketable book ideas, all skills that will serve you well in charting a nonfiction writing career.
Shop Talk Lunch Tables
12:45pm-2:00pm on Saturday, May 4th, 2013
These tables are an opportunity to network and/or socialize with invited authors, agents, editors, and presenters. Shop Talk tables are smaller, set further apart from other tables, in a separate part of the Imperial Ballroom, and reserved in advance so you’ll know exactly with whom you’ll be sitting. Participants will be asked to rotate chairs once or twice during the course of the lunch to maximize the number of personal connections to be made at the table. To reserve a spot, you must request a first and second choice of table and pay an additional $75 tax-deductible fee as you register for the conference online.
Session 6L: Non-Fiction Idea Clinic
9:45am-11:00am on Sunday, May 5th
Presenter(s): Ethan Gilsdorf (Author); Eve Bridburg (Literary Agent); Amy Gash (Editor); Joanne Wyckoff (Literary Agent); Hannah Elnan (Editor)
Important: Please read this description carefully before signing up, and bring all necessary materials to the session if you wish to share your non-fiction book idea.
In this session, the moderator (an established writer) will offer a brief preamble of the art of the non-fiction idea. Then, you will get two minutes to share your own idea for a non-fiction book for the audience, the moderator, and a panel of experts. The experts are agents and/or editors with years of experience working with non-fiction writers to turn their book proposals into reality. After you read your idea (preferably from a prepared text), the agents and editors will ask you follow-up questions and troubleshoot your idea. You will discuss issues of platform, expertise, the viability of the idea itself, and other elements of the non-fiction market. Please note that presenters will be chosen at random from names submitted in a hat at the start of the session. (Unfortunately, given the volume of submissions, we can not guarantee that your name will be called). This is a fun event that aims to be respectful of your idea and illuminate the process a writer goes through when she is developing an idea with an agent and/or editor. The point is not to get through as many writers as possible, but to thoughtfully evaluate your ideas and offer concrete suggestions from which all could benefit. Though most people will be reading ideas for full-length books, you may also read an idea for a feature story or article to assess its viability with the panel of experts.
Sun, June 16th, 2pm
Bestseller's Cafe, Medford Square, Medford Mass.
Happy Father's Day! I'll be reading and doing a book signing with Lizzie Stark, author of Leaving Mundania: Inside the Transformative World of Live Action Role-Playing Games, and Peter Bebergal, author of Too Much To Dream: A Psychedelic American Boyhood. More info
Are you a teen who likes to write stories about aliens, blogs, flash fiction, or poems? Are you interested in becoming a novelist, short story writer or poet?
Somerville Public Library's Teen Creative Writing Program will offer teens writing exercises to flex their writing muscles in a fun, low-pressure, supportive environment.
February 21, 2013--For Immediate Release
For more information, contact Marita Coombs, Somerville Public Library,
617-623-5000 x 2942, mcoombs@minlib.net
More info here: http://www.somervillepubliclibrary.org/blog/?p=1563
"Teens have something important to say":
Free Teen Creative Writing Program at Somerville Public Library
Are you a teen who likes to write stories about aliens, blogs, flash fiction, or poems? Are you interested in becoming a novelist, short story writer or poet?
Somerville Public Library's Teen Creative Writing Program will offer teens writing exercises to flex their writing muscles in a fun, low-pressure, supportive environment.
The Somerville Public Library is pleased to announce the start of a free Teen Creative Writing Program, designed for any teen aged 13-17. The program will be offered once per month on Sundays, beginning Sunday, March 24, from 1pm to 4pm. Seven three-hour, stand-alone sessions will be offered.
The sessions will be run by Somerville writers Ethan Gilsdorf and Becky Tuch, who will lead writing exercises in a variety of genres, from fantasy fiction to lyric poetry.
No previous writing experience is needed. Students are encouraged to come as they are and need not attend all seven sessions. Materials and lunch will be provided.
Advance sign-up is requested. To register, please contact Marita Coombs, Somerville Public Library, 617-623-5000 x 2942, mcoombs@minlib.net. Additional program dates are Sunday, April 14, Sunday May 19, and Sunday, June 9. The final three session dates will be announced at a future time.
More info here: http://www.somervillepubliclibrary.org/blog/?p=1563
"We'll provide unexpected writing prompts to get teens to generate as much new work in as short a time as possible," said Gilsdorf, an essayist, journalist and author of the book "Fantasy Freaks and Gaming Geeks." "Teens have something important to say."
Both Gilsdorf and Tuch are published writers, and teach at Grub Street Writers, Boston's independent creative writing center. Both have extensive experience teaching teens creative writing.
"Nothing inspires me more than my students, at all ages and all stages of their writing careers," said Becky Tuch, a fiction writer whose work has appeared in numerous literary magazines and has taught fiction to kids, teens, and adults throughout Boston. "As a Somerville resident myself, I can't wait to teach and learn from the young writers in the area."
The Teen Creative Writing Program is funded by the Somerville Arts Council, a local agency supported by the Mass Cultural Council, as well as the Friends of the Library.
More information about the instructors:
Becky Tuch has received literature fellowships from The MacDowell Colony and The Somerville Arts Council, awards from Briar Cliff Review, Byline Magazine, and The Tennessee Writers Alliance, and her fiction has been short-listed for a Pushcart Prize and Glimmer Train's Very Short Fiction Award. Other stories and essays have appeared in Virginia Quarterly Review, Hobart, Quarter After Eight, and elsewhere. She is the founding editor of The Review Review, a website which has twice been listed by Writer's Digest as "Best of the Best" among 101 Best Websites for Writers. She is also one of the founders of the writing and publishing blog, Beyond the Margins.
Ethan Gilsdorf is a journalist, memoirist, critic, poet, teacher and geek. He wrote the award-winning travel memoir investigation Fantasy Freaks and Gaming Geeks: An Epic Quest for Reality Among Role Players, Online Gamers, and Other Dwellers of Imaginary Realms. Based in Somerville, Massachusetts, he publishes travel, arts, and pop culture stories, essays and reviews regularly in the New York Times, Boston Globe, Salon.com, wired.com, PsychologyToday.com, and WBUR's Cognescenti blog. He is a book and film critic for the Boston Globe and is the film columnist for Art New England. An award-winning poet, he has published poems in Poetry, The Southern Review, and The North American Review, and several anthologies. He is co-founder of Grub Street's Young Adult Writers Program (YAWP) and teaches creative writing workshops at Grub Street, where he also serves on the Board of Directors.
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