Black Gate

“Imagine if Frodo had died during his journey and the One Ring had returned to Sauron.”

That was how it was described to me the first time I picked up the Midnight Campaign Setting book, once again from Fantasy Flight Games. A very apt description, and if it doesn’t get your d20-shaped heart pumping, nothing will.

Midnight is a world where an evil god has triumphed in his war for power, and the characters are fighting a seemingly hopeless battle against the forces of darkness. The races of Eredane, the main continent, are besieged on all sides by orcs, demons and the Night Kings.

In flavor and description, Midnight borrows heavily from Tolkien’s Middle-Earth. But where his story is that of the light of hope sparking in the midst of descending darkness, Midnight is one of the fading glimmer of hope in the midst of near-total darkness. The rulebook does quite a good job of creating this sense of doom, and strife.

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D&D in space. It’s an idea that has been around for a long while in the form of TSR/WotC’s Spelljammer.

However, a few years ago, Fantasy Flight Games produced an OGL supplement for a new kind of science-fantasy game. Thus was born the Dragonstar universe.

In a nutshell, the known galaxy, which theoretically includes any and all fantasy game worlds, is ruled by a council of dragons. These are the standard dragons of D&D fame, the Chromatic and Metallic breeds, and they follow the same alignment guidelines. The chromatics are generally evil, and the metallics are generally good.

Each breed takes a turn at ruling the Dragon Empire, alternating between the two factions. At the time the game is set, the Red Dragon Emperor is assuming the throne, and a dark era is descending.

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John O’Neill’s editorial in Black Gate 14 touched on gaming, on wargaming and role-playing, and on the way these things shaped the way friends interact. It hit home for me, because I recognised in my life much the same sort of phenomenon John described in his own.

I didn’t play Nova, the game he and many of his friends played as a sort of long-form creative wargaming campaign. I did play, and in one case referee, long-running role-playing campaigns that gave everybody who took part a special vocabulary, a shared set of touchstones and references that (I think) acquired a particular power from being our own: our own stories, independent from the culture at large, shaped by us and our choices.

I was about seventeen when I met a group of role-playing gamers who’d created their own world for the Marvel Super-Heroes role-playing system. I think the game had been going on for something like eight years at the point I met them, and it’s still going today. (Jeff Grubb has a thoughtful reminiscence on the secret origins of MSH here.)

The world, as such, was not and is not stable; it has been re-invented several times over, as campaigns and storylines begin and end (and, this being a super-hero game, occasionally lead to a reboot of the timeline in the course of play), sometimes incorporating actual comic-book characters and sometimes not, but always using many of the same heroes and villains created by our group of gamers.

The characters were, are, the essence of the game; not their histories, but their concepts, and if you played in that world you could add something to it that would become a part of the ongoing tale.

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