At Tabletop Scotland, Adam of Blackwell Games, Brian Tyrell of Stout Stoat Press, author of the “Pict-ish” Carved in Stone, Pablo Clark of The Old King’s Crown and Chaosium’s Lynne Hardy and Associate Editor of Call of Cthulhu and Rivers of London champion talked about folklore in fantasy RPGs.
The panel opened with the suggestion and agreement that folklore has often been used as a teaching tool. Pablo eloquently argued that folklore helps people make sense of things they don’t understand. That argument could extend to persistent conspiracy theories today. Brian notes the connection from folklore to tropes, both harmful and positive, while Lynne pointed out how generations can put their own twist on folklore and make it their own.
In fact, Adam used examples of how folklore can even turn about through that evolution, citing examples of how vampires have gone from warning to a sex symbol and even how the Mothman legend of West Virginia has done the same. Sexy Mothman, who knew?
While the panel discussed that RPG designers should leave room for players of their games to interpret folklore references, explore them and make their own, I was left wondering whether folklore is over, under or inappropriately used in RPGs.
Over used folklore in fantasy RPGs
Why are Mimics always chests in D&D? I could list plenty of unoriginal ideas and cliches created from folklore imports into high fantasy RPGs.
The more obscure ones are more interesting. Werewolves, for example, are often the default (only) shapeshifters and fairies part of Seelie or Unseelie courts. Druids are connected to nature, drawing magic from there, and somehow, stone circles are roped in. Trolls lean into Norse myth, although perhaps generated as variants of Tolkien’s initial import.
Banshees almost always wail, like Irish spirits, and seldom sing wondrously like the Scottish ones. Hags are a negative Witch trope, dehumanised to the point of actually listing in popular RPGs as a monstrous race.
Other games feature Wendigo as a generic horror monster. For some indigenous communities alive and practising today, the Wendigo is not just a story but a real spiritual entity. Using it as a generic monster in a game can be seen as disrespectful to their beliefs and traditions.
Indeed, some tropes are both common and loaded with hotly debated concerns – for example, elves are often blond, and Aryan-like peoples are frequently cast in the ‘superior man’ role. At the same time, orcs are tribal, rural and subhuman.
At Tabletop Scotland, Lynne Hardy had a good take on this with the troublesome H.P. Lovecraft and argues how the Mythos has become a shared universe, how the community evolved and controls that now, giving us a familiar set of expectations that in some instances would have Lovecraft spinning in his grave. Hardy aims for that to continue until the spinning corpse solves the energy crisis.
Perhaps now, whether or not elves and orcs had origins in an author’s interpretation of humankind’s biology and history matters less because the overuse has also watered down that connection in people’s minds to a level where it no longer resonates.
Shortcuts, right or wrong, are a factor, too. It’s certainly helpful to mention a Medusa (originally just one woman) or a Minotaur (originally just one man) so that players know exactly what you mean.
Under used folklore in fantasy RPGs
Brian Tyrrel was a strong advocate for A Thousand Thousand Islands. The setting was the work of a collective of artists and designers from Southeast Asia who drew on their overlapping cultures and lived stories. Sadly, that group has now disbanded, and the game is unavailable as a new product. It highlights how hard and rare it is to get non-Western folklore sometimes.
The panel didn’t discuss folklore that rarely appears in fantasy RPGs, but here are a few suggestions. I’m sticking with monsters because that’s what I’ve researched in the past.
Adze: A vampiric creature from Ewe folklore, often appearing as a firefly, that drains the life essence of its victims. Its subtle nature and connection to the night could create an eerie and suspenseful encounter.
Inkanyamba: A colossal serpent or dragon-like creature from Zulu mythology, associated with storms and floods. Its immense power and connection to natural forces could create an epic and challenging boss battle.
Popobawa: A shapeshifting bat-like creature from Zanzibar, known for its mischievous and sometimes malevolent pranks. It could be a tricky and unpredictable foe, challenging players with illusions and trickery.
Nian: A fearsome beast from Chinese mythology, said to appear on New Year’s Eve to devour livestock and sometimes people. It could be a formidable and symbolic adversary, representing the new year’s challenges.
Jorōgumo: A Japanese spider spirit that can transform into a beautiful woman to lure its victims. It could be a seductive and dangerous antagonist, testing players’ judgment and courage.
Penanggalan: A Southeast Asian creature whose head and entrails detach from its body at night to fly in search of prey. Its gruesome appearance and ability to separate its body parts could lead to unsettling and memorable encounters.
Mapinguari: A giant, sloth-like creature from the Amazon rainforest, known for its powerful claws and stench. Its imposing presence and connection to the rainforest could create an exciting and challenging encounter for adventurers.
La Sayona: A vengeful spirit from Venezuelan folklore, often appearing as a beautiful woman who lures unfaithful men to their deaths. She could be a haunting and tragic figure, adding an emotional layer to the game.
Here’s a warning as I’m not an expert on any of these cultures. The Tabletop Scotland panel cited an example where a TTRPG had used a made-up and published to the internet creature that incorrectly purported to have folklore and cultural significance. I may have done the same thing. I’ve desk-researched all these suggestions and cross-referenced only a few sites.
This danger raises the issue of whether folklore should even be used for fantasy RPGs at all.
Inappropriately used folklore in fantasy RPGs
We’ve already given the Wendigo and Wikipedia-only monsters examples of when using folklore, or trying to, goes wrong.
Adam Blackwell had a hot take on this, suggesting that cultural appropriation might not be the watchword for caution and refusal that it often is. Instead, Adam argued, if you research thoroughly with diligence and respect, then you’ve done your bit as a game designer.
The challenge had come from me, with questions saved to end and not much time, so I couldn’t really push back, be that guy, and try and pin Adam down. However, Brian Tyrell wisely pointed out that whether you were making money from something mattered too.
In fact, Brian argues that how common culture often portrays the Picts is quite harmful to the truth. It’s essentially all wrong. The idea of Scotland’s Picts as naked, blue-painted coated warriors that fought off the Romans is wrong. Yes, they fought off the Romans, but the rest is folklore.
The Picks, though, are an ex-culture. They’re gone. They won’t and can’t complain.
Ultimately, the panel concluded that game designers can honour but should not devour folklore.
Conclusions
I suspect folklore and fantasy are closely related to culture and fantasy. The key thing about culture is that it’s living and breathing. The Picts don’t care if a fantasy RPG has blue-painted warriors keeping the imperial troops out of the North. The First Peoples, the Indigenous peoples of America, certainly do care when others make money by misrepresenting them.
Being respectful to folklore is important, and being respectful, I’d argue, to a living culture is paramount.
As a Scot, I’m also in a position of strength. Do I expect “Drow” to be strangely dark-skinned elves in fantasy? Yes. Would I prefer to see their Orcadian folklore inspiration, the Trow, more often? Yes. Can I live without it? Certainly, but then, I don’t see the traditions of Scotland exploited by people beyond our own tourist board.
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