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Fun & play

1 December 2023

8 min read

Table-top philosophy: role playing games and the identities they help construct

A once derided fantasy genre now influences creative media - from The Big Bang Theory to Stranger Things.

Harry Gibbins

Harry Gibbins is a doctoral researcher at the University of Aberdeen. His PhD concerns the intersection between autism and Christian ministry.

Three teenage boys rise up from a table-top game and celebrate a victory.

Playing D&D in Stranger Things.

Picture this: no longer are you sitting at a computer desk or staring at your phone during your commute. Instead, you are an intrepid explorer, a noble warrior, or a cunning thief. You have left behind the mundanity and anxieties of the 'real world'. Now, you are a protagonist in a new story.

Your choices will shape the world around you; your actions will be written into legend and recounted for centuries. But this is not done in isolation. You are together with friends. You work as a team; you bond, laugh, and celebrate each other’s achievements as a unit. You are not alone; you are an adventuring party.

Behind the grey skyline through the condensation-heavy glass of the train window is a world of infinite possibilities. Here, in your mind’s eye, you shape reality. Here, you become the person that, right now, you want to be. There are no limitations beyond what you believe is possible. You are the captain steering the ship into uncharted waters where the aim is to share a good yarn with your friends.

There's a fine line between fantasy as a genre and escapism as a psychology. As we parade myth and legend within our respective cultures and contexts, we find something of ourselves. We read of Frodo Baggins, the underdog who takes on a responsibility of epic proportions, and see qualities we want to inhabit. We hear of Iron Man's sacrifice to save friends and see something of our own relationships. This is not to say we literally aim to overthrow a dark lord or defeat a purple space utilitarian, but we see the humanity reflected within relatable moments through the fiction. The story we read or watch somewhat touches the cadence of the 'real world' no matter how fantastical.

In an age where this cadence and its story-focused elements are twisted to become more marketable, where is the authenticity? How do we begin to tell our own stories? Is there a way in which our stories can speak of this cadence of the ‘real world’ without the necessity to satisfy business?

As the game creates a safe environment in which players can enact hypothetical scenarios. In other words, to fantasise about who they are and the world around them. Consequently, there is an opportunity to ask again: "What story do I want to tell".

Enter stage left: Table-top Role-playing Games (TTRPGs). The picture painted in the opening paragraph is steeped in my experience of commuting. Although not a universal experience, I found commuting sucked all life from my world. If there is a hell, perhaps it is a continuous never-ending loop of the Northern Line. I found myself recounting the previous evening, time spent with friends playing the fantasy TTRPG Dungeons and Dragons, reflecting on what I had learnt from such an experience. As a theologian, I would ask if there was something of myself that I was seeing in the stories told. When I returned next time, where did I want this story to take me next? What story do I want to tell?

Dungeons and Dragons, or D&D, has been propelled into the cultural zeitgeist in the last decade. Featured in popular television shows such as The Big Bang Theory and Stranger Things, D&D has emerged out of nerd basements and into the mainstream. No longer is D&D seen as something exclusively for 'mega-nerds'. It now stands shoulder-to-shoulder with other culture-shaping fictions, such as The Lord of the Rings and the Marvel Cinematic Universe.

In 2014, the fifth edition of D&D and aimed to streamline and tighten up the accessibility of the game whilst promoting creative and complex storytelling as a valued method of playing. In its earliest editions, D&D didn't care for character backstory or where the dungeon came from. A player’s aim was simply to kill some baddies and find treasure. However, today’s D&D aims for more nuance. Psychologists Sören Henrich and Rachel Worthington highlight that this has allowed D&D to have a genuine therapeutic application. As the game creates a safe environment in which players can enact hypothetical scenarios. In other words, to fantasise about who they are and the world around them. Consequently, there is an opportunity to ask again: "What story do I want to tell".

Perhaps the most obvious example of this philosophy in action is the role D&D takes in Netflix's Stranger Things. The show is not explicitly about D&D. Rather, the game is used as an illustrative tool, showing the actions of the characters, as well as providing a metaphor for the mystery they uncover and the journey they go on.

The show opens with four young boys playing a game of D&D in their parents' basement. The players discover a Demogorgon, a classic D&D monster, and they must work together to defeat it. However, their immaturity gets the better of them and they fail. In D&D, player characters take on different roles; it is only by working together that their various weakness can be supported, and the villain defeated. This is the lesson that the boys learn: teamwork. It is only when they learn to support one another that are they able to defeat the 'real-life' Demogorgon they discover in their small American suburb.

Nine belonged with his friends, he was not simply 'put up with'. His style of encountering problems and solving puzzles strengthens the whole team. Nine was not a burden.

In Stranger Things we find D&D acting not just as a thematic motif, but also as illustrative of a journey the young people go on. So, what are the philosophical mechanics behind this? How is D&D as a phenomenon transformative and illustrative in our present reality? Philosophers describe this sort of thinking as 'Phenomenology'. In simplistic terms, it concerns the lived experience of a phenomenon, seeking to uncover its essence. What actually makes that 'thing' you experience a 'thing' at all? Are there attributes that are common across all experiences of that phenomenon? Or, more likely, is there a rich and informative complexity to its innermost workings?

Whilst I am far from describing what the essence of D&D as a phenomenon is, I can speak of my own lived experience in the hope that it demonstrates how D&D is the transformative tool Stranger Things positions it to be. I hope that this not only illustrates my argument, even if it is as simple as “D&D is good”, but also provides a window in which my own story can be understood.

I have written elsewhere about the role D&D has played in my theological evaluation of complex theoretical ideas. It has ultimately shaped the way I research and encounter complex questions. However, I want to highlight something different. In my other work, I spoke of a character I played for three years, a Tabaxi Paladin named 'Nine'. Nine was somewhat of an experiment. After I was diagnosed as autistic, I found great difficulty in knowing who I was. Are there parts of me that are not autistic? Am I being autistic subconsciously? Or am I actively choosing to act in a way that a clinical professional has decided is autistic? Who am I? Nine was to be a method of exploring such questions. I wrote Nine as autistic in a way that was a somewhat exaggerated version of myself. Yet, there was a distinct difference. Nine was the 'me' who had come to terms with being autistic; Nine knew who he was and was proud of it; Nine just simply was Nine.

This was obviously not a perfect solution; the world of D&D does not have the clinical vocabulary to describe autism. In fact, whether autism exists in a fantasy world is kind of a fuzzy question. Was I inventing autism within the world by playing a character in such a way? Or is there ever a way I could not play a character as autistic due to being autistic myself? What emerged through Nine's interactions was something that, on a very personal level, I found deeply satisfying, illuminative, and transformative.

Nine developed, some might say unsurprisingly, relationships among the other player characters. He lived as I do, as a social creature in a social world. Whilst his interactions were sometimes unusual, perhaps in much the same way as my own, his friend still came to love him. Following the framework of theologian John Swinton, Nine was more than just included; Nine belonged to this group simply because in his absence he would be missed. Once I had realised this I was taken somewhat by surprise. The differences between Nine and the other characters still mattered, but they were not barriers. Nine was valued, not someone who just was difficult to approach, off in his own little world, or obsessed and hyper-fixated. Rather, he was one part of the whole. Nine belonged with his friends, he was not simply 'put up with'. His style of encountering problems and solving puzzles strengthens the whole team. Nine was not a burden.

D&D highlights the strength storytelling, narrative building, and art in all its forms, have for those who are coming to terms with their identity.

This was where the transformation occurred. I realised that I was the Nine who did not have this understanding. Harry erroneously believed that he did not belong when really he always did. Harry was embarrassed about his challenges with social engagement, his obliviousness to the world around him, and his inability to get through a conversation without talking about Doctor Who. Yet, here I was, among friends who cherished and valued me. Here, I truly did belong, and it was Nine who taught me that.

I hope that this illustrates just a snippet of the potential this game, and games like it, have to offer. I believe there is much more to be said about the philosophical truth spoken through D&D in much the same way we talk about other forms of art or narrative. This is just a portion of what is possible, and I hope I learn much more about myself as I continue along these adventures with my friends. I would encourage anyone reading to give D&D a go. Although, I am aware I have had a very specific and positive experience that is not universal among players of the game. Perhaps the focus should not be that D&D is the best tool for therapeutic action. Rather, D&D highlights the strength storytelling, narrative building, and art in all its forms, have for those who are coming to terms with their identity. Whilst we may be tempted to describe ourselves simply, as I was when I was diagnosed as autistic, D&D reminds us that the stories our lives tell will always demonstrate more depth. Our lives our simply stories that we are constantly engaged with and that we are always telling.

Essay

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Economics

Sustainability

18 November 2024

8 min read

Raiding the fields, lessons from history

A tax raid on farmers is raising more trouble than revenue.

Theodore Brun

Theodore is author of the historical fiction series The Wanderer Chronicles. He previously studied Dark Age archaeology at Cambridge, and afterwards worked in international law.

A soot stained burnt-out harvester sits in a recently harvested field.

A burnt-out harvester, Lonesome Farm, Oxfordshire.

Nick Jones.

“Better red than expert.”

That was one of the slogans touted through the national propaganda channels in the early days of the People’s Republic of China shortly after Chairman Mao came to power. In other words, professionalism should be subordinated to politics.

It seems a pretty accurate description of the current UK government’s own attitude to farming in the light of their controversial inheritance tax raid on the nation’s farmers. Prior to last month’s budget, Agricultural Property Relief meant that farmers could expect to hand all qualifying agricultural assets on to the next generation without lobbing their children the simultaneous hospital pass of a whopping great tax bill. It was this inheritance tax relief and this alone that allowed every typical asset-rich/cash-poor farming business to survive as a going concern from one generation to the next.

Chancellor Rachel Reeves, perhaps applying her “better red than expert” thinking, identified this as a tax loophole that needed to be closed. She says it is costing taxpayers £1billion a year - which, when you think about it, is like a man who’s just cornered you in a dark alley saying you are costing him and his mates £100 by keeping those two shiny fifty pound notes in your own pocket.

Farmers will now be expected to cough up 20 per cent of the value of their agricultural property into the national coffers with every passing generation. It doesn’t take an expert mathematician to realise such an erosion of capital needed to pay these bills will render many farming businesses untenable, particularly given that farming relies heavily on economies of scale. This represents a torpedo strike on the farming industry which will sink a very large number of people, not just so-called Barley Barons.

No matter that the uptick of increased annual tax take from this measure will barely be enough to cover a day and a half of the NHS spend. Nor that while the government claims that, with a threshold of £1million before inheritance tax applies, 72 per cent of “farms” will not be affected (their definition including small parcels of land, and so-called toy farms which make no pretence to be food-producing businesses), the National Farmers Union says the true figure is closer to the inverse of that.

John McTernan, a former aide to Tony Blair and supporter of current PM Keir Starmer, didn’t help cool tempers with his revealing comment that farming was an industry which the UK could do without. “Labour can do to farmers what Margaret Thatcher did to the miners,” he said. Starmer was quick to distance himself from these incendiary remarks.

But as farmers would no doubt appreciate, what looks and smells like horse manure, probably is horse manure. And these measures are what they look like: an outright attack on the farming community, and more widely the ancillary rural economy which farming supports. The average farmer would be forgiven for thinking this feels far more ideological than fiscal in its aims.

That is why this week will see the largest rural protest in Westminster since the Countryside Alliance march in 2002. Farmers will converge on the Houses of Parliament to ask the government to reconsider such a direct attack on the food security of this country.

Given this fraught situation, are there any lessons to be learned from the past?

You have to wonder whether arguably the most left-wing government this country has ever seen is taking ideological plays out of the history book. Such tax raids on farmers' fields are nothing new. From ancient biblical times even to the last one hundred years, the consequences effect much more than the economy, they reach even to the soul of nations.

If farmers as a community stand in the way, what is the objective that lies beyond them, which the new utopians hope to attain?

In 1920s Russia, the Bolsheviks specifically targeted a class of landed smallholders known as the Kulaks.

The Kulaks were relatively prosperous, independent farmers, who faced severe repression during the 1920s and 1930s under Stalin's Soviet government. Originally benefiting from land reforms after the Russian Revolution, they were seen by Stalin as a threat to his goal of collectivizing agriculture. By labelling the Kulaks as "class enemies" of the working class, Stalin launched a campaign to liquidate them as a class around 1929, aimed at confiscating their land and redistributing it to state-owned collective farms.

The Soviet government seized Kulak farms, livestock, and tools, often forcibly relocating families to remote regions or sending them to labour camps where many perished due to harsh conditions. This campaign fuelled widespread suffering, triggering famine, especially in Ukraine, where it contributed to the devastating Holodomor. By the early 1930s, the Kulak class was effectively destroyed, resulting in millions of deaths and lasting trauma across the Soviet countryside.

Or how about China?

During China’s Cultural Revolution (1966–1976), smallholders and farmers faced severe disruption as the government under Mao Zedong sought to enforce collectivization and reshape rural life. Although China had already implemented collectivization during the 1950s, the Cultural Revolution intensified the suppression of individual farming and private land ownership, pushing for even greater alignment with socialist ideology. Farmers were forced into collective communes where land, equipment, and resources were shared, and individual autonomy was abolished.

Many were publicly humiliated, re-educated, or sent to labor camps. In addition, the chaos of the period meant that agricultural expertise was disregarded, as revolutionary fervour prioritized political ideology over practical farming knowledge. The mismanagement of agriculture, paired with forced collectivization, led to poor yields and food shortages, further destabilizing rural areas and causing hardship for millions of farmers and their families.

None of this is very encouraging for farmers in twenty-first century Britain. Especially when one considers how ideologically-driven Keir Starmer truly is, if his contributions to back issues of the magazine “Socialist Alternatives” in the early 1990s are any indication.

But if the socialist goals of the twentieth century were collectivisation and the social engineering of class warfare, what could they be today? If farmers as a community stand in the way, what is the objective that lies beyond them, which the new utopians hope to attain?

Again, it doesn’t take an “expert” to hazard a guess. Ambitious government plans to iron-clad the countryside in solar panels and wind turbine farms in a drive towards net zero will be made considerably easier once the current landowners are forced to flood the market with cheap land in order to service a hefty inheritance tax bill. All to save us from imminent environmental Armageddon.

As they listen to what farmers have to say this week, Keir Starmer and Rachel Reeves might do well to reflect on the fate of Jezebel and her king.

This is a narrative that some can at least imagine. But perhaps that is straying too far into what most would consider conspiracy theory at this point, so let’s back up a little.

All the same, when a wrong of this magnitude is done to a particular group of people - especially one made up of some of the most dependable, uncomplaining, and hard-working members of society, it seems reasonable to ask the question: Cui bono? Who benefits from this wrong?

For the answer to that, we shall have to wait and see how it unfolds.

But in the meantime, it is worth considering a perspective from even deeper in the past. A perspective on the “good” that comes from the ownership and stewardship of the land, especially land seen as a family or tribe or nation’s inheritance. With powerful stories set amid ancient fields the Bible has much to say on the matter.

In a sense the whole of the Old Testament is concerned with this question. God gives Adam and Eve land to steward and cultivate. And then expels them from it as a consequence of their sin. From Abraham until Israel’s exile, the story of God’s chosen people is profoundly linked to a promised land which is first placed in their hands as a blessing and means of sustenance and support - of life itself. An inheritance to be preciously held, stewarded, and passed on from generation to generation. And yet which is taken away again by the hand of God’s judgement when Israel turns away from its Lord and Sustainer.

But consider just one story for a moment: that of the humble farmer Naboth and his little vineyard, described in the first book of Kings. This provides an eerily close analogy to the UK government and its current land grab. It is both powerful and chilling.

One day the state, in the form of King Ahab, decides it would rather like Naboth’s vineyard for itself. Ahab offers Naboth money for it. Naboth refuses, saying, “The Lord forbid I should give you my inheritance.” Ahab - “vexed and sullen” - rages in frustration, until his wife Jezebel concocts a far more cunning scheme to get him that land, involving lies, slander and ultimately murder. There’s a twist in the tail, though. Once Ahab has what he wants, God sends his prophet Elijah to denounce his wrongdoing and warn him of his (rather grisly) coming fate.

For those with half an eye on the unseen as well as the seen in this country, the introduction of this family farm tax at this time may come as no surprise. Many in the church have perceived the “spirit of Jezebel” as ascendant on a number of cultural fronts at this moment in our history.

For Israel, the reign of Jezebel was a dark and uncertain time. And for farmers protesting on Tuesday, they may feel this is no less a dark and uncertain time.

As they listen to what farmers have to say this week, Keir Starmer and Rachel Reeves might do well to reflect on the fate of Jezebel and her king.

And for their part, farmers might reflect on the blessing of the inheritance they have received; and what, like Israel before them, they may have done - or not done - in the eyes of God, to jeopardize their chance to pass it on.

After all, at this point in the story, it’s not too late for either side in these farm wars to turn back.