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In modern fantasy and science fiction, race is a descriptor used to describe the various sapient species and beings that make up the setting. In many tabletop role-playing games and video games, players may choose to be one of these creatures when creating their player character (PC) or encounter them as a non-player character (NPC). "People" is to be taken in the broader sense, and may encompass ethnic groups, species, nationality or social groups.

Overview

In this fantasy world, the word “race” means the same as and replaces “species”.

— Earthdawn (1993) p.38

It can be a fictitious species from a fictional universe, or a real people, especially in case of a history-based universe (even if it has a given level of fantasy), e.g. Call of Cthulhu (1981), Boot Hill (1975) or Bushido (1979). The term “race” is even broader than the usual meaning, as it also includes extraterrestrial beings; vegetal beings, e.g. the Aldryami in Glorantha (1978), or the Sylvanians in Fantasy Craft (2010); and robots, e.g. Artificials in Fantasy Craft or the Forgeborn/Dwarf-forged optional race in 13th Age (2013).

This notion began in fantasy or science-fiction works: novels, comics, video games (especially role-playing video game), board games, LARP, etc. The transmediality is obvious in case of consistent universes, e.g. the Middle Earth or the Star Wars universe.

Not all works use the term "race": in Tunnels and Trolls 7th ed. (2005), Ken St. Andre uses the term "kinship"; the term Spezies (species) is used in Das Schwarze Auge, and éthnie (ethnicity) is used in EW-System 2.0.

In the heroic fantasy games, in addition to humans, races are often humanoid and fey creatures of myth; such as elves, dwarves, orcs, goblins, immaterial being (spirits, ghosts), etc. The main influence is the work of J. R. R. Tolkien. Some fantasy or steampunk games also involve "artificial creatures" (alchemical homunculus, golems and mechanical creatures).

In science-fiction games, especially space opera and cyberpunk, the races are humans, extraterrestrials, mutants, cyborgs, transhumans, robots, and artificial intelligences (AI).

In some universes, it is possible to have hybrid characters which inherit traits from both parents. For example, in Dungeons & Dragons, it is possible to play a half-elf (hybrid of a human and an elf) or a half-orc (hybrid of a human and an orc).

Game design

The book Fundamentals of Game Design (2013) states: "in RPGs, race refers to groups of real and fantasy humanoids such as humans, dwarves, elves, giants, and so on. A better term would be species, but race is the term established by convention". According to Coralie David, in role-playing games (as well as in youth literature), the characters are defined by "bricks"; they are in fact "syntagms of fictional paradigms". This makes the immersion of the player (or reader) easier, as anyone can build his own character in a way that is consistent with the fictional universe.

the authors of Dungeons & Dragons draw paradigms, the gears and bricks that compose them. It is possible to play Hobbits, Elves, Humans will use bricks to build their own characters. The characters will be in fact structured like a set of gears that are both fictional and ludic.

— Coralie David, Role-playing game and fictional writing

Thus, the race is one of these bricks, as it provides a set of predefined parameters (diegetic paradigms) and of characteristics—in the broad sense: physical characteristics, cultural background, moral values and social relationships. The fictional world is built as a consistent system made of “exposed” bricks that can be easily identified, and this promotes creativity and sharing; it also promotes the imaginary creation by the player (or reader).

The race itself can be made of “sub-bricks” the player can choose, e.g. in After the Bomb 2nd ed. (2001), the player can build his own race by a combination of a basic animal race and mutations.

Function, mimesis and roleplay

As aforementioned, a character is mainly defined by two things:

• what he can do in the fictional world, his “functionalities”;
• who he is as a fictional person: his social status, his look, his habits, his past, etc. which is called here his “mimetic part”

The functionalities are often a set capabilities and impairments which the game designer try to keep balanced. In some games, the choice of a given race has a cost in generation points, to reflect the advantages a race can give. In race-driven campaigns, the functionalities can play a central role.

Some game designers consider that creating a rule to induce a role-playing choice is suitable:

In role-playing games, there is a balance between functionalism and mimesis, that is to say that at the beginning, a character is functional: he knows 1. How to fight or 2. How to chat up people What can I do at that game table? How can I interact with the world that surrounds me? All this is transcribed by a list of characteristics or attributes Furthermore, given mimetic wrapper: who I am, what my name is what my past life is There is a balance; the balance is found, in my opinion, when the mimetic part echoes to the functional part. For example in Vampire, you have main traits of personality, called “Nature”, and when you play according to your Nature, you earn points of Willpower that allows you to make better dice rolls.

— Isabelle Périer, "Role-playing games: another form of youth literature?"

History

The first role-playing game, “original” Dungeons & Dragons (1974), stems from the wargame Chainmail (1971). Chainmail was especially designed to include fantasy races. The race is therefore a core notion present at the very beginning of the role-playing games.

The races in Dungeons & Dragons are strongly inspired by the fantasy literature of the 1930s-1960s. It thus includes the Tolkienian archetypes, but the game makes a difference between:

• the races that can be played as player characters, the so-called “playable races”: humans, elves, dwarves, gnomes, halflings (initially called hobbits), half-elves and half-orcs;
• “monsters”, which can only be non-player characters, and which are by name opposed to the player characters: orcs, goblins, kobolds, trolls, ogres, gnolls, etc.

In the first science-fiction role-playing game, Metamorphosis Alpha (1976), it is possible to play humans and mutated creatures.

In 1975, Tunnels & Trolls allows for the first time to play “monsters”, i.e. a player character can be any race, including possibly a “monster”, but the races are not described in this game; in the 1979 solo adventure Goblin Lake, the player character is a goblin. The 1983 game Palladium Fantasy Role-Playing Game also allows "monsters" as PCs (e.g. goblin or a kobold), and these races are described in the same way as the “non-monster” races.

The first fantasy game that breaks with the D&D conventions is RuneQuest: the “elves” (Aldryami) are vegetal beings, it is possible to play a duck [sic], but the game also takes into account the cult (pantheon and system of beliefs such as animism) and the cultural background of the character's people: primitive, barbarian, nomadic or civilized. As opposed to Dungeons & Dragons, the character is not totally defined by race and class, but by a list of skills (what the character can do); the cultural background defines the basic value of the skills, and the cult the access to magic. The race is thus less important in a functional point of view (how the character can interact with the fictional world), but more important in a mimetic point of view (roleplay). The “basic bricks” of the character are more flexible (see § The race, a brick of the character below).

Generic races

The “original” Dungeons & Dragons (OD&D), and the first Advanced Dungeons & Dragons manuals (AD&D), do not describe any particular universe. The universe is only described through the game rules (magic, gods, fantasy races), and it outlines a generic universe inspired by popular fantasy novels of the 1930s-1960s. The race is essentially a list of capabilities—functional part—and a rather thin description that is often limited to the visual appearance, with an illustration, and some elements of moeurs—mimetic part (see § Function, mimesis and roleplay below). The way the race takes place in the fictional universe is described in optional books, the “campaign settings” or “world books”. The race is thus mainly a “functional tool”, a set of functions that the player can implement in the adventure: the elves can see in the dark, and in OD&D hobbits can only be fighting men. The Player's Handbook also provide a table of “Racial preferences” and racial restrictions to the alignment, i.e. some races are intended to behave in a given moral way.

TSR Hobbies assumed anyone buying D&D knew what Hobbits are, there was no real description and the only reason they seemed to have been included was to reinforce the game's connection with Tolkien's stories.

— Ronald Mark Pehr, A Change of Hobbit

The player thus has to pick from his own knowledge of other works, particularly in what is now called the “geek culture”; according to Isabelle Périer, PhD in comparative literature:

is a concision tool—it allows to quickly get into the middle of the action—and an opening towards variations—you can then play with the stereotypes.

— Isabelle Périer, Role-playing games: another form of youth literature?

Race-driven campaign

In 1989, Jean-Luc Bizien [fr] creates Hurlements [fr] (French for “howls”) in which players characters are “errants”, “wanderers”, i.e. were-animals that form a caravan. The race of were-animals, and their relationship with the humans, become the main subject of the adventures, and not only a functional element or a flavour to the universe. Other games are then published, where the race of the player characters is itself the main topic of the adventures, especially Vampire: The Masquerade (1991) and Nephilim (1992)

Depiction of real peoples

As aforementioned, some campaign settings are based on real world events, and thus depict real peoples. The way the people are described can be problematic and may sometimes be considered as offending. For example, French articles criticised the way the Soviets were depicted in The Price of Freedom (1986).

The system of race in Dungeons & Dragons has been thrust further into the spotlight in recent years. Similar to the ways certain nationalities were depicted, some consider the races in Dungeons & Dragons particularly problematic, as it is believed that they stem from stereotypes surrounding real-world races. In July 2020, Wizards of the Coast released a statement – titled Diversity and Dungeons & Dragons – where they address these issues, saying "some of the peoples in the game—orcs and drow being two of the prime examples—have been characterized as monstrous and evil, using descriptions that are painfully reminiscent of how real-world ethnic groups have been and continue to be denigrated". In December 2022, Wizards of the Coast announced that the word "race" would no longer be used to refer to a character's biological traits and instead would be replaced with the word "species"; this change went into effect with the December One D&D playtest release. The press release stated that "'race' is a problematic term that has had prejudiced links between real world people and the fantasy peoples of D&D worlds" and that terminology change was made with the consultation of "multiple outside cultural consultants".

See also

• Fantasy race
• Character class

Notes

1. Template:Lang-fr

References

1. e.g. in Savage Worlds' Pirates of the Spanish Main or Weird War II
2. in Rolemaster Oriental Companion, “Common man” and “Noble” are two distinct human races, although Nobles are said to have some divine or elfic ancestors
3. Weisman, Jordan; Gorden, Greg; Kubasik, Christopher; et al. (1993). Earthdawn. Fasa Corp. ISBN 1-55560-213-4.
4. Petersen, Sandy (1981). Call of Cthulhu. Chaosium.
5. Blume, Brian; Gygax, Gary (1975). Boothill. TSR, Inc.
6. Charrette, Bob; Hume, Paul R. (1979). Bushido. Tyr Games.
7. ^ Stafford, Greg (1978). RuneQuest. Chaosium.
8. Andersen, Jon; Flagg, Alexander; Gearin, Scott; Kapera, Patrick; Newman, Mark (2010). Fantasy Craft. Crafty Games. ISBN 978-0-9826843-0-6.
9. Heinsoo, Rob; Tweet, Jonathan (2013). 13th Age. Pelgrane Press. ISBN 978-1-909834-04-0.
10. St. Andre, Ken (2005). Tunnels & Trolls (7th ed.). Fiery Dragon Productions. ISBN 1-894693-67-1.
11. Junge, Tobias Rafael; Spohr, Alex; Ullrich, Jens; Demirtel, Eevie; Mönkemeyer, Marie; Richter, Daniel Simon (2014). Beta Regelwerk für das Schwarze Auge, 5. Edition. Das Schwarze Auge (in German). Ulisses Spiele. ISBN 978-3-95752-071-5.
12. Davoust, Lionel; Grussi, Christian; Merkling, Sidney; Cuidet, Arnaud (2004). EW-System Core Rules 2.0 (PDF) (in French). Extraordinary Worlds Studio.
13. Adams, Ernest (2010). Fundamentals of Game Design (2nd ed.). New Riders. p. 465. ISBN 978-0-321-64337-7. OCLC 460601644. Archived from the original on September 4, 2022. Retrieved August 19, 2020.
14. PhD in comparative literature and civilizations at Paris 13 University, see the David, Coralie (11 April 2015). notice. These.fr (Agence bibliographique de l'enseignement supérieur) (These de doctorat) (in French).
15. ^ David, Coralie (2014-09-24). "Jeux de rôle et écriture fictionnelle" [Role-playing game and fictional writing]. La littérature de jeunesse dans le jeu des cultures matérielles et médiatiques : circulations, adaptations, mutations (in French). Paris 13 University. pp. section I Univers systématisé (5:04–5:29, 7:21–7:44) and section II Structuration paradigmatique des univers fictionnels dans les œuvres de jeunesse (7:44–8:53, 10:45–13:11). Template:Lang-fr
16. the process is called the “systematization of the fictional world” (Template:Lang-fr) by Coralie David, op. cit.
17. Wujcik, Erick (2001). After the Bomb. Palladium Books. ISBN 978-0-916211-15-8.
18. Périer, Isabelle (2014-09-24). "Le jeu de rôle : une autre forme de littérature de jeunesse ?" [Role-playing games: another form of youth literature?]. La littérature de jeunesse dans le jeu des cultures matérielles et médiatiques : circulations, adaptations, mutations (in French). Paris 13 University. pp. section III-2 Le personnage (20:42–22:10). Template:Lang-fr
19. Gary Gygax and Dave Arneson, TSR, Inc., 1974
20. Gary Gygax and Jeff Perren, Guidon Game, 1971
21. ^ The authors of Dungeons & Dragons give references to Conan the Barbarian (Robert E. Howard, 1932–1936), the Sword series (Fritz Leiber, 1939–1988), the Dying Earth series (Jack Vance, 1950–1984), The Lord of the Rings (J.R.R. Tolkien, 1954–1955), and the Elric of Melniboné series (Michael Moorcock, 1961–2005)
22. James M. Ward, TSR, Inc., 1976
23. St. Andre, Ken (1975). Tunnels & Trolls. Flying Buffalo.
24. St. Andre, Ken (1979). Goblin Lake. Pocket Adventures. Flying Buffalo.
25. Siembieda, Kevin; Wujcik, Erick (1983). Palladium Fantasy Role-Playing Game. Palladium Books. ISBN 0-916211-04-5.
26. ^ Pehr, Ronald Mark (February 1981). "Better Role-Playing: A Change of Hobbit". Different Worlds. No. 11. Albany, CA: Chaosium. pp. 6–8.
27. Gygax, Gary (1978). Player's Handbook. Advanced Dungeons & Dragons. TSR, Inc. ISBN 0-935696-01-6.
28. "Périer Isabelle (docteure en littérature comparée)". LPCM (in French).
29. Périer, Isabelle (2014-09-24). "Le jeu de rôle : une autre forme de littérature de jeunesse ?" [Role-playing games: another form of youth literature?]. La littérature de jeunesse dans le jeu des cultures matérielles et médiatiques : circulations, adaptations, mutations (in French). Paris 13 University. pp. section III-3 Intertextualité et stéréotypie (25:22–32:10). est un outil de concision — ça permet d'aller au cœur de l'action très vite —, et une ouverture vers la variation — après on peut jouer avec les stéréotypes.
30. Davis, Graeme; Dowd, Thomas A.; Rein•Hagen, Mark; Stevens, Lisa; Wieck, Stewart (1991). Vampire: The Masquerade. White Wolf. ISBN 0-9627790-6-7.
31. Lamidey, Fabrice; Weil, Frédéric (1992). Néphilim (1st ed.). Multisim. ISBN 2-909934-00-4.
32. Rosenthal, Pierre; Vitale, Duccio (April 1987). "Price of Freedom". Casus Belli (in French). Excelsior. p. 28.
33. "Vitrine : Price of Freedom". Chroniques d'outre-monde (in French). No. 7. Les Tentacules associées. May 1987. pp. 7–8. ISSN 0764-8197.
34. Costikyan, Greg (1986). The Price of Freedom. WEG. ISBN 0-87431-053-9.
35. Limbong, Andrew (June 29, 2020). "'Dungeons & Dragons' Tries To Banish Racist Stereotypes". NPR. Archived from the original on July 30, 2020. Retrieved 2020-07-25.
36. Parrish, Ash (June 23, 2020). "Wizards Of The Coast Will Finally Address Racist Stereotypes In Dungeons And Dragons". Kotaku. Archived from the original on August 6, 2020. Retrieved 2020-07-26.
37. Modak, Sebastian (July 24, 2020). "Amid a pandemic and a racial reckoning, 'D&D' finds itself at an inflection point". The Washington Post. Archived from the original on July 30, 2020. Retrieved 2020-07-25.
38. "Diversity and Dungeons & Dragons | Dungeons & Dragons". dnd.wizards.com. Retrieved 2021-02-07.
39. Good, Owen S. (2022-12-01). "D&D rule change replaces 'race' with 'species'". Polygon. Retrieved 2022-12-01.
40. "Dungeons & Dragons Replaces Race in Rules, Will Use Species Instead". ComicBook.com. December 1, 2022. Retrieved 2022-12-01.
41. Abbott, Benjamin (December 1, 2022). "D&D won't be using 'race' anymore thanks to it being "a problematic term"". Gamesradar+. Retrieved 2022-12-01.
42. "Moving On From 'Race' in One D&D". D&D Beyond (Press release). December 1, 2022. Archived from the original on December 1, 2022. Retrieved December 1, 2022.

• Fictional humanoids
• Fantasy creatures
• Role-playing game terminology