One of the more frequent anecdotes you’ll hear from Dungeons & Dragons podcasters is that any time they switch to a system other than D&D, even for a one-off arc, they immediately experience a large drop in listenership – sometimes up to eighty percent! – only to see most of those listeners come back once they switch back to D&D.
What’s interesting about this is that the greater part of D&D podcast listeners do not play Dungeons & Dragons. They might have a general idea of what the game’s rules look like based on what they’ve been able to passively absorb from listening to the podcast, but they don’t have regular groups, they don’t own the rulebooks or maintain subscriptions to the e-book service, and many of them have never rolled a d20 in their lives.
How, then, do we account for that sudden drop in listenership? Why does which system a tabletop roleplaying podcast is using matter so much if most listeners neither know nor care about the rules?
The answer is, unfortunately, quite simple.
In many ways, advocacy for indie RPGs has never moved past Ron Edwards’ infamous argument that playing Dungeons & Dragons causes actual, physical brain damage. Deep down, a lot of indie RPG advocacy seems to believe there’s something sinister in the structure of D&D that’s responsible for what they regard as its unaccountable popularity. You can see this in everything from the casual assumption that D&D players aren’t “really” having fun (and all that’s needed to convert them to other systems is to show them they’ve been tricked into falsely believing they’re enjoying an objectively un-fun activity), to the rambling thinkpieces that talk about getting folks to try other games like they’re liberating people from the fucking Matrix.
Yet we come back to the same problem: how can the mechanical structure of D&D be implicated for its culturally dominant position in the minds of those who’ve never picked up a twenty-sided die?
The truth is that Dungeons & Dragons enjoys cultural dominance, both within the hobby and elsewhere, because it’s owned by the same multinational corporation that owns Monopoly and My Little Pony, and benefits from all the marketing strength its owner can bring to bear. The problem, in brief, is brand loyalty. The aforementioned podcasts lose listeners in droves whenever they give a non-D&D system a spin because all most of those departing listeners care about is whether the thing that they’re listening to is called “Dungeons & Dragons”. The structural particulars of the mechanics are irrelevant.
The bitter pill we’ve got to swallow as indie RPG authors is that we can’t fix brand loyalty in tabletop RPGs by fucking around with the shape of the dice. There are lots of productive causes we can support to help address the problem, but they mostly have do to with intellectual property and antitrust regulations and such, which are areas where our finely honed ability to debate the correct way to pretend to be an elf is of very limited utility.
Like, I enjoy an abstruse argument about the ideology of dice-rolling as much as the next nerd, but let’s not fool ourselves that we’re speaking truth to power here. The gamer who just wants to roll dice to hit the dragon with their sword is not your enemy.