Some comments showed up at Facebook about the two Fantasy Heartbreaker essays, and I'm a little tired of facepalming. It's been a long road of experiencing and reflecting upon what became of fantasy during my lifetime, and the original essays are a blink of a moment during that process. Let's see what the long view might hold.
I did a little essay with the briefest possible introduction to three terms; D&D fantasy, fantasy heartbreaker, pink slime fantasy. You can rightly imagine me veering off into subroutines and explanations and whatnot in each case, then deciding to start over. More than once.
So, here are some nuances – think of them as what you might hear when listening at the door of each term.
- D&D fantasy: sequential tournament modules like the Giants series don’t count; the R series from Mentzer’s award-running run at RPGA do (and as implied in the video, are practically definitive); the A series is an important indicator because the tourney versions were converted into “saga” versions for publication.
- Also for D&D fantasy, Dragonlance and The Forgotten Realms are arguably the ur-examples, but they are so explicitly crossed-over that I’m more interested in the more diffuse examples that were not designed and marketed as such. In other words, if D&D fantasy weren’t already happening, then DL and FR might not have been implemented.
- Fantasy heartbreaker: most of them try to “fix” D&D without succeeding; by contrast, most OSR publications avow not to “fix” D&D but often succeed. Also, games of both types often inadvertently become something good on their own which is not identifiable with the acknowledged or implied source game or assumptions of play.
- Pink slime fantasy: the term “vanilla” keeps coming up in discussion, but that term is stupendously bogus. There is no vanilla fantasy, e.g., Lord of the Rings, Prydain, Narnia, The Worm Ouroboros, and The Broken Sword are metal as hell, and metal itself wouldn’t even exist if it weren’t for Burroughs and Howard. I stomp on its inclusion.
The economics are very helpful in understanding the differences. Fantasy heartbreakers are utterly marginal, being the unwanted fringe within a fringe cottage industry; pink slime fantasy is the outcome of hyper-mass promotion and marketing at an economic level way above the “weight” of formerly-known fantasy content; and D&D fantasy is an odd side-effect of gamers writing novels + novels serving as the procedural model for play.
If you don’t have Circle of Hands, then I’m a little worried about the heartbreaker discussion because you aren’t seeing my reflections on the original essays. If you do have it but skipped that chapter because “it’s not the game,” peek at it a bit, I beg you. Oh, and although I hadn’t hit upon the term yet, the Naked Went the Gamer essay is all about (anti) pink slime.
Venning is irresistible and at least possibly historically necessary to discuss, so let me try a couple, including a couple of non-overlaps for comparison:
- Pink slime fantasy by itself: The Sword of Shannara, especially later installments (yes, there is a further overlap here with pastiche, but not all pastiche is syncretic/homogenized, which Shannara is)
- D&D fantasy + pink slime fantasy: The Iron Tower trilogy, The Wheel of Time
- Fantasy heartbreaker + D&D fantasy: most of the games mentioned in the essays, but most uncompromisingly in Fifth Cycle, Forge: Out of Chaos, and Deathstalkers
- D&D fantasy by itself: God Stalk
The Finding D&D posts and videos are a big deal here too, but they'd be involved as a fourth issue, not as a subset to any of these three.