Dungoons

Many years ago that ‘Dungoons & Dragons’the legendary role of paper, pencil and dice (among other things) is not a marginal entertainment for rare people with little social life. Recall that in the eighties, the franchise already had an animation series, video games and supervantant books based on your Lore. But for a few years he has made a new leap of implantation in the mainstream. And it has been thanks to content creators and their overwhelming dissemination work of a hobby with millions of followers. A triumph that does not cease. ‘D & d’ has today More than 50 million players registered worldwide. Only in 202o, the sales of official products of ‘d & d’ grew 33% compared to the previous yearconsolidating seven consecutive years of double digit growth. In 2021, Wizards of the Coast entered more than one billion dollars, even when Hasbro, owner of the company, had spectacular losses that year. And that impact has set in a presence in more massive media than ever: one of Netflix’s greatest successes, ‘Stranger Things’, starts its mythology in the games, and its last season bases its argument around the game and “satanic panic“That in the eighties, it was partly linked to the role. One of the best -selling games of 2023 was’ Baldur’s Gate III ‘. And also in 2023, the first adaptation of the game in a long time to the big screen,’Honor between thieves‘, He resulted in a respectable box office of 208 million dollars. The usual success. To understand us, ‘D&D’ has always been a successful game: I remember how in the eighties there were already stores dedicated to role -playing games in Murcia. And believe me: If someone in Murcia considered in the eighties that it was worth dedicating a trade to the subject, there was a considerable potential audience. But the truth is that a unique rebirth has lived in recent times, and is not a product of a traditional marketing campaign: it is the result of a unique convergence between the natural evolution of the game, the massification of digital platforms and the appearance of content creators who have transformed private games into shared experiences. The turning point. Just at the same time that the first content of ‘D&D’ content appeared, in the edition of the game itself another revolution took place: the launch of the fifth edition in 2014 represented much more than a simple rules update. It was a strategic restart that laid the foundations for the digital phenomenon that was to come: an unprecedented redesign process that would last two years and that was revolutionary for its collaborative approach. An open “Playtest” process not only democratized development, but also established a crucial precedent: extending the idea of ​​the community as co-creator, which again settled the foundations for this new way of living the game that shaped the programs. In addition, the mechanics were drastically simplified: where the previous editions required to consult multiple complex tables and modifiers, the fifth edition adopted a unified system based on the 20 -sides dice that was consistently applied to everything that happened in the game. The fifth edition prioritized the narrative on the simulation: field paid for content creators where the basics is to tell a story, and the simplified rules thus expedite the videos. In addition, Wizard of the Coast launched the “Basic Rules” completely free: A free access PDF containing complete rules to start immediately to play. The first wave. The first of these content programs linked to real items (current play in the codes that classify these videos) was Critical role: In 2012, a group of American dubbing actors played ‘D&D’ on Twitch to have fun at home, and over time it has become a media empire with an animated series in Prime Video that already has three seasons, official books published by the same Wizards of the Coast that edit the role game, and a global audience of more than 10 million subscribers. But Critical Role is just the tip of the iceberg of a much broader and more diverse ecosystem. Soon others followed as The Adventure Zone (in podcast format) or Candela darkthat revealed how fun it is to invent stories with friends. A very studied timing. The launch of the fifth edition coincided with a point of effervescence of the streaming platforms: Twitch was acquired by Amazon just a month after the launch of the rules, YouTube improved its tools for creators and Discord would arrive very soon, in 2015. In addition, an open license was implemented and, later, a reference system of Dungeons & Dragons. These tools explicitly allowed content creators, application developers and media producers create derived content without fear of legal problems. The scene grows. Since then, they have not stopped being born channels that spread role games. There are those that have exceeded Critical Role, such as Dimension 20that already do live shows in the Madison Square Garden and that stand out for their absence of prejudices by introducing elements of genres and franchises that go beyond the classic ‘D&D’. And also in Spanish this type of content has grown a lot: Streamers such as Orslokx, Elrubius or Alexby11 introduced in their usual programs of D%D, those who have followed channels as Lynx’s such, The dragon mansion, Within says either Churros & Dragons among many others. It is ironic and significant that a completely analog game system has found its main fame springboard today through technology. If it demonstrates something, it is that ‘Dungoons & Dragons’ is one of the most universal and versatile games that exist. And that, without a doubt, we will continue to see it evolve. Header | Timothy Dykes in Unspash In Xataka | ‘Magic’ is reborn in popularity and there is a reason: franchises and multiverse have flooded the game