As promised in my Dragonlance and Ravenloft articles, I’m going to get self-indulgent here and share my personal fanfictiony idea about the link between the two campaign settings.
A health warning applies: this theory combines the worst habit of Dragonlance fandom (hyping up how totes kewl Raistlin is) with a cardinal sin of Ravenloft fandom (making a specific assertion about the identity of the Dark Powers). Then again, these are both sins that those who write for those settings have committed in their own right – “Raistlin is kewl” was the basic premise of the second Dragonlance trilogy, and the Ravenloft authors did occasionally slip into presenting theories about the identity of the Dark Powers, though in the latter case they seem to have had the good taste to retcon that away.
It is also a headcanon which, if made true, would have no real effect on either setting, and there’s no real way anyone could find it out or do anything useful with the information.
Oh, and spoilers for the second Dragonlance trilogy will follow.
So, the news broke a while back that the next big published campaign for 5E will be Curse of Strahd, a return to the Ravenloft campaign setting, so I thought it was a good time to dig out my old Ravenloft bits and see how they’ve held up over time.
In case you aren’t familiar with the history, Ravenloft‘s first incarnation was not as a campaign setting but as an adventure module for AD&D 1E penned by Tracy and Laura Hickman which pitted PCs against moody vampire Strahd von Zarovich, ruler of a foggy land called Barovia that could be dropped into any D&D setting. The module was notable for the way it randomised key plot elements like the location of crucial items and what Strahd’s current scheme is, and its spooky atmosphere made it a big hit, prompting sequels like House On Gryphon Hill and Feast of Goblyns.
The full-blown campaign setting, an attempt to find a common context for the otherwise disconnected adventure modules and provide a basis for more horror-themed gaming, came out in 1990 – hot on the heels of the release of the 2E core books. (Notably, this puts it a full year before the release and unpredictable runaway success of Vampire: the Masquerade kicked off the 1990s horror RPG boom, so Ravenloft was simultaneously ahead of the curve in seeing an under-served market and at the same time was the last major horror RPG release before White Wolf changed everyone’s ideas about what a horror game could be like.)
It makes a lot of sense for D&D to have a setting focused on ostentatious gothic horror in the Hammer mode, particularly since such material is an often-overlooked influence on the game – for instance, it’s easy to forget that the cleric class was originally conceived to depict a vampire hunter in the vein of Peter Cushing’s portrayal of Van Helsing, designed to counterbalance the runaway depredations of a vampire PC called Sir Fang in Dave Arneson’s original Blackmoor campaign. Whether or not Ravenloft succeeds in that is another story.