i put the romance in necromancy

[This was partially written by @ashweather, another member of the A.N.I.M. team.]

Let me preface this by saying that I don’t think that the makers of Candela Obscura are morally evil, or that I think less of your moral worth if you’ve played or enjoyed this game. It’s just that, at best, the game has a really obnoxious and cowardly tone and at worst has a lot of shit in it that looks really bad if you think about it for more than 5 seconds. 

If you think that tabletop RPGS are art (and we do), then they can be analyzed like art. They can have unfortunate implications or reflect unexamined reactionary politics. This post is going to be taking screenshots from both the quick start guide and the full rulebook to make this point - while the text between the two is broadly similar, the quickstart guide is more overtly finger-wagging and hostile, saying the quiet part out loud. 

The thing about Candela Obscura is that it takes place in a fantasy 19th-century England/USA, but it really wants to pretend that it doesn’t. It wants the aesthetics of this setting and almost every trope that comes baked into it, but also wants to act like it’s above all that. It wants to have its cake and denounce it too. It’s so pants-shittingly terrified that it or the players might say or do something “problematic” that it loops back around to being incredibly offensive. 

To take just a few examples, the text is absolutely riddled with this kind of sentiment:

(What the fuck do they think an “explorer” is? Also, I think I have some bad news about 19th century doctors.)

Okay. Look. A lot of this is gesturing at principles that are unobjectionable or even useful to keep in mind when writing a setting like this. Yes, it’s ideal to have a non-Eurocentric historical understanding of technology and culture. Yes, refugees are human beings with their own valuable skills and perspectives. Yes, if you uncritically write an expy of Victorian England or late 19th-century New England, you’re gonna end up with a bunch of insane stereotypes (especially Orientalist ones) that you probably shouldn’t just blithely put to the page without thinking about them. And yes, bigotry is a bad thing, obviously.

The problem is twofold: The first is that Candela Obscura feels the need to take a patronizing tone towards its own readers, as though they were incapable of engaging critically with the setting or subject matter on their own terms. The second is that despite all of this finger-wagging, Candela Obscura absolutely does not present a setting with any critical thinking put into its basic construction. (We checked, by the way. None of what we are about to present is supposed to be in-universe propaganda. If it is intended to be, this is not made clear at all in the text itself.)

The game takes place primarily in the city of Newfaire and its surrounding environs - the Fairelands. The Fairelands are prosperous and idyllic, and all but outright stated to be “the good guys.” All of the “problematic” aspects of the societies the game is emulating are either scrubbed without thinking about the implications of scrubbing them.. 

(Don’t worry guys there’s no colonialism here, this version of fantastical New York was settled on a Terra Nullius where nobody lived, right over the ruins of an ancient society with a mix of Egyptian and Mesoamerican coding who practiced strange and corruptive magicks. Remember, reader, this game wants you to go out of your way to avoid reproducing any harmful stereotypes from the era.)

..or are present without any historical or structural reasons for them to be present:

(Don’t worry guys, sex work is lawful, profitable, safe, and socially acceptable! Oh yeah all the sex work happens in shady, spooky-looking crime districts that cops monitor, filled with drug-filled dens of illegal vice, though. By the way, there is no brothel listed in this district’s points of interests, or any further discussion of what sex work in Newfaire is actually like.)

There are so many examples of this that we could spill a novel’s worth of digital ink talking about it. (We just don’t have time to get into, for instance, their adventure inspired by the “radium girls” where the primary victim of the dangerous substance in question is a customer who is already dead when the adventure starts and not the workers who make the products.) Honestly though, this paragraph says more than we could in a hundred pages:

Here we find out that we are reading a TTRPG setting that has the same understanding of bigotry as the movie Crash. No institutionalized bigotry, just “bad actors who hold terrible beliefs.” Just bad apples, with no personal history or cultural roots to their ideas, who presumably sprung out of the ground one day declaring themselves Republicans. Not only do these bad actors come from nowhere, they don’t go anywhere either. They don’t belong to any social movements, they don’t get organized, they don’t push for regressive political changes, and if they ever do, they certainly never succeed at those goals. 

You see, despite these bad apples, the soil they grew from is pure. And you know something else about the idyllic, almost utopian Fairelands? They’re under assault.

That’s right! Hale (which the Fairelands is a part of) is under assault from the dastardly, corruptive forces of… uh, “Otherwhere.” (Yeah, do they all have hooked noses and recessed chins too?) That’s where all of the dirty foreigners invaders come from, who want to take away the prosperity of the Fairelands!

Oh, or maybe their whole culture were all coerced into doing it by an evil rock or something, which is definitely less xenophobic. But whatever, who cares what the reasons were. The Fairelands are under attack, and as the dominant power in the world, they need to defend themselves. Against the “colonists.” With nukes chain lightning.

(That last sentence continues on “tens of thousands..” You get the picture.) So, whew, glad that’s over! Otherwhere is still really dangerous, though. They might even be developing weapons of mass destruction of their own:

You know, if Candela Obscura were a person, I have a feeling I wouldn’t want to hear its thoughts on Israel. 

You might be asking, where do the PCs fit in this? Well. The PCs are members of the in-universe organization Candela Obscura. They are an enormously powerful and widespread secret society of sometimes-cops sometimes-vigilantes who fight against the corruptive forces of magick to keep humanity safe. They keep dark secrets, “perform questionable acts in the name of the common good,” and operate entirely without oversight or responsibilities to anyone other than this organization. We are assured that this organization has the best interests of the regions they operate in and of all humanity in mind.

It’s actually fine - cool, even! - that PCs are secret police/CIA agents who engage in morally dubious acts for the purported common good. Newfaire’s society being deeply flawed is fine! The Fairelands as a political entity furthering an explicit narrative of being persecuted is fine! The problem is not that any of these elements exist, the problem is that Candela Obscura is utterly allergic to examining them. The text seemingly does not understand the setting it has presented at all.

The game wants to be anti-conservative, but the only kind of story it can produce is one of heroes who are ultimately aligned with the dominant power of the world, preserving the good and righteous status quo by fighting against corruptive, foreign, magical forces. “Gay transgender women of all races can be holy knights secret police fighting to protect the good kingdom democracy from the endless hordes of the evil dark race that has threatened its borders for a thousand in recent years!”

On a first read a while back, I said Candela Obscura’s gameplay mechanics make it sound like a game more meant to create “actual-play” shows than to be actually played. On examining the text more closely, that’s more true than I even realized at the time. The reason the game has all these bits about how not to be problematic - all of these instructions for avoiding engaging with the more controversial aspects of the setting - is because it’s not really intended as a game to be played in a private environment. It’s intended as brand guidelines for putting on an actual play show. If you google Candela Obscura, the IMBD page for the actual play series appears before the store page for the rulebook.

It seems like the game really doesn’t want you to play a character outside of your own culture. And sure, as stated earlier, it is a good idea not to have a mysticized idea of other cultures, or represent them in a callous way. For a private game played at home, though, this is not really something you need to dedicate pages accounting for. Nobody outside the table has to hear a poorly-done accent or contend with a less-than-perfectly researched religious portrayal - and if there is a pervasive issue with someone being bigoted or leaning on stereotypes at the table, frankly, that is a problem that is outside the scope of a TTRPG to address.

However, if you are an actor on a show, portraying people from different cultures comes with a whole different set of (much more justified) baggage. Candela Obscura’s approach to player attitudes on the setting makes so much more sense as brand guidelines than it does as a codification of how to play a game. "Don’t have actors appear in insensitive costumes on camera." "Don’t have actors say foreign words they don’t know how to pronounce on camera." "Remember not to have your white actor do a Romani 'fortune-telling' scene on camera." "Don’t show anything that could negatively affect the perception of the brand."