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Found this blog which I thought was interesting.
I'm sure there will be some contention over the name ;) but I'm more interested in the attempts to map the specific British tradition of eighties RPGs and how it differentiates from the American rpg scene.
I do agree with what most of the author says.
Influences
– Early White Dwarf magazine (issues 1-100)
– Games Workshop (and Citadel Miniatures)
– Fighting Fantasy gamebooks (and, to a lesser extent, Lone Wolf)
– British comics (principally 2000 A.D., but also older fare such as Action)
– British fantasy art (e.g. Russ Nicholson, John Blanche, Iain McCaig, etc.)
– British comedy (e.g. Monty Python, Blackadder, The Young Ones, etc.)
– J.R.R. Tolkien (of course)
– Michael Moorcock (e.g. Elric, Hawkmoon, Corum, etc.)
– British heavy metal (Iron Maiden being very influential, though I much prefer the doom-y sound of early Sabbath)
I'd add British prog to that list (it was rare to have a group without some Floyd and Marillion fans) and you can make an argument for British punk. The Sealed Knot as well probably. In my group there was a definite crossover with the amateur drama kids but I don't know if that was a very specific local thing.l But that's pretty comprehensive
Important RPGS
– Warhammer Fantasy Role-Play (1986)
– Dragon Warriors (1985)
– Advanced Fighting Fantasy (1989)
– Maelstrom (1984)
– Heroes (1979)
Only one of these I don't know is Heroes. Only game I'd maybe add is Golden Heroes (1984). It was the first serious foray into non fantasy for many of us.
Things that make the B-OSR distinct from the A-OSR
– Historicity / Urbanism.
– Class.
– Grimdark.
– Comedy / Satire.
He goes into a lot more detail on this on the blog. I'm not c&ping it here because it seems politer to encourage people to read the original then just reproduce it here. This all seems very accurate though. I've talked before of a focus about how British games tend to have more of a focus on social class and how the take on the nobility is frequently cynical. (To the extent where the Lone Wolf world stands out to me because of how bright eyed its depiction of feudal rule is).
Obviously, these are generalizations. American RPGs certainly can have comedic and satirical elements. But I think it's fair to say that the satire in Paranoia is very American in feel and the satire in WFRP is equally British.
One thing I think he may miss in the same way fish don't notice water is how much British RPGs (and the RPG scene in general) tapped into a tradition of British eccentricity; morris dancers, trainspotters, novelty singles etc. I actually think that's a major factor in us not having gone through the Satanic Panic in the same way. It also may partially explain why Runequest did pretty well over here, as well as the obvious fact that Games Workshop pushed it heavily.
What do people think? Does he match up with your experience of British RPGs? Is there enough notable differences with the old school American RPGs to treat the two scenes as related but different? Did anyone get though the Maze of Zagor without cheating?
I'm sure there will be some contention over the name ;) but I'm more interested in the attempts to map the specific British tradition of eighties RPGs and how it differentiates from the American rpg scene.
I do agree with what most of the author says.
Influences
– Early White Dwarf magazine (issues 1-100)
– Games Workshop (and Citadel Miniatures)
– Fighting Fantasy gamebooks (and, to a lesser extent, Lone Wolf)
– British comics (principally 2000 A.D., but also older fare such as Action)
– British fantasy art (e.g. Russ Nicholson, John Blanche, Iain McCaig, etc.)
– British comedy (e.g. Monty Python, Blackadder, The Young Ones, etc.)
– J.R.R. Tolkien (of course)
– Michael Moorcock (e.g. Elric, Hawkmoon, Corum, etc.)
– British heavy metal (Iron Maiden being very influential, though I much prefer the doom-y sound of early Sabbath)
I'd add British prog to that list (it was rare to have a group without some Floyd and Marillion fans) and you can make an argument for British punk. The Sealed Knot as well probably. In my group there was a definite crossover with the amateur drama kids but I don't know if that was a very specific local thing.l But that's pretty comprehensive
Important RPGS
– Warhammer Fantasy Role-Play (1986)
– Dragon Warriors (1985)
– Advanced Fighting Fantasy (1989)
– Maelstrom (1984)
– Heroes (1979)
Only one of these I don't know is Heroes. Only game I'd maybe add is Golden Heroes (1984). It was the first serious foray into non fantasy for many of us.
Things that make the B-OSR distinct from the A-OSR
– Historicity / Urbanism.
– Class.
– Grimdark.
– Comedy / Satire.
He goes into a lot more detail on this on the blog. I'm not c&ping it here because it seems politer to encourage people to read the original then just reproduce it here. This all seems very accurate though. I've talked before of a focus about how British games tend to have more of a focus on social class and how the take on the nobility is frequently cynical. (To the extent where the Lone Wolf world stands out to me because of how bright eyed its depiction of feudal rule is).
Obviously, these are generalizations. American RPGs certainly can have comedic and satirical elements. But I think it's fair to say that the satire in Paranoia is very American in feel and the satire in WFRP is equally British.
One thing I think he may miss in the same way fish don't notice water is how much British RPGs (and the RPG scene in general) tapped into a tradition of British eccentricity; morris dancers, trainspotters, novelty singles etc. I actually think that's a major factor in us not having gone through the Satanic Panic in the same way. It also may partially explain why Runequest did pretty well over here, as well as the obvious fact that Games Workshop pushed it heavily.
What do people think? Does he match up with your experience of British RPGs? Is there enough notable differences with the old school American RPGs to treat the two scenes as related but different? Did anyone get though the Maze of Zagor without cheating?
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