Last night, a friend shared with me his "rebuttal" to my recent assertion that Traveller was "obviously" the best science fiction roleplaying game.
I should add that, despite my devotion to Traveller — and, of course, Thousand Suns — I actually have genuine affection for Universe and would happily play in a game using its rules. It's an odd game, to be sure, but, much like its sibling, DragonQuest, it's got some interesting ideas buried within its complex rules, hence my continued fascination with it after all these years.Friday, July 25, 2025
Initial Assessment of Unidentified Cereal Crop Pathogen
TOP SECRET//SCI//NOFORN
UNITED STATES MILITARY EMERGENCY ADMINISTRATION
OFFICE OF CONTINUITY INTELLIGENCE AND SECURITY (OCIS)
JOINT FORCES COMMAND EAST (JFCE)
INTELLIGENCE ASSESSMENT REPORT
FILE NUMBER: BIO-INT-00-12D
DATE: 24 NOVEMBER 2000
PRECEDENCE: IMMEDIATE // RESPONSE REQUIRED WITHIN 24 HRS
SUBJECT: Initial Assessment of Unidentified Cereal Crop Pathogen (GR-93) in Virginia Agricultural Zones
DISTRIBUTION: TOP SECRET//SENSITIVE COMPARTMENTED INFORMATION//NO FOREIGN DISSEMINATION
ACCESS RESTRICTED TO AUTHORIZED PERSONNEL WITH TS/SCI CLEARANCE AND NEED-TO-KNOW
1. EXECUTIVE SUMMARY
1.1. A novel fungal pathogen, provisionally designated GR-93, has been identified in cereal crops across multiple agricultural zones in Virginia’s southern Piedmont and Southside regions. The pathogen exhibits abnormal resilience, extended latency, and resistance to standard fungicidal treatments, raising concerns of possible artificial engineering.
1.2. This incident occurs amidst national recovery efforts following the 1997–1998 limited nuclear exchange, with international trade routes degraded and traditional defense alliances fragmented or non-functional. The United States remains heavily reliant on domestic crop production. GR-93 poses a critical threat to national food security and public stability.
Thursday, July 24, 2025
Three Models of Character Advancement
One of the aspects of Secrets of sha-Arthan that's been bedeviling me lately is character advancement. I've been trying to find an approach that both makes sense mechanically and feels appropriate to the setting’s tone and structure. I believe I’ve finally managed to thread that particular needle (something I’ll be talking about in more detail on Grognardia Games Direct next week). In the course of wrestling with the issue, though, I found myself reflecting more broadly on how roleplaying games have historically handled advancement and how those choices shape the experience of play.
After all, one of the more foundational elements of any RPG is its system for character advancement. How characters improve over time has a profound impact on gameplay. It shapes player incentives and directs the focus not just of individual sessions but of entire campaigns. While there are countless variations and hybrid models, I think most systems fall into three broad categories, each exemplifying a particular design philosophy. These categories are neither mutually exclusive nor exhaustive, but they are, in my experience, among the most common approaches used in games both old and new.
Objective Advancement: The Dungeons & Dragons Model
The traditional Dungeons & Dragons approach to advancement is probably the one most familiar to readers of this blog. Characters gain experience points (XP) for doing certain things, primarily defeating monsters and acquiring treasure. In OD&D and its descendants, including AD&D 1e, treasure was by far the more significant contributor to XP, sometimes by a significant factor over combat.
This approach to advancement is appealing in part because of its objectivity. The rules are clear about what earns XP and how much doing so nets them. Players know what kinds of activities will lead to advancement and this transparency encourages a particular style of play. Exploration, clever planning, risk management, and even negotiation (to avoid unnecessary fights) all emerge naturally when the primary goal is treasure not combat.
That said, this system is also clearly an artifact of game design rather than a simulation of anything. Despite attempts to explain it retroactively, there’s no in-world explanation for why recovering a chest of gold coins makes a thief better at climbing walls or a cleric suddenly able to cast a new level of spell. Advancement in D&D is largely a mechanical abstraction, divorced from the diegetic logic of the game world. Some players find this lack of in-setting justification jarring. Others, myself included, regard it as an acceptable (and often productive) mechanical contrivance.
Diegetic Advancement: The RuneQuest/BRP Model
A very different approach is found in games like RuneQuest, Call of Cthulhu, and other members of the Basic Role-Playing (BRP) family. Here, advancement is tied directly to what the character actually does during play. If a character successfully uses a skill, such as 1H Sword or Library Use, there’s a chance that skill will improve. The logic is intuitive: you get better at things by doing them.
This system is intensely diegetic. Improvement follows in-world logic and feels grounded in the character’s actual experiences. It avoids the abstraction of XP and provides a satisfying sense of verisimilitude. There's also something engaging about watching a character slowly improve in the areas he focuses on. Some characters become jacks-of-all-trades and others become specialists.
However, this comes at the cost of bookkeeping. Every skill use must be tracked and players must remember to mark those skills for later improvement rolls. In long-term play, this can become fiddly, particularly when characters have a large number of skills. It also risks encouraging behavior where players deliberately use low-probability skills just to have a chance at improving them, regardless of context.
Despite these quirks, BRP’s approach has had lasting influence, especially on games that prioritize character immersion and realism over abstract mechanics.
Narrative Advancement: The Milestone Model
The third common approach is often called “milestone” advancement. There are no experience points to tally nor skills to track. Instead, characters improve whenever the referee (or game system) deems that a “major” event has occurred, such as defeating a key antagonist, completing a quest, finishing an adventure, and so on.
This approach is most common in contemporary games, like Mörk Borg and its various spin-offs, though a versions of it exist even in current editions of D&D and Pathfinder. Its appeal lies in its flexibility and ease of use. It removes the need for careful tracking of treasure hoards or skill rolls and aligns character advancement with the narrative arc of a campaign.
However, it also introduces a great deal of subjectivity. What counts as a "milestone?" How long should characters go between them? Without clear guidance, milestone advancement can feel arbitrary and dependent more on the referee's whims than player action. It also risks undermining the sense of accomplishment that comes from overcoming difficult challenges. If advancement is inevitable, tied to narrative beats rather than earned through in-game actions, some players may feel less invested in their characters’ growth.
Moreover, milestone systems often flatten the pacing of advancement. In classic XP-based systems, players can level up at unpredictable times, sometimes quickly after a particularly lucrative dungeon crawl and, at other times, slowly, as they scrounge for minor treasures. That unevenness contributes to a feeling of dynamic progress. Milestone systems, by contrast, tend to regularize advancement, which some may appreciate but others may find dull.
Each of these advancement models brings with it certain strengths and certain limitations. The classic D&D approach encourages player choice and strategic planning at the cost of diegetic coherence. The BRP model is immersive and logical, but mechanically heavy. Milestone advancement is smooth and flexible but often lacks clarity and player-driven incentives. Designers and referees must both consider the kind of play they want to foster. Do they want a game that rewards careful play and tangible goals? One that simulates the experience of a character’s development? Or one that supports a tightly woven narrative with minimal overhead?
There are, of course, many other variations and hybrid approaches. Games like Pendragon offer their own takes on advancement, blending elements of these three models in novel ways. Other games, like classic Traveller, all but eschew mechanical advancement altogether. Nevertheless, these three remain, I think, the primary modes by which roleplaying games have handled the question of character growth.
Wednesday, July 23, 2025
A Plan Takes Shape
A Plan Takes Shape by James Maliszewski
Where Things Stand with the Grognardia Anthologies
Read on SubstackRetrospective: The Gauntlet
Tuesday, July 22, 2025
Barrows & Borderlands
The Articles of Dragon: "Presenting the Suel Pantheon"
Monday, July 21, 2025
Simple Starships
Kumbaya
In my younger days, what bound us together wasn’t ideology or identity or even agreement. It was something much simpler and, I think, more powerful: a shared love of fantasy, science fiction, horror, and roleplaying games. We didn’t always see eye to eye. We didn’t always get along, but we read the same dog-eared books (gaming and otherwise), argued about alignment and racial level limits, and gathered around the same tables to roll dice. That was enough.
We were a ragtag lot, diverse not so much in the narrow, contemporary demographic sense (though that too, to a degree), but in personality, taste, and temperament. There were the older, bearded guys who got their start with Tactics; the teenagers who smelled like patchouli and wore jackets covered in band patches; the metalheads, the comic book obsessives, the Tolkien scholars-in-training, the stoners, the would-be novelists, and that one guy who knew way too much about the Wehrmacht’s order of battle in 1944 and wouldn’t stop bringing it up. Somehow, we all managed to coexist – or at least we played together and that, I think, is its own kind of getting along.
What I find disheartening now is how often that spirit seems absent. There’s a growing impulse, coming from multiple directions, to draw hard lines about what’s acceptable to play, read, like, or even talk about without a disclaimer. I’m not talking about politics, at least not primarily. I mean the way taste itself is increasingly treated as a moral signal. “You still play Empire of the Petal Throne? What’s wrong with you?” Or: “You’re using Mörk Borg? That’s not real old school.” I’ve heard both this year, more than once, along with others, just as silly.
There’s nothing wrong with preferences. No one should be shamed or pressured into liking what they don’t like. That was true in 1982 and it’s true now. Back then, plenty of people I knew scoffed at Arduin or rolled their eyes at RuneQuest. I’m not going to pretend we didn’t argue fiercely about whether, for example, spell slots or spell points were “better.” That kind of good-natured rivalry was part of the fun. Even now, I enjoy lobbing the occasional jab in the direction of certain games or game mechanics. I’m not claiming the moral high ground.
However, I think there’s a difference between ribbing your friend for liking Rolemaster and declaring that certain games, creators, or communities are beyond the pale and that merely engaging with them puts you under suspicion. That’s not rivalry. That’s excommunication. It's coming from all sides. Depending on who's speaking, the OSR is either a toxic boys' club of crypto-fascists or a co-opted safe space for woke poseurs who don’t really “get” old games. Try saying that not every game choice is a political act and that maybe you just like what you like and you’ll find yourself viewed with suspicion by both camps.
It's exhausting and, frankly, it's absurd.
When I was a kid, the fact that someone played Chivalry & Sorcery instead of AD&D might earn a few barbs, but no one was exiled. No one cared whether you thought the best sci-fi RPG was Traveller, Space Opera, or Universe (even though it's obviously Traveller). If you were into Tunnels & Trolls, sure, we might’ve thought you were a little weird, but you were our kind of weird. You were one of us. You knew where the lavatories were on the USS Enterprise. You could quote Monty Python and The Hitchhiker’s Guide to the Galaxy from memory. You subscribed to Dragon and read every page, even the fiction. You liked pretending to be a wizard or a starship captain or a mutant with a laser rifle. That was enough.
I miss that.
I’m not arguing that we all need to agree. We never did and, honestly, that was part of the joy – the clashes, the rivalries, the heated debates about initiative systems and critical hits. There’s a difference in my opinion between spirited disagreement and gatekeeping disguised as virtue. The hobby is big, messy, and contradictory. It always has been; that’s part of what makes it beautiful.
We could all stand to be a little more charitable, a little less quick to sort people into boxes, a little more willing to extend the benefit of the doubt. Curiosity, not conformity, is what brought most of us here in the first place.