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Message: <blockquote data-quote="Aldarc" data-source="post: 8252435" data-attributes="member: 5142">IMHO, as someone with an interest in both cultures (or at least the non-toxic parts) - as they both bring unique and well-defined game sensibilities to the table as a result of having to define themselves against Trad/Neo-Trad gaming - I do think that there is a fair amount of overlap between OSR and narrativist games. I agree that OSR diehard crowd likes to imagine themselves as an elitist, secluded circle that sticks to "their own cute little camp," but IMHO it's pretty clear that there is a lot more bleed between the camps than even they recognize.For example, there's the narrativist Torchbearer that's an ode to old school gaming. There's Dungeon World, which is a bizarre mish-mash of PbtA and OSR. And Dungeon World led to World of Dungeons (John Harper), Freebooters on the Frontier (Jason Lutes), Dungeon Bitches (Emily Allen aka "cavegirl") and even Ironsworn (Shawn Tomkin), which, despite being narrativist games, are all highly influenced by OSR. Likewise, there is Vagabonds of Dyfed that tries to hybridize OSR and PbtA. Kevin Crawford's Stars Without Number was also a huge influence on Blades in the Dark.On the OSR side of things, the impact has not necessarily been as overt, but one can see how narrativist games influenced even a B/X-based game like Over the Wall and Other Adventures (e.g., playbooks, character/village creation, etc.).And despite differences in their diagnoses of "trad problems," techniques, and approaches, both OSR and narrativist cultures do have some key overlapping ideas and themes that they stress as part of their mutual reaction against Trad/Neo-Trad gaming: e.g., emphasis on character agency, resisting the GM as author of outcomes/railroading, non-linear play, play to find out what happens, emergent play, let the dice fall where they may, fiction first (or fiction before mechanics), etc.</blockquote>

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