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First Part here.
B: Tabletop Progress
It could be said that the origins of tabletop RPG’s (and by extension of CRPG’s) can be traced back to tabletop/board games, as well as on storytelling and character acting. Let’s examine how progress appears in each of these:
A game, of any genre and form whatsoever, includes in its structure the notion of progression, of working towards an objective. The objective could be set by the game itself (via existing rules) or by the player, and could be set in stone, or be constantly changing. Whatever its nature, an objective requires a response on the part of the player, leading towards either its completion or its abandonment. A response is a choice and an action, however trivial it may be, physical or mental in nature. The player, responding to an objective, re-establishes his position inside the game’s infrastructure, for better, for worse, or inconsequently.
In the vast majority of board games, the whole of action takes place on a single gaming session (which, in extreme cases could be separated in more temporal spaces, but this is purely of a practical nature), the players antagonizing or cooperating towards a number of objectives, which are pre-existing (of the session itself) and incorporated in the whole structure of the game. The game progresses as one, more, or all of the players draw closer to the completion of the objective(s). This progression could entail an increase in difficulty, resources, risk, complexity, or any combination of these. The fact remains, that the players are presented with a goal, which they must achieve, so as to win the game. One could speak about two basic game states: Win and non-Win. The Win state is presented as the desired one, as better for the player than the non-Win one, which is the absence of the Win state, as far as the game is concerned. Thus, the notion of progress appears. One must work towards the improvement of his state. This is not to say that the path towards the Win state is trivial to the player experience of the game; in most cases this path is the game itself, and many players are only interested in this path, in the feel of the game mechanics and their implementation inside the game. But the idea of progress is essential, since it showcases the starting and end point of this path of indulging in the game mechanics.
The difference of progress between board games and tabletop RPG’s lies mainly on the former’s independence of each game session. Progress in a board game is self-contained inside each session. After each session of play, whatever progress has been made (leading to victory, or not) is erased, discarded, so as in the next session all players begin at the starting point, the whole of progress being in front of them (apart from meta-thinking and rules/structure understanding). Thus, progress is contained and remains unimportant outside a particular session. The mental image of a cyclical process is fitting, the linearity of progress being apparent only in each session.
On the other hand, RPG progress is cumulative between each game session, at least as far as the same story (and probably the same characters, but not always) is utilized. Especially the concept of campaign (as a grand story arc, or a collection of adventures) is based upon the characters’ progress inside the story. The lack of “Win” states, in fact the absence of win conditions in the rules, makes it possible for the players involved to keep setting new goals for the characters ad infinitum. Long-term thinking has a definite place here, since the character development is crucial to the evolution of the campaign itself. What has been mentioned in Part A is applicable here. There are of course the exceptions of the one-shot sessions or adventures, which however are not the norm, are more akin to a board game or a small theatrical play, and almost always do not take into account a large pillar of the genre, namely character development (through game mechanics). Chaosium’s Call of Cthulhu adventures is a prime example of situations that tend to escalate frequently towards that kind of experience.
Apart from board games (and gaming in general), storytelling and acting/impersonation of characters, are also pillars of role playing games, maybe the most important ones. But progress in storytelling is only a necessary characteristic from a technical point of view: since a story must be told, recited, its external structure must have a beginning and end, though its content can be free of such linear shackles. On no account is the ending to be considered, from a formalist standpoint, as an improvement of the beginning, or vice versa. Still, the gradual revealing of the story’s content, plot, and folds, can be considered a sort of progression towards improvement of knowledge of the listener, concerning the specified story, creating thus a progress through quantitative assimilation. But between that and the betterment of the individual that assimilates the story lies a wide gulf, that is totally subjective and circumstantial.