Monthly Archives: June 2018
I have spoken to many creatives about how they interact with the media they create for, and gotten a lot of different responses. Many novelists have told me they can’t help but dissect the story elements of all fiction they absorb, and the word structure of everything they read. They can’t help themselves, and it makes the process of enjoying fiction different. Not necessarily worse, but different. On the other hand, some have a specific type of fiction or writing they carefully keep separate from their professional analysis, such as romance novels, or pulp adventure, or biographies, so they have something they can enjoy without feeling like it’s work.
But even then, they confess, it’s always a little bit work.
I’ve had the privilege to talk to more than one movie and television screenwriter. Most of them seem to have a different process—they try to be in the moment the first time they watch anything, with just a running checklist of the moments that get a big reaction from them. It’s later that they break things down for analysis. The second viewing. The fourth. The twentieth.
I found myself thinking about that a lot when I was going frame-by-frame through Star Wars space battle scenes, looking to see if there was any starship that had never received game stats before, in any video game, board game, RPG, card game, or miniatures game. I was not, at that moment, enjoying Star Wars. I was far from my hobby, while staring elements of it in the face.
Some game designers I know can’t play the games they work on. It’s always work for them, even if they are surrounded by friends and laughing and bouncing dice. The rules and layout and themes have come to be associated with their career and employment to a degree they can’t let go, relax, and enjoy themselves. Other game designers (myself included) have a hard time imagining working on a game they don’t play. I certainly have written for games I didn’t particularly enjoy, but even then having a real-world feel for how the elements all came together was crucial to my understanding of how to expand, adjust, or develop the game.
Ideally, I DO like the games I’m working on. And thankfully, that’s usually the case. And yes, I have a constant background awareness that the things I am learning have a relevance beyond me having a good time. They are a form of professional development, and that changes how I respond to them, and sometimes even how I interact with the players around me. Especially just after a game, I sometimes want to know why people did what they did, because I want to understand how THEY are interacting with the game.
But for me, it’s when I am playing a game I’m NOT working on I find myself the most in my job-headspace rather than my hobby-headspace. That lessens significantly once I am familiar with a game, but whenever it has a new twist or interaction, I’m right back to analyzing it for it’s engine, rather than enjoying the ride.
That fine, honestly. I was analyzing game mechanics long before it was my job. Indeed, it largely became my job because it was such an all-consuming hobby for me. While my friends and class mates were learning life skills, I was learning when a die pool could accidentally make massive failure more likely for highly skilled characters that got more dice.
In the end they had saleable talents and experiences, and I had Dragon magazine articles.
I DO think it’s important to remember that you shouldn’t make your whole life your job. And over twenty years of having a professional game design career, I have tried to distinguish between leisure writing and creative writing. On the other hand since I support myself and my family with the work of creating games, I am well aware it’s never just a game when it’s your career.
Since I am generally creating entire fictional universes for people to play in, my job touches on all the geek media I can get my hands on. Popular tropes, characters and ideas people may want to model, and things I might accidentally duplicate in parallel development are all things I need to be aware of, and that touches on everything I consume in all aspects of my leisure time.
Sometimes it’s a hobby. But it’s always a job.
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Generally speaking as a writer, if you get a cold, or get the flu, you write as best you are able while sick, and to still hit your deadlines you depend on being able to catch up in a crunch when you’re better.
If you’re going to be sick for longer than a few days or a week, things change.
I have a medical issue causing severe fatigue. We know at least part of what is going on, but don’t know yet if we have identified the root cause, or just found a symptom of something more serious. And, it may be months before the testing finds a conclusive answer to that question.
And that means, I have to consider how I am going to manage if my energy levels crashed for weeks, or months to come.
I have, for the past month or so, been more exhausted every day than the day before. Since the issue causing my fatigue is at least potentially progressive, I began to despair that I was on a downward arc that might actually incapacitate me sometime before it gets addressed up to 3-4 months from now.
Of course I *also* had two conventions nearly back-to-back in the past month, and am under pressure from a number of major deadlines. That can be exhausting under the best of circumstances.
So I have maintain the best self-care I could, and attempted to employ new coping techniques suggested by some research.
Today, for the first time in 4 or 5 weeks, I’m not immediately more fatigued than I was yesterday. Indeed, I haven’t been this functional for a week or more.
Any medical condition is likely to have ups and downs so I don’t plan to read too much into this, but it’s nice that I might not exclusively be looking at a downward spiral for personal energy.
That said, as I finish short- and mid-term projects, I’m not replacing them with anything. Hopefully that’ll leave me with time and energy to tackle my long-term things (especially those that are months behind schedule) even if my energy level doesn’t recover any more than this in the foreseeable future.
That’s the only way I can see to keep my career on-track, and not let down anyone who is depending on me.
And I’ll monitor my progress, both medical and wordcount-wise, and see if the steps I’m taking are good enough. If not, I may begin to consider backing out of some long-term commitments, as much as I hate doing that.
Sometimes in the Really Wild West, you need to express your displeasure through violence, but you’re not wanting anyone to get killed over the issue. Maybe someone spilled your drink. Maybe someone hasn’t gotten the message to get out of town. Maybe they didn’t smile when they called out something vile. You don’t want blood on your hands, but you’re ready to bust a lip and blacken an eye.
You’re ready for a Brawl.
Though specifically designed for the Really Wild West setting hack, these rules can be used in any Starfinder Roleplaying Game campaign.
A Brawl is specifically a fight where no one is trying to kill anyone else. Common examples of this are bar fights, campside tussles, and pugilist exhibitions. A brawl stops being a brawl as soon as anyone involved switches to lethal intent, generally by drawing a true weapon (as opposed to an improvised weapon). Even if you draw a weapon with the intent of using it in a nonlethal fashion, such as pulling a pistol to use in pistol-whipping foes, the very fact it is being brandished changes the tenor of the conflict, and it goes from a brawl to a normal fight.
In a Brawl, no one has escalated he fight to lethal levels. As a result, the fight goes a little differently. First, everyone is more focused on hitting than avoiding hits, so everyone gets +2 to attacks, and takes a -2 penalty to KAC. Second, unarmed damage increases to 1d6 + Strength bonus + a special Weapon Specialization bonus equal to level. (A character with Improved Unarmed Strike may skip these bonuses and penalties and add their normal dice of damage on top of this, and a character with special unarmed Weapon Specialization, such as a vesk, may use it instead).
A character can attempt to use an improvised weapon, such as a bottle to crack over someone’s head, or a chair to smash over their back. An improvised weapon takes a move action to ready, it adds +1d6 brawl damage, you lose the +2 bonus to brawl attack rolls, and if you ever miss a foe’s KAC by 5 or more, or do maximum damage, the improvised weapon breaks.
As long as the Brawl is still in effect, no attack can do more than 1 Hit Point of damage, even if a target is out of Stamina Points. Instead, whenever a character takes even a single Hit Point, the character must make a Fortitude save (DC 15 + total damage of the attack that deal Hit Point damage) or be stunned. If the target misses this save by 5 or more, they are instead Knocked Out for 1d4 rounds.
You can use 0-level spells as part of a Brawl, but anything higher level counts as drawing a weapon. And once someone draws a weapon, the Brawl switches immediately to normal fight rules.
A character trained in Bluff or Diplomacy can try to Hold Off a Brawl for a round, preventing anyone from attacking them. This is a standard action and requires a check with one of those two skills to be made against each potential attacker, with a EDC equal to 15 + target’s CR. With a successful check, the attacker must either escalate to a lethal attack, or pick a new target.
Getting into a Brawl is generally overlooked by local authorities in frontier regions. The difference between punching and kicking and hair-pulling vs shooting with guns and stabbing with knives is well understood. It’s a public annoyance, rather than a potential murder. However, anyone who escalates a Brawl to a lethal conflict is seen as a thug at best, and a criminal guilty of attempted murder at worst.
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