Category Archives: Retrospective
All Hail the Nerdarchy!
I had a chance to sit down with the awesome folks of Nerdarchy at Gen Con 2018, and talk a bit about tabletop gaming, content creation, and the evolution of RPGs!
(And some thoughts on Starfinder RPG, Paizo Inc., 5th Edition D&D, Green Ronin, crowdsourcing, and more!)
PATREON
If you enjoy any of the content on this blog, please consider adding a drop of support through my Patreon campaign!
The Branding and Promise of the Names of RPGs
I think it’s helpful for the name of an RPG to tell you something about what the game is (supposed to be) like.
For licensed properties, this is easy. A Star Wars RPG is about Star Wars For licensed properties, this is easy. A Star Wars RPG is about Star Wars (even if some folks will always claim it is just the Ghostbuster’s rules of D&D, “reskinned”).
Dungeons and Dragons does a good job of this–it’s a game about monsters and underground locations. Yes, it’s more than that, but it still tells you something. And it’s ubiquity allows you to show kinship with it easily enough — Tunnels and Trolls is clearly giving a similar feel as D&D. Mutants & Masterminds was brilliant.
Hero System and Champions are both pretty good.
Shadowrun was not as good as Cyberpunk, originally, but it is now. Gamma World was good, but Aftermath was better, and Marrow Project at least as good.
But Omega World was brilliant, because of Gamma World.
Both Vampire and World of Darkness did good jobs with this.
Star Frontiers was better than Traveller in this department, but Space Opera may have been better than either.
I’m not comparing the quality of these games as games. Just the ease of branding offered by their names.
I think about this, when I am working on things like Really Wild West, which I hope does a good job of immediately identifying itself as a kind of over-the-top Weird West setting.
Enjoy this content?
Back my Patreon to support the creation of more of it!
https://www.patreon.com/OwenKCStephens
Sometimes It’s a Hobby. It’s Always a Job.
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.
And Patreon is part of My Job
Or at least, an important part of my career. If you find any of my posts useful, be they game industry essays, game material, or just assorting musings, please consider supporting their creation by becoming a patron.
36 Years of Thought on Alignment in 500 Words
So, here is my entirely personal and unofficial guideline to alignment, based not on any one game system within the D&D/D20 lineage, but my opinions evolving over 36 years of playing in games with systems using Lawful, Chaotic, Neutral, Good, and Evil to make 9 alignments.
Lawful characters believe orderly systems are most likely to achieve their goals and be most effective overall, and consider the faults of orderly systems to be more acceptable compared to the dangers of a system that is too lose and disorganized. They fear anarchy more than tyranny.
Chaotic characters believe loose, adaptable systems are most likely to achieve their goals and be most effective overall, and consider the faults of loose systems to be more acceptable compared to the dangers of a system that is too strict and rigid. They fear tyranny more than anarchy.
Characters who are neutral rather than Lawful or Chaotic see strengths and weaknesses to both ways of doing things, and tend to work with whatever seems best on a case by case.
Good characters are willing to suffer to save others from suffering, and generally think most people should feel the same way at least to some degree (and that those that don’t are amoral).
Evil characters are willing to make others suffer to avoid suffering themselves, and generally think most people should feel the same way (and that those who don’t are stupid).
Characters neutral rather than Good or Evil would rather no one suffer to save someone else from suffering, and think both extremes are based more on dogma or emotion than rationality or realism.
True Neutral characters either don’t have strong opinion on any of this, or actively strive towards a cosmic balance.
For characters without some supernatural element to their alignment, these are trends, not absolutes. A lawful good character can generally believe that orderly systems are the most effective and that everyone should be willing to suffer to prevent the suffering of others, but still have a prejudice against orcs and think laws protecting orcs are wrongheaded. They are, in those moments, neither lawful nor good, but as long as those moments are not common or major (or cause the character to act in a way majorly at odds with their alignment), that’s an aberration, rather than something that automatically changes their alignment.
Characters with supernatural alignment elements still feel the same way as those without, but as a result of their very essential nature rather than merely their experience and opinions.
And in the short form, that’s it. It’s a set of tendencies that express your characters attitudes and methodology in the broadest of terms. Except where constrained by class, a character that is 51% lawful and 49% chaotic can be described as of lawful alignment (as can a character that is 34% lawful, 33% on the fence, and 33% chaotic). Characters are not assumed to be paragons of one of nine possible ethos descriptions, just trending toward one of them.
Patreon
As always my posts are made possible by the support of my Patreon backers. Please consider joining them!
A Post Script
I have never understood wanting to use game rules to claim a fictional reality must conform to some very narrow view of how it’s cosmology or physics “work” because of how the game rules are written.,
Yes, those are the mechanism we use to have fictional characters interact with a fictional world. But the game rules are always a simplified expression of the complexity of a whole reality, even an imaginary one.
No one claims that in a d20 game, science will have determined that every creature in existence can only increase in lifting capacity by certain quanta of increased weight, even though by the game rules that’s true–when you go from a 17 Strength to an 18 your lifting capacity jumps by a set amount which is the same for everyone. But we all know that’s a granular simplification in order to have a playable game.
The same is true of absolutely every aspect of an RPG, from economy to ability scores to alignment to skills. Including alignment.
Another Trip Around the Sun
Today is the four-year anniversary of Lj’s and my arriving in Seattle, and here I am again in a new apartment, surrounded by boxes. That makes it feel like I haven’t made much progress in four years, but that’s objectively not true.
In that time I have developed more words than in the ten years before, written about half as much as the two years leading up to it but finally gotten an Adventure Path adventure done, moved two more times, fallen in love with a restaurant that closed but took the friendships I made there with me, been to seven different conventions (a few of them many times), helped shepherd a brand new RPG into the world in Starfinder, been taken to the ER, visited friends in the ER, and acquired a cat.
I’ve learned a lot since my arrival, about myself, and Seattle, and game design, and challenges other professionals face that I don’t, and challenges I face that some other professionals don’t. I have created, and helped others create, and talked to a lot of colleagues and fans and friends about things that never would have come up in my original hometown. Of course I have also missed a lot of things from my old social group, who collectively still manage to play games with a frequency I can’t come close to matching.
It’s been a huge change and, four years later, I’m still adjusting to it. But I am also still looking forward to what happens next, with opportunities I knew I couldn’t guess at but that would come only with this huge risk continuing to pop up.
I can’t say I have no regrets. I am too introverted, and too trepidatious, and miss too many lifelong friends not to have regrets. But I can say that knowing what I know now, I’d still make the same decision. There’s no question this was a smart move for my career, but it’s up to me to make sure it’s a smart move for the rest of my life.
Lin to My Patreon
New Video: The Aftergame (episode 1)
On Being a Full-Time Tabletop Game Freelancer
This grew out of a response I wrote to someone considering full-time freelancing on Facebook. It comes with some provisos.
I haven’t been a full-time freelancer for nearly 4 years now. Things change fast, and no one still freelancing is going to bother to keep me in the loops, so while I stand by the generalities and warnings, the specifics may well be different nowadays.
I had a spectacular set of advantages when my freelance career really took off. While I went to full-time freelance sometime in 1997, at the time my wife made enough money, and got enough insurance, that my miserable first few years didn’t need to be self-sufficient. It’s when I restarted full-time freelance in 2001, after being laid off from Wizards of the Coast, that I had to cover my share of buying houses, paying all the bills, cover insurance, and paying college expenses based purely on what I could earn as a freelancer. And at that point, I was a d20-proficient writer during the d20 boom, multiple people who left WotC to start their own businesses or work as editors and developers for bigger companies knew and liked me, and I already had some major game titles under my belt thanks to 14 months as a WotC designer.
That made things much, much easier.
I was a full-time freelance RPG content provider from 2001 to 2014. So it can be done. But it’s hard.
I lived in Norman, Oklahoma, one of the cheapest places in the US to live and, thanks to being a college town, one that still had a fair number of modern amenities. I recommend finding cheap living options, whatever that can mean for you.
I discovered being a full-time freelancer was actually three jobs.
>First, you have to get work. That means promoting yourself online, contacting potential clients, and going to conventions or similar events to make contacts and network.
>Second, you have to do the work. This is the only part anyone pays you for.
>Third, you had to get paid for the work. Most of my clients were great, but I *still* have a $2000 outstanding bill for a project that got published, and numerous pay-upon-publication projects that were never published, despite me doing my part, and thus never came due.
I strongly recommend spreading yourself around to as many kinds of writing as you can. I once traded writing copy for a repair shop’s website for $600 in repairs. which is good, because I did not have $600. In bad periods I worked for trade for food, yard work, clothes, and even editing or similar favors for other work of mine. Much of that work was not game-related.
I joined Super Genius Games, and when I left it began Rogue Genius Games, so I would always have a place to write, when other companies weren’t hiring. Of course that meant I only made money on those projects if people bought them, since it was all on royalties. Before that I wrote for d20 Weekly and later Pyramid magazine because they would publish whatever I wrote, without fail, every week. And they paid on time.
It isn’t always smart to start your own game company, but it is always smart to look for a place that will publish you regularly. They may pay less or pay only royalties. You DO need to get paid, but I found a mix of high-paying but rare work and lower-paying or royalty work that was always of often available was the way to make ends meet.
Magazine columns were great. Lines with regular releases and developers who liked me were great. One advantage of smaller projects is that you often do less work before you get paid. A 30,000 word project sounds great… but it’s 3-6 weeks of work you have to do before the clock even starts on getting paid.
Similarly, ongoing contract work is great. Especially if it pays by the month. This is rare, but there are companies who need a single developer or editor, or project manager (or, much less often, has a whole contract staff) that will pay you for a certain amount of time or a certain cut of what gets done, every month. This is a huge help, as it cuts down time spent getting work and tracking down payment for work. Even a small monthly amount can help balance the budget (and see Patreon thoughts, below.)
Don’t work without a contract. Look at the terms. An advance is best, but almost nonexistent nowadays. Pay-upon-acceptance, especially if it talks about when you’ll be accepted by and what happens if you’re not, is great. Pay upon publication kinda sucks, but is fairly standard. Flat rates are often better than royalties, but royalties are a legitimate business plan. I’ve made more money on freelance projects that paid royalties than I ever have on flat rates. of course, I’ve also had such projects end up paying nothing or nearly nothing. And, full disclosure, my own company (Rogue Genius Games) mostly pays royalties, so my opinion on this may be biased.
Your budget may be feast-or-famine. My wife and I were very cautious about spending money when a big check came it, because we literally did not know how long it had to last. We tried very hard to do nothing on credit, because credit can pile up and kill you, but even so after 13 years of freelancing I had tens of thousands of dollars of medical and educational debt that we still haven’t fully paid off.
The 80 hour work week because my norm. The 100 hour work week happened way too often. I pulled more than one 30-hour “all-nighter” shift, a feat I am physically no longer capable of pulling off.
I can’t recommend full-time freelance writing tabletop games as a career choice. In my case, because I had cared about games more than a career or education, I ended up with no other marketable skills.
But if you feel you must try it, I hope you get advice from lots of different people first, and I wish you well.
Patreon
Things like Kickstarter and Patreon have change the potnetial freelance landscape. I recommend everyone have a Patreon-like subscription service and a blog or similar ongoing outlet you can ask people to pay you to continue.
And, of course, I’d appreciate it if you consider supporting mine. 🙂
Act accordingly.
Addendum the Third: There is no shame in being a part-time freelancer. You can do it as a second job, or as a hobby. You can also do it mostly, then with some little extra thing on the side to make sure you survive. I’ve known awesome freelancers who were fast food dishwashers, Uber drivers, substitute teachers, and temp workers. If that’s what you need to have a safety margin, or to live at least part of the life you want to live, do it with your head held high. If, someday, you feel secure in leaving the non-freelance part of your life, great. If not, your work is no less ‘real” or “professional.”
