What was originally just a few Facebook and Twitter posts grew into the Monday post About Tabletop Games Based on Licensed Properties, which lead to Tuesday’s More About Tabletop Games Based on Licensed Properties, Wednesday’s About Writing Tabletop Games Based on Licensed Properties, and yesterday’s On Writing With Licensed Game Rules. I hadn’t intended for this to be a weeklong series but… here we are.
So, I have one more semi-related topic I think bears mentioning.
In all the previous articles, I was talking about the complications, considerations, and connected issues when working with someone else’s intellectually property (IP) that you access through a license. But there are also times when you may find yourself tempted to work with other people’s IP without having legal access to it. You might feel you are within fair rights use, or think it’s fine because it’s an “Easter Egg,” or that no one will care, or it’s okay because you’re not charging money for the end product.
I am not a lawyer. This is not legal advice.
DON’T play with other people’s IP without a license unless you have paid a lawyer to tell you it’s okay.
I recommend even avoiding Easter Eggs, and be sure when drawing inspiration that your creation is not a carbon copy of the thing that inspired you. And if you do write Easter Eggs or draw major inspiration from a source, tell your developer/editor/publisher, so they can decide how much they are comfortable with that you have done.
And that’s the end of my thoughts for the week.
Stay safe, take care, be kind.
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Another day, another follow-up post growing out of Monday’s post About Tabletop Games Based on Licensed Properties. In fact, another response brought on by a follow-up from Egg Embry, who asked about working on games with licensed game systems, and how those compared to working on games using licensed game systems.
While this week I have been focused on tabletop games that are based on a licensed IP, such as a Star Wars rpg, that’s not the only kind of licensed game material a game professional may get assigned to work with. There are also licensed game systems, such as when you use a system released under the Open Game License (OGL). While some of the research and approval process can be very similar, there are some very different concerns that can come up when working with licensed game systems, rather than licensed IPs. This is often the case when doing work for what are referred to as “third-party publishers,” (or 3pp), who publish adventures, supplements, and expansions for games by other publishers.
Of course who is a 3pp isn’t necessarily a clear-cut question. There are a number of games that have their origins in the OGL version of the d20 System, including 13th Age, Mutants & Masterminds, both editions of Pathfinder, and Starfinder. To most fans, that doesn’t make Pelgrane Press, Green Ronin Publishing, and Paizo 3pp… at least not for those game lines, where they are the publishers of the core rulebooks. (Of course some fans DO think of them as 3pp–which mostly doesn’t impact working on such projects, but is something a freelancer should be aware of if it comes up in conversation).
However, a writer working on those game lines should be aware they are published under the OGL, and therefore have rules and restrictions that may not apply to other game projects. (And please note – I am not a lawyer. NONE of this article is legal advice.) This means that the writer should be aware of what license applies to the rules of the game, and what a publisher expects the writer to know. for example, when operating with the OGL, the end product needs to include the Section 15 entry (part of the OGL published in every OGL product) of any protect it draws material from. That means as a writer if you include material from another OGL product (which you shouldn’t do without talking to your editor/developer/producer), you need to tell your publisher what that product was so they can include the required information.
And that highlights on of the biggest issues that can crop up when dealing with licensed game systems — many of those licenses are open, and can be used by anyone who follows their restrictions. That means publishers, producers, developers, and freelancers may well decide to use such a license without properly understanding it. this is much less common when dealing with a license for an intellectual property, since those negotiations tend to involve an active discussion on the terms and helps insure a meeting of minds. But the lower barrier to entry for things such as the OCL or Creative Commons licenses, or the very-different Dungeon Master’s Guild and similar programs, means people may try to use them without truly understanding them.
Ideally, it would be the job of the publisher to ensure anyone they hire or contract to work on a licensed game line was aware of the terms and requirements of that license before assigning them work. Pragmatically, many companies (often even bigger ones) simply do not have the spare time (or in some cases the instructional expertise) to undertake that effort, and depend on professionals to know how to operate within such licenses. Practically, it means knowing how common licenses work can make it easier to get work with such publishers, and reduce the risk of stumbling over some legal landmine.
Of course many people will quite reasonably say that such legal landmines are risks exclusively for the publisher, not the hireling… which may or may not be true. Anyone working for a publisher operating under a licensed game system should read their contract (you all have contracts for all your freelance work, right?), and see what you are agreeing to in terms of your responsibility to get the legal niceties right. While I am not aware of a freelancer even getting hauled into court over such a contract (nor am I aware of any lawsuits that settle OGL enforceability or interpretation), I am personally risk-adverse when it comes to these things, and like to stick to both the letter and spirit of contracts and licenses I agree to by using, even as a freelancer.
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Apparently this is becoming Licensed games week on my blog, as I continue to respond to questions about Monday’s post About Tabletop Games Based on Licensed Properties. A number of people had questions and comments about the stresses, additional work, drawbacks, and benefits of working on licensed game projects. I could go on about those topics for hours, but instead here’s a few quick thought snapshots.
First, be aware that you almost certainly won’t own any of the work you do. Work-for-hire is the norm in tabletop game writing in any case, but when you are working on a licensed IP, the IP holder is sure to insist on owning anything related to the IP you come up with. Indeed, you likely won’t even be credited for the ideas you create when they are reused. I know I created the ILH-KK Citadel Cruiser, Hutt battle armor and the Kilian Lords for Star Wars, but when those have re-entered other Star Wars projects, my name is generally no-where to be found.
Publishers can (and should) contract to keep the rights to the game systems and mechanics they create for a licensed game, but any IP-related ideas outside pure mechanics is going to go to the IP-holder. And, honestly, that’s reasonable.
The research requirements can be heavy, but whether they are heavier than typical game writing depends very much on what kind of game writing you’ve gotten used to. If you have mostly been making up things whole-cloth for cartoon universes where revolutionary mice use psychic weapons to fight against an authoritarian spider aristocracy, you may not have had to do a significant amount of continuity research in your game writing. On the other hand, if you’ve been working on games that try to match historical periods, or that have significant game continuity (some game worlds go back more than 40 years at this point), the skills to learn about the setting, match existing continuity, and project ideas appropriate in tone and theme translate well to converting IP-concepts to game design.
The approval process can throw a monkey wench into the process, though that’s more likely to impact a publisher’s process than a writers. It’s essentially another level of editing and development. If you are exposed to it at all (many developers handle approvals themselves, rather than have writers do it), the largest issue is to not take it personally, and to try to learn what the IP owner wants by examining what gets approved, what doesn’t, and what gets approved with changes (and how they are changed). The IP holder is unlikely to have either time or interest in training licensees in how to write for the IP, so learning to train yourself on feedback is a useful skill. (It’s also one reason people who have successfully worked on multiple licensed projects are often sought out for new licenses–the publishers and project leads have reason to believe you have mastered the process of licensed project writing, rather than just having a good grasp of a single IP).
Honestly I have found it’s a skill much like any other writing specialty. It’s stressful the first few times you do it, but once you have an idea of how to tackle it it’s much like following any other structured outline.
And while your name may not be directly attached to ideas you create for the setting of the IP, the increased visibility of a licensed game certainly can get you more attention based on your involvement. My work on the three d20 Star Wars RPG games remains one of the places people recognize my name from, and both fans and publishers have mentioned following my career after seeing my name on multiple Star Wars game books. And on a resume, having been involved with recognizable properties can impress people who may never have heard of The Genius Guide to the Dragonrider, but definitely know what Star Wars and Star Trek are.
And, often the money is better than usual for the writers and editors. Not always, by a long shot, but often enough to make it worth considering branching into licensed writing if you haven’t already.
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Game publishers sometimes pay me to consult on ideas, issues, problems, or plans they have. Unsurprisingly, often the people most interested in advice are ones who aren’t sure what their questions really are. Often the trick is to get to the core issue someone really needs help with, and once they know what they don’t know, the client can make great strides on their own.
On more than one occasion, it’s taken $200 worth of time to sift out that what the client really needs is to ask themselves these questions. The people who have paid me to get here all seem happy, and have come back to pay me for more consultation, so despite how simple this seems once it is laid out they appear to have gotten value for the time and money spent getting to this point.
But, while I don’t want to talk myself out of future gigs, I DO want anyone struggling with game publishing, who ALSO falls into the category of folks who can benefit from asking themselves these questions, to have a chance to do so much more easily and cheaply than paying me to consult and not having any idea what their core problem is.
So, here’s among my most common end result on consulting:
For your company, and each game line, and each game product, ask yourself:
What is your target market?
What market do you think you are currently reaching?
Where do you think is a better place to reach the market you want?
Are there other markets that might be interest you haven’t thought about?
What else could you afford to do, in terms of time and resources, to reach those markets?
When you do get the attention of customers in a market, can they quickly and easily find out why they might be interested in your product? Can they then quickly and easily be at a point where they can give you money for the product?
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The various AGE (Adventure Game Engine) games from Green Ronin all have the same core mechanic — to see if you succeed at something, roll 3d6, one of which is a “Stunt Die.” Add the 3d6 and any bonus you have, and compare to a target number.
If any two of your dice are doubles (they have the same value), you earn “stunt points,” equal to the value of the stunt die.
In this article, I want to talk a bit about bell curves, critical success systems in RPGs, and what the odds are you’ll get doubles when your roll 3d6. And I’m using pictures of the Expanse RPG Dice Sets, since they are cool-looking and currently being crowdfunded on Kickstarter.
So, lemme start with three important notes.
I am NOT the developer for the Expanse RPG. That role is very ably handled by the extremely talented Ian Lemke.
Second, I AM biased in favor of Green Ronin, since they employ me to be the Fantasy AGE developer and I thus benefit (at least indirectly) if their projects make lots of money. So, yes, this post is happening at this time in part so I can highlight this Kickstarter. (But it’s also good game design analysis. 😀 )
Third, this is my own analysis, not an official AGE post which has been developed and edited. So any mistakes in the math or logic are entirely mine.
Okay, with those disclosures all disclosed, let’s look at bell curves. (We’ll get back to doubles, I promise.)
Many games use a single die to determine success, such as a d20. With this kind of resolution mechanic, you get a flat probability–that is, the chance you’ll roll a 4 on a d20 is the same as the change you’ll roll a 19, 5%. That means if you need to roll a 17 or better to succeed, you have a 20% chance of succeeding (5% for each number that could turn up that is a 17 or higher). This means that the best possible result (and the worst possible result) have the same probability of happening as an average result.
That also means that, barring some kind of automatic success system (such as saying rolling a 20 on the d20 always succeeds), any bonuses have a flat amount they add to your chance of success. When rolling 1d20, a +1 bonus is an additional 5% chance to succeed whether you need to roll a 3 or higher, or a 13 or higher.
And if you DO have an automatic-success or automatic-failure mechanic, the odds of that are also easy to calculate. if every time you roll a d20 on the d20 you succeed, or have a critical success, there’s a 5% chance of that happening with each roll.
Some people love the simplicity of a flat probability. Other people hate that “average” results are no more likely than high and low extremes.
So, enter the bell curve.
Rather than a single die with flat probability, AGE uses 3d6. While the average result on 3d6 is the same as on 1d20 (10.5), on 3d6 you are much more likely to roll something close to that average than either the high or low extreme. Despite having a small total range of numbers (3-18, rater than 1-20), the chances of getting that highest result on 3d6 is only 1 in 216, or a little less than one-half of one percent. On the other hand since there are 27 possible combination that can add to 11, the odds of rolling an 11 are 12.5%. The odds of rolling a 10 are also 12.5%. So, 1 out of every 4 rolls with 3d6 is a 10 or 11.
(This means that if you get a +1 bonus to your roll in AGE, rather than giving you a flat +5% to your chance of success, the value of the bonus depends on what your target number is. If you need a 17 or higher to succeed, your bonus only matters if you roll a 16. Your odds of rolling a 16 are 2.778%, and your odds of rolling a 17 or 18 are 1.852%, So the +1 bonus has increased your total chance of success from 1.852% to 4.63%. )
One of the drawbacks of a bell curve is that since it skews strongly towards the average, using it for task resolution can get boring. Even gamers who dislike a natural 20 being just as likely as rolling a 13 on a d20 tend to enjoy the chance of something *interesting* happening when you roll a 20.
The AGE system overcomes this with the stunt rules.
While success or failure of a task in AGE is determined by rolling 3d6, each roll also has a chance of producing stunt points. You can then use those stunts to perform special maneuvers and neat tricks. This adds some variety to task resolution, while still maintaining a bell curve so average-difficult tasks can be accomplished dependably.
In AGE, if any 2 dice in your 3d6 roll are doubles, you get a number of stunt points equal to the value shown on your stunt die. Which naturally leads to the question– what are the odds that when I roll 3d6, at least two of them are doubles?
So, to calculate this we need to know the chance the first two dice will match (which is 6 in 36). We then add the chance that if the first two don’t match (5/6 of the time), with the first and third or second and third match (2 in 6), or 10 in 36. That means we get at least one set of doubles in 16 our of 36 possible combination, or about 44% of the time (44.4 repeating, to be precise).
Of course if we DO get doubles, it’s the stunt die that determines how many stunt points we get. That’s a flat 1-in-6 chance of each possibility, so while we get SOME stunt points 44% of the time it’s about a 7.5% chance for each possible value of stunt points 1-6.
That’s important, because in AGE more powerful stunts cost more stunt points. This lets us have*something* interesting happen in nearly half of all important 3d6 rolls, but it isn’t always the maximum 6-point stunt result. We get the benefit of the bell curve leaning towards average results, while adding a good chance of some stunt points being generated, but only a relatively small chance of getting the best possible 6-stunt-point result.
To be clear, you DON’T have to understand these probabilities to play the game. It’s a useful analysis for game designers and GMs who want to know how likely stint points are, but the system is clean and simple enough you can just roll your dice, check for doubles, and enjoy the dice giving you fun things to do.
[PromotionModeON]Especially if you have a shiny new set of Expanse dice![PromotionModeOff]
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There’s a famous quote about insanity — “Insanity is doing the same thing over and over again and expecting different results.”
So, in that regard, I am afraid the tabletop game industry is insane. There are lots and lots of things the industry keeps doing, over and over, and being surprised when it gets the same results.
And, I don’t know that there’s much chance of that ever changing. Because the tabletop industry just isn’t big enough to bring in the kind of analysis and training it takes to properly analyze, iterate, redesign, and take risks about how the whole system is put together.
Here’s just one example — a single data point in a sea of oft-unexamined assumptions.
When my wife was earning her Bachelor’s Degree in Fine Art, she took a class titled “The Business of Art.” In included how to promote yourself, write a resume, respond in an interview, create a portfolio, and so on. While there are more and more college-level classes about game design, they A: tend to focus on digital games (which represent a LOT more money as a market), and B: don’t have tabletop equivalents of “The Business of Games.”
So each new wave of people wanting to do professional ttRPG work have to cobble together best practices and a career path for themselves. Quite reasonably, they look to what was done by people who have the work they want to do and try to replicate, emulate, or adapt those steps. (Adapting is an important part — I came up through a series of magazine articles, from different tabletop-RPG-focused magazines, owned by different game companies. That’s not really an option anymore.)
So the same advice keeps going out, through the same venues… and keeps drawing in the same kinds of creators. Those of us who have ttRPG careers are asked how to get started–on social media, and at conventions, and in fan interviews– and we advise getting on social media, going to conventions, working with small presses and maybe fan projects.
So, the process that we found, and that appeals to us and is friendly to us, is the one we recommend to people (because, to be fair, it works), using the very venues we recommend newcomers depend on to move ahead, is held out as the best path for new talent.
On a larger scale, it’s similar with game companies. Open calls and contests (advertised in the same forums the people running the companies already use), and panels at conventions the company already have a presence at, and waiting for freelancers to drop pitches or ask how to get started at company forums or using company emails.
And, again, that’s reasonable.
But it does mean as long as the majority of elements in the game industry do what we have done, we’re going to get what we have gotten.
So, why is that a problem?
Because diversity is gold.
Because if we want to industry to grow beyond its roots, somehow there has to be an influx of new ideas, new creators, and thus new markets.
Of course some amazing and talented people DO manage to make their way into the industry. Some find the road that we take and use it despite it being harder for them. others forge whole new paths without any help from the existing system. Not only am I not claiming these folks don’t exist, I am specifically saying a bunch of them are BETTER than many of us who took the well-trod path.
But in terms of sheer numbers, creators from marginalized groups remain very much the minority. Which means their input remains a small fraction of the total amount of ttRPG content, and that most game companies don’t have a balance of different experiences and backgrounds among their creators.
A lot of ttRPG game companies are currently looking at the question of whether their products have been, or currently are, vehicles for racism, bigotry, and the reinforcement of negative stereotypes. There are tools that can (and should) be brought in to try to do better, including more outreach to different creators, research of the cultural impact of aspects that inspire new games, and bringing in sensitivity readers.
But as for the origins of the material, the people deciding what book gets publisher, which creators get bigger budgets, who is seem as “qualified” to work on big IPs — if the industry as a whole keeps doing what it ha been doing, it’ll keep getting what it has gotten.
This past weekend was Digital Gen Con, and my friend and colleague Stan! had the idea of us trying to recreate some of the “Bar Con” hanging out that many pros love to do after hours at a convention. So we did… and we saw a lot of people we would have seen in person.
But we also had some folks participate that couldn’t have made it to a physical Gen Con, and many who would find gen Con a terrible experience for any of a number of reasons. I was something different.
It’s far from a solution to the insanity. But it did make me think maybe there are more chances at improvement than I have normally thought.
That’s just one small part of the imperfect nature of the #RealGameIndustry I have seen over the years. But I hope shining a spotlight on it might convince one or two other people in the industry to look at new ways to getting information out. New ways ti tutor and mentor people. New ways to find creators.
New ways to change from insanity.
Speaking of trying new things, for a number of years I have dedicated more and more of my writing time and effort on publicly-available posts on this blog. I can only do that as long as my patrons can support the time it takes. So if you find any of the essays, reveals, ideas, or game material on this blog interesting or useful, please consider chipping in to my Patreon for as little as the cost of one cup of coffee a month.
(Image by Jessica Dale)
For about a month now, I’ve been talking about the realities of the U.S. tabletop RPG industry, as I see them. I’ve posted thoughts on Facebook and Twitter, including under the hashtags #RealGameIndustry and #NotesFromAnRPGDev. ENWorld also created threads to discuss many of these shortly after I started, and again a week or so later. (And, I just discovered, a third time on July 4th).
And a lot of those observations paint a pretty grim picture. Poor pay. No security. No prospects for retirement. Regular harassment from fans and pop culture commentators. A fairly wide spectrum of people who think what you do requires no special talents, and that’s why you can’t make a living at it, and if you wanted to be able to live in moderate safety you shouldn’t picked a “fun” job like making games. These, of course, are intermixed with people who feel the need to interject about how common these problems are in all industries–which certainly suggests picking a different career might not be as helpful as the first group wants to claim.
Of course, my experiences aren’t objective or somehow universal of course, but I have been involved in the industry for 23 years, as a freelance writer (full and part time), contract worker, staff designer, staff developer, freelance developer, producer, line editor, publisher, and consultant. But even then, it’s one narrow slice of the ttRPG industry. A number of other professionals have opined about what they agree with, and what they feel like need qualifiers, but there’s been little real disagreement that I have seen.
So, if it’s a terrible way to make a living—why do I? Why stick with an industry for decades if even the “success” of getting hired on-staff by the two biggest RPG companies in North America isn’t enough to leave me able to pay the bills without having to scramble every month?
I was writing the headline of this article, and my wife leaned over, and in all seriousness asked me “So, why DO you do it?”
I confess that in the past 6 months, I have begun to think maybe I shouldn’t. Maybe it’s time to hang up the dice, at least professionally, and switch to a “normal” job. I still may. But not this week, which brings us back to “why?”
There are two big reasons.
1. I Want To Help
And I think I can, but only from the inside.
So, what do I mean by help?
I mean help gaming, as a hobby, and game professionals, as a group. I want to work to make the ttRPG industry create the most good situations for the most people. That means working to improve conditions and stability, trying new things and seeing if any of them work better, answering questions, tutoring people, putting folks in touch with other folks for mutual benefit, and publicly fighting for diversity, inclusion, and ethical game designs.
And while it may be hubris to think I can make a difference, I’d rather struggle so survive if it means there is a chance I can make other people’s struggles easier. I’ll never be the person who determines if I have succeeded at this, of course. And I may never know if I really improve things. But I do get feedback that convinces me the effort is worth making.
It looks to me like there will be people trying to be full-time RPG professionals for the foreseeable future. I want to help them, and at the same time help the industry, hobby, and fans of gaming be the best they can.
2. I Think RPGs Are Important
I think ALL games are important, but especially ttRPGs. Roleplaying Games brought me most of the good things in my life.
High school was harsh for me, and I can honestly say I was miserable most of the time and considered suicide more than once. But RPGs let me explore ideas I was too afraid to discuss, helped me form a strong social support group, and let me make friends I am still playing with 25 and 30 years later. Nothing else came close to letting me deal with my pain, and learn something about bravery.
I learned empathy through RPGs, and regret, and problem solving. It encouraged me to learn about history, grammar, math, probability, tactics, risk-taking and analysis, even a theory of fun. I doubt there is any positive aspect of my personality I can’t trace back to RPGs. And a lot of things I know were terrible parts of who I was growing up I overcame through interactions with RPGs, and the people I met through them.
My tightest bonds outside my immediately family came from ttRPGs. I met my wife through roleplaying. My best friends, from people I have known for more than 35 years to people I just got to know in the past year, through roleplaying. I have gotten to learn from geniuses, and help put folks much more creative than me on easier paths, through roleplaying games.
Further, I believe the influence of ttRPGs has much bigger ripples than people realize. And I want to have a small hand in what those ripples look like, and what messages they send out.
So yes, even when some person or persons leaves comments on videos claiming I am so fat and disgusting no-one should ever look at me or trust me, even in weeks when I have to spend 60-70 hours scrambling to pay the bills and arrange for opportunities to do the same thing next month, even when groups of people claim my ethics and morals are just schemes to draw attention, even when people smarter and more creative than me throw in the towel and leave the industry — or maybe especially those times — I feel the drive to keep doing this.
I know I cannot make a huge difference, but I feel this is the tool I can best use to do the most good, for the most people.
If you feel like supporting me in those efforts, you can make a huge difference by supporting my Patreon.
(Photo by Tab10)
I’m interrupting this week’s at-your-table game content to discuss the state of the industry. We’ll get back to fund stuff, but this is important.
I’ll start with some recent history.
The 2016 U.S. east coast blizzard made a noticeable negative impact on print RPG sales. Stores were shut down, people did not go out. It hurt. Companies suddenly were not selling like they had been, but expenses didn’t go down at all. While it didn’t drive anyone major into bankruptcy, it did have serious impacts. Budgets were slashed. Plans for new hires were axed. Raises were cancelled. Projects were scaled back. Not necessarily at every game company–some had very deep pockets from parent companies or investors and could just take the hit — but more companies than not had to change plans to survive.
Sales of PDFs did not see a significant uptick. Sales did not spike to higher-than normal levels after the snow melted and life got back to normal. Inventory for products created just before the blizzard did sit around longer. Some never sold. The expected money that would have been made that season was just gone.
Obviously the past few months have been worse. Worse for publishers, worse for companies, distributors, and individual creators.
But if the current upward pandemic infection trends continue and/or a second wave is bad? It doesn’t have to be the whole country to kill already struggling companies. The 2016 blizzard was a bit less than 1/3 of the US population, and everyone knew it couldn’t last. But it’s economic impact on gaming was widespread and serious.
There’s a reason so many ads currently begin with “In these uncertain times.” No one knows when a vaccine is coming. No one knows how bad the current rising numbers are going to get, or if they will spike again in the fall. In the US, there does not seem to be any national plan to handle this pandemic. Some places are depending on voluntary steps. Others are mandating masks.
Unlike 2016, there’s could reason to fear the impacts could keep going, or get worse, for a year. I hope a vaccine comes out before that, but I can’t depend on it. Not as a writer, and not as a citizen trying to pay the bills.
So even as governments open for business, sales are still down. They are improved over total lockdown, obviously, but companies aren’t getting the lost money from the lockdown back. Ever. The blows taken in the next few months don’t have to be as bad as the lockdown in order to kill stores and companies, and drive creators out of the industry forever, because everyone already took several serious financial hits.
If you want professional ttRPG material in the future, there are things you can do, now and in coming months,
Support your local stores if you safely can. Some stores are doing curbside pickup, some are doing delivery.Some are allowing a small number of people wearing masks in at a time. I don’t want anyone to risk their health for games, but if your safety measures allow for contactless delivery, and you have the money, those stores are still hugely important. They sell more, total, than online places (yes, including Amazon). And they bring more new people into the industry.
Support game companies. Buying from a local store absolutely counts, but if that’snot an option for you for whatever reason, look to see if the publisher has their own online store. Look to sign up for mailing lists and get special offers. If you have to buy through online stories, try to find a game-specific store you like and buy through them. The huge distributors don;t care about RPGs, and they’ll survive or not with no regard to how many dice and game books they move.
Finally, support game creators directly if you can. Even those who have full-time on-staff positions with game companies often make ends meet by taking on additional freelance… and that freelance is greatly reduced right now because game companies are tightening their belts. If you have a creator you particularly like or enjoy the work of, find if they have a Patreon, of Ko-fi, or other means of receiving money.
Because if the stores go, the game companies will suffer. if the game companies go, the creators will suffer. And if the creators go?
Then there’s much less chance the game content YOU want will even be created.
And, yes, I have a Patreon. I am a full-time freelance and contract writer now. I pay for my own insurance, pay my own social security and self-employment taxes, have to make quarterly payments on income tax, and then try to pay all my bills with what’s left of the money made on words.
We are at a point where I am asked this enough, and need to refer to it often enough, that having a statement about how the Covid-19 pandemic is impacting both me personally and Rogue Genius Games, the company i am publisher for, seems warranted.
Put simply, while we are not shutting down and still plan to produce all the same content, the schedule is going to be less assured.
Some of this is a matter of expected resources being well below our normal projections. Sales of content are down in numerous venues, in some cases down by 80% or more. Numerous freelancers find themselves unable to spare time to take on projects they once would have happily accepted. Less money coming in and fewer people able to take on the work in any area of my mix of personal and professional ventures impact other areas.
Some is a matter of time requirements. There are new business concerns that require extensive research and paperwork. For example: can Rogue Genius Games benefit from the Payroll Protection Program, and/or Economic Injury Disaster Loan emergency advance? Can any of our staff or freelancers gain relief through Pandemic Unemployment Assistance? Getting answers to these questions is not easy, and often requires going through a lengthy and tiring process.
And some is a matter of personal availability. As a high-risk individual in a household with other high-risk concerns, I have to spend more time and mental effort ensuring that daily activities don’t introduce unacceptable health risks. That has so far eaten at least a little into free time nearly every day.
So, here’s how those challenges are currently impacting my ongoing projects.
RGG Crowdfunding Projects: At least at the moment, we don’t expect any significant delays to any open campaigns. There are potential problems we need to keep an eye on (if our chosen print On Demand printers stopped operations, for example, we’d have to consider how to pivot).
RGG Products: There are a lot of exciting things RGG has been working on, from the Talented Class line of products to more solo adventures. Anything that we haven’t already promised by a given date is going to be at the back of the line for our time and attention. We are still putting things out regularly, but some bigger projects we had hoped to launch are just going to have to wait.
52-in-52: When I put together the schedule for this ambitious subscription, I just didn’t allow for the impact of something like a global pandemic. While it’s ongoing and has produced a ton of content, we’ve already slipped by a week, had to push one project back, and it looks like we may slip by another week.
Rest assured, every subscriber will receive every one of the 52 pdfs promised, each presented in 4 versions for the 4 supported game systems. But it’s possible it’ll take us a bit longer than 52 weeks to get all 52 projects out.
That said we are looking at ways to get caught up, and I’ll update folks here if we have any news on that front. Otherwise, we’ll just keep producing products and sending them out to subscribers regularly.
Patreon/Blog: So far whenever I fall behind on the 5 days/week posts my Patrons are making possible, I add the missing content within a week. That remains the plan.
Grimmerspace: I’m still going to be doing a lot of design work and running a playtest for Grimmerspace. They have made their own statement about how the pandemic is affecting them.
Conventions: Right now, with regret, I am not planning on attending any cons this year.
Other Projects: I still have outstanding freelance to fulfill, and work to do as a developer for Green Ronin. That work is being impacted, obviously, but not in a way that should delay or cancel anything announced by those companies.
For those who want to know how they can help, the easiest way to assist me directly is by backing my Patreon. Even just a few dollars a month of reliable, regular income is a huge boon. Also I depend on companies like Green Ronin to make ends meet, and they are currently being hammered by things like printers shutting down, game store closings, and distributors opting to not pay for products shipped for weeks or months at a time. Buy anything from Green Ronin’s own online store or DriveThruRPG store is a big help for them, and therefore to me.
Thanks for your understanding.
Stay safe out there.
Owen K.C. Stephens
Hey, creative person.
I get it. You have deadlines, and responsibilities, and bills, and people counting on you. People tell you to be kind to yourself, to take a break, to ease up… and you can’t.
I understand. I promise.
Only you can know what can be back-burnered, and what can’t. I won’t pretend to be able to give you advice on that front.
I also want to assure you, the trouble you are having now focusing on things? The lack of spoons, or inspiration, or concentration?
That’s the new normal. I can’t say we are ALL dealing with it. Maybe there are some folks who aren’t having trouble right now. But I haven’t talked to any creative that isn’t.
There’s an additional cognitive load on all of us. Worry, planning, concern, frustration, fear… those things take a toll. that toll comes directly from your brain.
The brain you use to be creative.
So, while I can’t tell you to take a break, or take it easy (because I don’t know if you are in a place where you CAN do that), I do want to encourage you to remember things are not normal.
Whatever you would do if you had something dragging down — illness, technical problems, jury duty, whatever?
Global pandemic qualifies for the same measures.
And everyone gets that.