(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.
(This article was originally written in two parts, for Tuesday and Wednesday publication. It can been combined into a two-fer article for today.)
So, a member of the party died, and the characters aren’t in a position to raise them. Or they foolishly ignored all the warnings about the cursed artifact, and now have a lich hand slowly taking over their soul. Or they played tag with a vampire, and lost so many levels they can’t recover that the rest of the adventure you have planned is way over their head. As a GM, it looks like you have a problem.
But what you have is also an opportunity for a solution — new encounters!
Rather than handwave the negative consequences (which can remove the sense of risk and stakes many players need to enjoy rpg games), or enforce them mercilessly regardless of the reduction in fun, you can offer the players a change to earn the solution to their problems, with more encounters.
Often, this takes the form of an imperfect patron.
The Perfect Imperfect Patron
A patron is a great way to add new options to a campaign. Players know there are other powerful movers and shakers in a campaign setting, so someone with access to things they lack, and thus the solutions to their problems, are a reasonable part of the setting. And, obviously, if you want to be able to use a Patron to introduce ways for PCs to undergo encounters to buy the answers they need, you want your patron to be a fairly powerful entity. This is where your archwizards, angels of allied deities, cosmic heralds of fundamental forces of the universe, and tech billionaires can be handy.
At the same time, you need the patron to be someone that both can’t just solve all their problems with the snap of a finger, and someone that can’t be relied upon to solve all the problems of the campaign (leaving the PCs with nothing to do). You need an imperfect patron.
You don’t want the PCs to be personal friends with Elmage the ArchEverything, because Elmage can likely just fix things without blinking. But if Elmage exists, and is nearly always in astral meditation protecting reality from cosmic horrors, it can be super-useful to know Elmage’s secretary. The secretary can’t just fix things, but DOES have access to the ArchEverything’s contacts and correspondence. Elmage himself can’t be awoken for something like this, but he has a lesser colleague who asked if Elmage knew any hearty heroes willing to undertake a weird journey, and that colleague An fix their problem… if they get their own help first.
Rather than an Angel, perhaps the PCs know an oracle, or medium, who can commune with powerful spirits but can’t guarantee the results. The tech billionaire is under investigation and can’t access most of her holdings, but she does have a friend in the right field she can put them in touch with. The Cosmic Herald has vast and ill-defined powers… but has also only had this job for 3 months and lost the manual. He’s sure he CAN just snap his fingers and fix the issue… but doesn’t know how. What he CAN do, though…
These kinds of imperfect patrons work best if you introduce them before you need them. Absent-minded demigods, long-retired and dottering high priests who just want to raise orchids. Lone bronze juggernauts of the God of Deals, who is left standing in the middle of a ruin where there was once a city, bound to wait there for ever for someone to need a deal badly enough to come talk to them. Folks who, when you first introduce them, clearly are not the end-all be all of the getting-things-done department, but have let slip to PCs that if things are ever REALLY bad, they might have… options.
So, what does an encounter to solve a problem look like? Some are obvious. The Cave of Wonders has this lamp, but is warded against Jafar, but if you go grab it, you can also have the Rod of Restoration you need.
Of course if a player is dead or unplayable, you may need to get more creative.
Planar Works Program
The Patron is more than happy to help the PCs with their problem… but in order to have the resources needed to do so, the PCs need to help out the Patron first.
Whatever Patron is working with the PCs has allies who often summon creatures for help. But there are cosmic threats afoot (as GM you can allude to whatever you have planned as a big plot point in 5 levels if you want, or you can hand-wave this by saying it’s all happening in adjacent realities, its just causing a shortage of resources) which leave the Patron short of souls/spirits/celestial badgers to send in answer to those summons.
So the Patron needs the PCs to fill in.
You can have the PCs (living and dead) be sent in lieu of whatever angels, demons, fey things or elementals would normally respond to a summons, or you can give the PCs NPC stat blocks for a few encounters. Regardless, you have them take the role of creatures summoned by heroes in other planes, planets, countries, or whatever. Once they cover 2-3 such events, they have bought their patron enough slack that the Probelem can be solved.
As GM you can have a lot of fun with this. First, since the PCs are being summoned, you can give them hints of plot elements normally off-screen. Planning for the Queen of Graves to be awakening in the Barrowmire, beyond the Shallow Sea? Well that may be 5,000 miles from the PCs bodies, but if a flumph cleric in the Barrowmire summons them to help fight the undead Regicidals who serve the Queen, the PCs can see part of the scene of things going badly, but without the time to do a whole lot about it.
You can also give PCs much different goals and challenges that usual. For example, a TPK isn’t a big deal if the PCs are summoned spirits who will return to their Patron rather than truly die. They may not speak the languages of their summoner, and have to quess what task they must perform. They might only be present for the duration of a single summoning spell–of if they can give the creature that summoned them enough aid, perhaps they can be re-summoned (with full health and daily abilities) multiple times during one fight. If any PC is looking for someone (a long-lost sister, the man who burned their town down), they could spot that individual at the summoned spot, but not know its exact location in the world.
Speaking of Patrons
This content is possible because of the awesome patrons backing me through My Patreon, which is an important part of my writing and game-creating income!
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.
Let me clearly open with this:
I am not in danger. I am not a threat to myself or others. I have a strong support network, which includes a lot of really good shoulders to cry on, ears to listen to me, and kind voices to give aid when asked.
I often write about the things I am going through in a way other professionals mostly don’t. Sometimes, the fact I do so worries friend and colleagues alike. That’s never my aim, and I sincerely apologize to anyone I have made uncomfortable. Online explanations of my mental state are part of my therapy process. Writing things gives me power over them, and helps me organize and contextualize my feelings.
And, I want other folks who are struggling to know they are not alone.
I also want now, in the front, to note I have a Patreon. If you find this writing useful, or just want to toss me some support, it’s a great way to help out.
I am an aging, obese, depressive, introverted, socially-awkward independent creative with impostor syndrome, civilian PTSD, and a genuine fear of deadlines, disappointing people, and criticism.
If you are thinking to yourself “Wow, given all that it sounds like the ONE job you should avoid is freelance game writer,” you have a point.
In times of pandemic, you reassess your life choices.
But I’ve been doing this for more than 20 years now, and as much as I want to shrug and give up sometimes, it really is a defining part of my own self-image. Intellectually, I am well aware I have achieved success many people consider noteworthy. I am also aware that as a hetero cis white male I have had a lot of unearned advantages along the way.
I recently wrote online “One of the major advantages to doing business over social media is that I can literally be sobbing as I type smiley faces and multiple cheerful exclamation points.”
And I meant that it is, at face value, a useful advantage. I mean, when I was the manager of a parking garage in the 1990s, if I was sobbing not only could I not just go on with my day without people constantly asking me if I was okay, it would be considered unprofessional. It would interfere with my job function, the perception of me, and my own serenity. But when dealing with things in an entirely text-based format, as long as I am together enough to make the post look professional and upbeat, it is treated as professional and upbeat.
But of course, I only know that because sometimes I DO write marketing text and otherwise interact with fans and freelancers online while crying. Normally it’s a pretty rare thing, only happening when something is timing-critical. Like if there’s a one-day sale of a big product, or if a Kickstarter is ending. In those cases, even if I am depressed, or bereaved, it needs to get done right NOW, tears be damned.
The current situation, of course, is anything but normal.
Right now I am crying more than usual. I am also more often slumping into a mind-numb torpor where nothing gets done, more often ranting and yelling at the corner of the room, self-medicating a LOT more often, and walking away from everything in total disgust more often.
In times of pandemic, there are more tears.
That’s not to suggest I have it especially hard right now, compared to other people. While money is tightening, I am not totally unable to earn funds like some folks. My job hasn’t depended on my going anywhere but my home office since last July, and even before that it was work a company could (and in the case of my last full-time employer has) have people do from home. Even within my industry, the fact I have focused on digital products for my own projects is proving to insulate me slightly from the resounding crash of the physical product supply chain.
There are people under stay-at-home orders right now who, as a result of various factors often entirely beyond their control, have no home to stay at. I am in no way suffering more than average.
I’m not going it alone, either, thank goodness. I have an amazing support network. My wife of nearly 30 years is a constant source of comfort and aid. I have great friends, many of whom are going the extra mile to interact with me in video chats, discord forums, IMs, and so on. I have people paying me for my work, both in individual and direct ways and through companies and big projects, who are being understanding and patient with me, but also not letting me totally off the hook that I fall so far behind I can never catch up (thank god). I can get advice, or perspective, or sympathy in pretty much endless and instant supply. (Thank god.)
But I also acknowledge there are stresses in my life. I and my wife both fall into high-risk categories for the current pandemic. We’ve been self-isolating, and going out to places that are now closed (and spending money we currently don’t have) were among my best stress-relievers. And while I am not a fan of huge crowds anyway, I did love sitting with a small circle of close friends, and self-isolation for a month or so now has that off the table. I have some medical issues that cause severe fatigue, and it’s hard to differentiate those from depression or being overwhelmed by constant bad news and worry for friends and family.
Nearly every creative I have discussed it with agrees that it is HARD to get anything done right now. The fact that getting things done, and fast, is of even more importance as companies must pivot to deal with the new makes the failure to produce emotionally more challenging, but it doesn’t make it easier. And I completely support shutting down game stores and prioritizing crucial shipments from big vendors, but those things also put my entire industry at real, long-term, catastrophic risk.
In times of pandemic, my chosen career is not essential.
So yes, I am worried, and weary, and worn. And ultimately I am safe, and privileged, and supported. And I really wrote all of this both to assure those who worry about me that I am no closer to any tipping point or brink than normal; and to let other people who feel like they aren’t coping well know they are not alone.
None of us know what the next few weeks, months, and even years will look like. That lack of certainty, and the need to change how we do everything–from ordering groceries to teaching children to talking with friends to playing and creating games–is exhausting. Every day is both the first day of school, and a stroll by the edge of a very sparse minefield. Stress is a constant companion, and uncertainty is a mist that conceals every road.
I am sure I’ll get through this. I’m sure we’ll collectively get through this. Maybe not unscathed or unchanged, but still whole at the far side.
And maybe, if we work at it, we can improve society with the things we learned in a time of pandemic.
So, I happened to mention a “ShadowFinders” campaign on social media a few times in the past few weeks, leading a number of people to ask “What the heck is ShadowFinders, and when does it come out?”
And now I’ll have a place to point them to, at least for the moment. And the answers are… “A theoretical modern Pathfinder campaign I have been noodling and, as far as I know, never.”
I know, not very satisfying.
The thing it, I already have TWO campaign settings mulling about that I work on when I get what I laughingly refer to as “Space Time.” I’ve been working on-and-off on the Really Wild West (a campaign hack for Starfinder), and more recently Sorcerers & Speakeasies (a campaign setting for 5e). Those are both mix-modern-and-fantasy settings, with Really Wild West having a great deal more material done for it (having begun working on it more than 2 years ago), and Sorcerers & Speakeasies currently having an actual for-sale product currently being designed by a freelancer.
So, clearly, I already have my hands full with modern fantasy pastiche ideas for two game systems that I don;t have time to move forward at full speed as it is. So why would I add another?
To some extend, I can’t help it.
I didn’t become an RPG game designer because that was my life goal. I slid into it sideways, by loving games (especially RPGs), and making up stuff for my own home games (mostly RPGs), and wanting to turn my hobby into a revenue-neutral pastime that paid for itself. (You can read more detailed accounts of my nearly-accidental entry into my 20+ year RPG design career at “From the Freelancing Frontline,” in a series of articles at EN World.)
And, it’s still one of my primary hobbies. Which means, I am still having ideas about things I’d like to run as games, or add to games, or even play in games. Now, a lot of that content ends up in products I write or develop–I find it easiest to work on a game system if I am playing that system. (I know some rpg designers prefer not to be frequently playing the game they are working on, and given how great many of those designers are I have to say that works for them. I don’t think it would work well for me.)
But a lot of it DOESN’T end up in my professional writing. Now, some of that is for legal reasons (yes I have thoughts on Jedi in Starfinder, but unless I create a totally different Owen-as-fan-only space, I’m never going to share them). Some of it is because it’s material I’d only want to use in a context where I knew the people involved and could tailor it to match their preferences and playstyles. But some of it is just because there hasn’t been a good match yet, and/or because I haven’t had the time.
And that last category is the weird limbo where ShadowFinders exists.
I have several solid ideas for ShadowFinders, as a modern supplement for Pathfinder 2nd Edition. Essentially a smaller stand-alone hardback book that is a complete RPG and 100% compatible with the Core Rulebook, but focuses on a modern, urban fantasy game. I have ideas on how I’d save space (many fewer ancestries and classes, likely only occult and primal magic), how to link it to existing cosmology (some primal magic comes from Egypt, which once had strange portals to another Egypt-like land in another world, but most magic is occult material that entered the world in through strange events involving Rasputin), and how it would work with the existing rules (as a modern supplement, with material you could use in a 100% fantasy setting, or could add to a fantasy setting that happened to already have alien spaceships and guns in it in limited locations).
But that approach works best if it’s a book Paizo publishes… and that is both unlikely (I have some idea how hard it is for Paizo to manage to both maintain its currently offers AND produce a new core rulebook with a new setting), and if it did happen would most likely not involve me in any major capacity. I have thoughts on that too, of course (involving Paizo deciding to outsource creation of a SahdowFinders rpg to keep costs and down and experiment with freelance production and development), but that’s not particularly likely either. (Never say never, but be realistic with your planning.)
So, that leaves me with a name and idea I like but that would work best in production circumstances that aren’t going to happen soon if ever, no spare time, two more similar projects already further along… and tons of ideas for a thing I can’t take time to move forward on right now.
So is ShadowFinders dead? No, definitely not. But it is in a holding pattern, neither being given up on nor getting any resources to speak of at the moment. One of the few things I know is that I never know what I’ll be working on in 3 years, and often have no idea what I’ll be working on in 1 year.
It PROBABLY won’t be any version of ShadowFinders…
Unless, of course, it gets a huge positive response from a Patreon crowd that grows large enough to support even more of my time going to working on such things. 🙂
So, obviously, I’ve been working in a lot of different game systems recently. With the 52-in-52 program, I’m developing the same game content for Pathfinder 1st ed, Pathfinder 2nd ed, Starfinder, and 5e.
It’s been a fascinating view of how the different game systems look at game elements that have the same name, but different functions.
For example, feats.
In Pathfinder 1e and Starfinder, feats are cross-character goodies that are generally designed to be optional, and sometimes tie into class design (such as for the fighter and soldier), but not always.
For Pathfinder 2e, feats are the quintessential character ability, and different kinds of feats are crucial to your ancestry, class, and any archetype you take.
For 5e, feats are entirely optional, and if taken come in place of ability score advancements. Each feat is more potent in many ways, but you can make a character with a single feat, or no feats, and no class depends on feats for any part of its core functions.
As an example, we’re going to take a PF1 teamwork feat, and present it (as a non-teamwork feat) in different versions, one for each of the four game systems.
Here’s the original, a PF1 Teamwork feat
Allied Spellcaster (Teamwork)
With the aid of an ally, you are skilled at piercing the protections of other creatures with your spells.
Prerequisite: Caster level 1st.
Benefit: Whenever you are adjacent to an ally who also has this feat, you receive a +2 competence bonus on level checks made to overcome spell resistance. If your ally has the same spell prepared (or known with a slot available if they are spontaneous spellcasters), this bonus increases to +4 and you receive a +1 bonus to the caster level for all level-dependent variables, such as duration, range, and effect.
Here’s a new PF1 version, that isn’t a teamwork feat
You can aid an allied spellcaster, adding your magic power to their own.
Prerequisite: Caster level 1st.
Benefit: Whenever you are adjacent to an ally who can cast spells, as a standard action you can expend a spell slot or prepared spell of 1st level or higher to attempt to boost their spellcasting ability. This requires a Spellcraft check, DC 10 + double the level of the spell slot expended. On a successful check, you increase their caster level for the next spell they cast before the beginning of your next round by an amount equal to the level of the spell or spell slot expended.
You can also take eldritch power from a willing adjacent spellcaster to boost the power of your own spells. The allied spellcaster must ready to grant you a spell slot or prepared spell of 1st level of 1st level or higher on your turn. If they do so, you make the same Spellcraft check as a swift action and, if successful, for the next spell you cast this round your caster level is increased by an amount equal to the spell level your ally expended.
*So, that plays with both action economy and resource management, but it lets you play the spellcaster who can work in a group without anyone else having to also have the feat in question.
Here’s the same spell for Starfinder.
You can aid an allied spellcaster, adding your magic power to their own.
Prerequisite: Caster level 1st.
Benefit: Whenever you are adjacent to an ally who can cast spells, as a standard action you can expend a spell slot of 1st level or higher to attempt to boost their spellcasting ability. This requires a Mysticism check, DC 10 + triple the level of the spell slot expended. On a successful check, you increase their caster level for the next spell they cast before the beginning of your next round by an amount equal to the level of the spell or spell slot expended. If the spell does damage and does not have a duration, area, or damage calculation based on level, you can instead grant +3 damage per level of spell you expended.
You can also take eldritch power from a willing adjacent spellcaster to boost the power of your own spells. The allied spellcaster takes a standard action to imbue you with energy by expending a spell slot of 1st level or higher on your turn. If they do so, on your turn you can make the same Mysticism check as part of the action to cast your next spell and, if successful, gain the benefits listed above. If you do not cast a spell within 1 round of being imbued, the additional spell energy is lost.
*That’s very similar, though it makes an adjustment for the fact that Starfinder doesn’t generally have damage affected by caster level and readied actions work differently caused us to make some adjustments.
Here’s a version for 5e.
Prerequisite: Caster level 1st or higher
You are skilled at magic manipulatipons. Increase your Intelligence, Wisdom, or Charisma score by 1.
You can cast a spell to boost the effectiveness of an allied spellcaster within 60 feet, rather than its normal effect. If allied spellcaster casts a spell of their own that is no more than one spell level higher on their next turn, they have advantage on any attack roll the spell requires, or one target of their choice has disadvantage on any saving throw the spell requires.
An ally can cast a spell to boost your effectiveness rather than the spell’s normal effect, giving you the same benefit on your next turn.
*Things in 5e are simpler. Like, way simpler. Advantage or disadvantage is 75% of how the game handles things. And they are pretty big bonuses (work out to about a +4 bonus on a d20), so it’s okay that this only applies to spells of a level close to the level you expend.
That said, weaker feats in 5e also give you a +1 to one ability score (since you gave up a +2 to get the feat), which applies here given how circumstantial this is.
Here’s the same feat for PF2
ALLIED SPELLCASTER FEAT 2
Prerequisites: Expert in Arcana, Nature, Occultism or Religion
You can use the aid reaction to assist an adjacent ally when they cast a spell. This requires a successful Arcana, Nature, Occultism or Religion check (you must be expert in the selected skill) with a DC of 20 + double the level of spell the ally is casting. You must expend a spell slot of 1st level or higher, and you gain a bonus to your skill check equal to the level of the spell expended. You grant the ally a +2 circumstance bonus to their attack roll, or a +1 bonus to the save DC of their spell.
An adjacent allied spellcaster can attempt to use the aid reaction when you cast a spell. This works the same way, except you must make the Arcana, Nature, Occultism or Religion check.
*Pf2 uses a universal proficiency system for everything, so a +2 bonus matters as much at 15th level as it does at 5th level. There’s already an aid action which might be usable if a spell required an attack roll, but it’s not clear how it would apply and it certainly won’t boost save DCs. This cut through that, and is a skill feat spellcasters might really appreciate.
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While I am personally a creative who suffers from mental health issues that include depression, and I know a lot of friends and colleagues who fall into that category, I don’t have scientifically valid statistics to prove that RPG creatives are often people struggling with depression. And that doesn’t really matter, because even if the numbers aren’t higher than for the baseline population, it still means that there are at least a few of us out there. I might just be talking to a tiny group today, but it’s something I am passionate about.
How do you write, draw, create, make things that are supposed to be fun for other people, when you are depressed? And I don’t mean down a bit because your favorite series ended or you can’t get that soda you like in your hometown anymore. I mean clinical depression, which can include loss of executive function, true hopelessness, sleep disruptions, and even thoughts of suicide.
I’ve talked before about how I get through my most serious depressions, but there’s one thing I haven’t touched on, or at least haven’t often enough.
Sometimes? You can’t. And that has to be okay.
Just as it is not a moral failing or sign of weak character to be unable to run when your leg is broken, it is not a moral failing or sign of weak character to be unable to create when your brain is broken.
If you are too far down the hole to reach any of your creative tools, please let that be, and instead seek help. That can be professional help, self-care, reaching out to a support network — whatever you can do. I’m not qualified to give professional advice on these things, but there are resources out there to find help if you don’t already have some in place. If you aren’t in a place where you can bring yourself to care about yourself, see if you can consider taking care of yourself as a way to help the people around you–sometimes I can only manage any degree of self-care out of guilt. That’s far from perfect, but sometimes I have to take what I can.
But then there’s the gray zone. Where you can try to work, but it’s terribly difficult and slow and you think everything you do is bad and pointless. Again, you have to be kind to yourself when you are here, but maybe there are ways to get a little more done if you find the hacks your brain responded to.
So, here are the hacks I use. They may not work for you, but if you try different things, and record the results, maybe you can find things to help you when work is possible, but damnably difficult.
For me some of it is habit. More than 21 years of it, at this point. If I’m not actively doing anything else, my brain naturally wonders if there is work I can do. When the thing that needs to be done FIRST is more than I can handle (sadly the project that is most important to finish often triggers the most anxiety which triggers the worst depression symptoms), I hop to something else if my brain is less opposed to it. No, that doesn’t help me get the most crucial thing done on time, but down the line it’s better to have worked on something, rather than nothing.
Some is desperation. This is how I pay the bills. Holding my own feet to the fire hurts, but it can also break through apathy sometimes. I don;t recommend this one unless you have already noticed a tendency of reviewing your situation to help you prioritize and take action. But if that is a tendency of yours, then it may be worth seeing if it can apply to creating.
A ton of it is therapy. I have learned to make my writing work for me in my battle with my brain. Often, that doesn’t actually produce anything that gets a deadline checked off. but sometimes, if produces a blog post when I need one, or at least helps me build my social media presence. And if nothing else, writing is a perishable skill. Writing privately helps me maintain the habit and edge I need to write for others.
My wife, Lj, is a HUGE help. In fact I have a lot of support group, including my public contacts. When I tell folks I am hurting, I get a lot of positive messages. People from lifelong close friends to social media connections I have never met in person also give me a lot of great private venting opportunities.
And sometimes? Sometimes I just have to melt down and give up for a bit. But Lj can hold me when I collapse and wail in great wracking sobs. When I am an inconsolable mess for an hour or two, convinced I have done so much damage to my reputation and career, that I’ll never work again. When it seems like I’ll never hit another deadline, that no one should ever trust me to get anything professional done. And that whole time, Lj tells me it’ll all be okay, and eventually I believe her.
Often, I pass out in exhaustion after that. Sleep, or at least oblivion, claims me for anything from a few minutes to a few hours.
And then, sometimes, I can write again.
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This one is super-short, but for me super-useful.
Don’t let your search for the perfect word derail your writing flow.
That’s not to say it’s not worth popping a thesaurus open (or using the ‘related word’ function of onlook.com, a site Starfinder Lead Designer Joe Pasini turned me on to) to see if you can find it quickly and easily.
But before it disrupts your produtive writing time, put it on the back burner and move on. I personally just put a description of the word I want in brackets and highlight in bright yellow, so I know when I go back through the piece later that it needs to be replaced.
A chunk of the time, describing the word I want to put in the brackets causes me to think of it. And often, when i run back into the section on a reread, at least SOME good word to use leaps to mind. But the important thing is, when I am “in the zone,” getting wordcount quickly and feeling the concepts flow easily, I am not wasting time trying to polish a single term during rough-draft-creation time.
I can’t tell you how long to spend on it before giving up. Only you can know your muse’s endurance. This is a trick for making sure you don’t spend an hour on one word when you need that time to write 500. But be aware you don’t have to get any of it perfectly right the first time through.
This applies to anything, really. Can’t think of the right word? Not sure what to make the 4th level bonus spell? Need a riddle to add some mental challenge to an adventure?
If it’s holding you up, and you KNOW what comes next already, skip it, mark it, come back to it.
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E-Ville’s preternatural forces are mostly aligned with, if not actually part of, specific conclaves or ententes. The Red Cathedral is the most prevalent of these, and nearly every percival either toes the line with them, or has taken positions with lesser alliances specifically to oppose or avoid them. Most of these factions have specific otherworldly concerns, though I’m reasonable sure the Bridge Club are only interested in protecting their ability to play bridge. Which, given how particular the Red Cathedral is about the use of cards (focused on Tarot and Italian-suited decks, but covering all cards to some degree) does require some political power and unity.
But it turns out there are a few true independents left, existing in the margins. Many are sole practitioners, but some are small groups united by blood or possessions, too minor to be considered their own faction, too effective or connected to be considered civilians. The consuls of other factions seem well aware of at least most of these diacritic forces, which are sometimes employed as expendable mercenaries, but finding them is more difficult for outsiders.
Even so, there are some clues which can help you at least begin to make inquiries.
The occult links of both palm readers and old school barbers (especially in their early roles as bloodletters) are well attested to elsewhere. In most cases, those traditions are long since diluted to the point of rumor, but apparently a few followers in Evansville joined forces some generations ago, and have retained at least some of their true art. And, weirdly, they did so by combining their visible commercial front.
There are a few places in E-ville where one building serves as both a barber shop (never a “salon” or “stylist”), and a palm reader or fortune teller (but, interestingly, never a claim of being “psychic”). These public business are small and seem to mostly survive on loyal return customers. Their official offerings are no more connected to the hidden world than anything you’d find in a modern bookstore (though see below), but if you ask just the right questions, they may have the occult answers.
But don’t be insulting, and don’t threaten them. They’ve remained independent. Respect the why and how of that.
There are small, local stores where you can order groceries or deli items their own staff deliver. And some of them have options where you can pay for what appears to be a blank entry. But you can enter special requests, and pay extra for it. If you have the RIGHT shop, and the RIGHT special request and you pay the RIGHT amount, you may get something the Red Cathedral would rather control itself.
This works best if a trusted guide clues you in on where and how. Trying it at random is expensive hit-and-miss, and likely to get you tangled in mundane crime before you discover an occult supplier.
There are a surprising number of bookstores in E-ville. Even national chains that have gone bankrupt have still-active stores here. Many of those zombie chain stores are places with occult connections, but they are firmly controlled by the major factions (though interestingly this seems to be a rare place where the Red Cathedral is not the major influencer… and I do not yet know who is).
But there are independent occult shops, if you can find them. They are all in older, cheaper parts of town, and seem to universally inhabit buildings built before 1925, or in the 1970s (I have no idea why). And they all offer “Books + ____.” What that blank extra something is varies, but the more eclectic, the better your chances of finding a secret back room is available if you know the password.
Books, comics, collectibles, and vaping supplies is a good sign. Books and pizza is surprisingly common. I’ve been told Books and Vacuum Repair is a sure thing, but I haven’t been able to find such a store. Apparently, they do not advertise online. Or indeed, at all.
There is no doubt there are other independents, but the only ones I can confirm have required me to keep their secrets, which is fair enough. They are mites dashing between the feet of giants, and do not wish to be noticed needlessly. Or carelessly.
So if you need someone outside the compacts and factions that rule the shadows of Evansville, and you think you have a line, don;t dismiss it just because it doesn’t fit this pattern. As trends, these account for only a small portion of those who have stayed beyond the Red Cathedral’s reach.
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