Thursday Freebies

Well, folks. There have been a lot of interesting things happening on my internet, so I thought I’d take a moment to share them with you all.

Things related to #GamerGate or similar douchebaggery

This piece by Mattie Brice about feeling like a sacrifice made in the name of diversity is heartbreaking and important and you need to go read it.

Remember that #GamerGate-funded anti-Anita Sarkeesian documentary that was funding through Patreon? Well it turns out that it’s imploding over a feud between the two creators, and it. Is. Glorious. (Sing it with me! SCHHHAAAAAADENFREEEUUDE!!)

Over on Twitter, the ever-flawless Chris Chinn talked about the psychology behind derailing bullshit like “if you don’t take the time to educate me, how will I learn” and why people who use that logic are abusers, plain and simple. Check out this wonderful storify of it, it’s amazing.

Things that are awesome and worthy of praise

This looks like a really interesting game – a puzzler that is a critical examination of the surveillance state? Too bad it looks like it’s only for iOs.

Okay, this is about comics, not games. But this short comic by Ronald Wimberly is the best explanation of colorism I’ve seen for those not familiar with the term – and is super interesting to boot!

This applies to game-writing too.

So does this.

I almost never promote KickStarters here (mostly because it’s impossible for me to promote everything that I think needs promoting), but Julie Dillon is one of my favorite sci-fi/fantasy artists of all time; her work is amazingly diverse and inclusive in addition to being fucking gorgeous. So considering that I spend so much time talking about what awful game art looks like – THIS is what I mean when I talk about what game arout COULD be. This is her second KickStarter, and she’s already well past her initial funding goal, but there are some nifty rewards so it’s worth checking out if you’re hunting for some more art in your life.

Lastly: because it’s worth repeating

Over on Google+, a friend kindly gave me the opportunity to pontificate about the proper use of semicolons (she did ask). Then I thought I would share my answer more widely, because I do love the semicolon. Consider this a PSA:

Semicolons are for joining two complete sentences that are related. If separated, each sentence COULD stand on its own if it had to. But the semicolon is to designate a clear connection.

Frex:

Alice carefully removed the rest of the monitors and unhooked herself from the machine. It was a clumsy operation; her hands shook, and the pods had not been designed for self-removal.

The semi-colon acknowledges that “it was a clumsy operation” and “her hands … self-removal” are complete thoughts that are still dependent on one another. Plus, a period between sentences two and three would make this section feel clunky.

That’s a pretty simplistic explanation, but if you’re interested in more I’d recommend tracking down a copy of Eats Shoots and Leaves by Lynne Truss; it’s an amazingly accessible book on the use of punctuation that also manages to be entertaining and a quick read.

(See what I did there?)

Now go forth and sin against the semicolon no more!

I enjoy having unpopular opinions

There’s this weird thing that happens where something I wrote a year ago (or two, or three) doesn’t get much attention at the time that I write it, but then someone on Reddit (or Twitter, but usually Reddit) finds it and posts a link and all of a sudden I get a flurry of views and nasty comments about GOD HOW WRONG AND AWFUL I AM.

This has actually happened a few times with my post about the ways in which The Last of Us could have been better, which is especially amusing given that I wrote that post after writing my post about the reasons why I loved The Last of Us to little bitty pieces. But apparently, expressing criticism of a thing completely invalidates any other statements you might make about the thing and I should have known that. Because saying “here’s how thing thing I love could have been even better” is the same as saying “here is a thing that should be destroyed with fire and if you like it you should feel bad because you are bad.”

And I thought that if people are determined to misread me writing about a thing that I actually really, really liked, well shit. Why don’t I at least give these guys some decent ammunition?

So with that in mind…

Unpopular opinion the first: Violence is boring

VIOLENCE IS BORING.

And games where the system or mechanics exist only to create violence? Those games are boring as shit. Hell, I’ll go even further and say that any piece of media centered on violence and/or murder and nothing else is just really, really dull.

For example – this weekend, at the insistence of a friend, I watched John Wick, which is basically 20 minutes of Keanu Reeves being sad about his dead wife (always with the dead wives[1]…) and then like 1 hour of Keanu Reeves just straight-up murdering like a jillion guys, interspersed with people speaking subtitled Russian. Except it was even more boring than how I made it sound, because he didn’t even go on a murderfest because of his wife, it was because someone killed his dog and stole his car – which for some reason inspired this total murderpalooza that happened while Keanu Reeves displayed absolutely no facial expressions. ACTING! And Christ it was So. Goddamn. Boring. It wasn’t shocking or edgy or any of that. It was just the dullest fucking thing I’ve watched in at least a year.

Increasingly – how I feel about John Wick is how I also feel about games.

I’m not saying because I think violence in games is evil and it should go away forever! I was part of the first generation of people to grow up playing video games with explicitly graphic violence beyond just a few red pixels[2] – so it’s certainly something I’m used to seeing.  Plus I’m addicted to Final Fantasy and BioWare games, which means I’ve played a lot of games that feature violence. But unless a game brings some significant not-violence gameplay to the table along with the “murder a ton of [bandits / orcs / demons / robots / aliens / zombies / whatevers]”, I’m just plain not interested.

Call of Duty? Counter-Strike? Hell, even any of the Hitman games? Yeah I have less than zero interest in ever playing them. BioWare at least brings relationships, romance, sex, diplomacy, and alliance-building to its games, and advancing the game means you have to take breaks from murdering all the things in order to deal with the talky bits – which are just as important as the murdery bits. And even despite my deep-seated love of BioWare games, I’m finding the gameplay of Cities: Skylines more engaging and compelling than Dragon Age: Inquisition right now[3].

The same goes for tabletop games. If the rules support only killing things and maybe taking their stuff? I’m just not interested. So things like Warhammer? War Machine? Yawn. No thanks. And even D&D I find I’m increasingly bored with. There’s very little room for innovation in tabletop murder/violence-simulators these days. The design stuff that excites me are the people working on different ways of telling stories that aren’t centered on violence.

But wait, there’s more!

Now that I’ve said I don’t like violence in games, that’s pretty much the same as admitting that I’m not a real gamer, right? However, I’m still concerned that these might not be grounds enough for you to dismiss me, here are some additional opinions that I hold that you can use to completely discount anything I have to say from now on.

I am bad at being a gamer (in the spirit of #badatfandom)

We <3 Katamari is a better game than anything made by Ubisoft

For that matter, so is Bejeweled Blitz.

So is Angry Birds.

Hell, so is Triple Triad.

I hate every Final Fantasy before 7.

I didn’t finish FF6 because I didn’t care what happened to any of the characters.

Final Fantasy X-2 is a fucking masterpiece and I will cut anyone who says it’s not.

Payne forever and always.

I would rather play Chocobo Hot and Cold for three hours than play a tabletop minis game.

I would rather do laundry than play Warhammer.

I would rather clean my bathroom than play StarCraft.

I hate playing D&D and wouldn’t be sad if I never played it again.

That said, point buy all the way. Random stat rolling is for chumps.

Larry Elmore’s art is okay, I guess, but it’s really not my cup of tea.

Despite having written for Vampire, I’ve never played a tabletop WoD game and I don’t really mind that.

Steampunk is not a genre, it’s an aesthetic, and a baffling one at that.

No BioShock isn’t some deeply philosophical journey. It’s just Ayn Rand plus bazookas.

I enjoy things inspired by Cthulu far, far more than I enjoy anything that actually adheres to the mythos. For that matter, I don’t ever intend to read any Lovecraft.

I only buy one or two roleplaying games per year, and I’ve only ever backed two KickStarters.

I think origin stories are tedious and boring.

I would kill Ashley every time. In a heart beat. EVERY TIME. Don’t like Kaidan? Don’t care. At least he’s not some xenophobic asshole.

I romanced Kaidan.

Peter Molyneux’s games aren’t that great.

The last decent fighting game was Soul Calibur 2. Everything after that is dead to me.

I’ve never played a Zelda game.

Kirby is more interesting than Link.

I only played 3 hours of Elder Scrolls: Oblivion. I found it tedious and boring.

I played 10 hours of Skyrim. I found it tedious and boring also.

I played in a Vampire LARP for 12 years and I still think that the system is complete fucking gibberish.

The “dumbed down” gameplay of Civ 5 (before the expansions) was better than any of the Civ games that came before it.

Xenogears/Xenosaga are terrible terrible games and I would rather do just about anything than play them.

The exploration in Dragon Age: Inquisition is way, way more fun than the combat.

Describing something as “gritty”, “dark”, or “grim” is the perfect way to get me to never ever play it

[1] Jesus. It’s enough to make me say that any movie where a wife/mother dies in the first 20 minutes is automatically a bad movie. That shit is so overused it’s just plain BAD WRITING.

[2] I remember specifically promising my mother to never become an axe murderer if she would let me buy Mortal Kombat.

[3] Though to be fair, that’s probably because DA:I is hands down the worst PC port I’ve ever played. The UX is SO SO BAD.

This post is insufferably long, and I’m sorry for that [LONG][TW]

[Note that this is not being published as a patron-supported post, lest I be accused of “playing the victim” to attack someone.

It’s also important to note that there is A LOT of extra reading linked to from this post. Like, no really. A lot. I erred on the side of exhaustive, simply so I don’t need to revisit this again in the future.]

This is a blog post I swore I’d never write, let alone publish, since any controversy created by such a post is not ever going to help me. However, nearly four years of staying silent on this issue hasn’t done any good either, and I’m running out of cope. So here we go.

There is man in the indie TRPG community, with quite a larger following than mine, who has been determined to tell the games community at large what a terrible, awful person I am. It has been nearly four years since all of this nonsense started, and the strain of remaining silent is beginning to be a bigger burden than anything else. Remaining silent hasn’t done anything to prevent the abuse directed my way. If anything, the frequency and level of rhetoric has only continued to escalate over time. So I’m finally doing the thing I swore I would never do and naming names:

I have been the target of trolls, haters, and randos for quite a while now. But none of them have been as persistent, vitriolic, and prolific in their hatred for me as Zak S.

At first Zak confined himself to calling me an anti-porn, sex-hating, fascist uber-conservative akin to Phyllis Schafly. But at last count, according to Zak, I am now: anti-porn, anti-sex in games, homophobic/queerphobic, transphobic, fascist, legit crazy aka delusional aka should be involuntarily remanded to mental health care, a liar, a chronic attention-seeker who has fabricated harassment evidence, a chronic harasser myself, and legit evil.

…needless to say, in a post-GamerGate world this is a terrifying level of rhetoric to have reached. So what I am doing here is documenting for once and for all the substance of this thing, and yes providing sources and links and evidence – since my silence all these years has been used as ammunition against me. There are people in my own circles who have spoken about this as an issue with “sides”, as in “well there’s been bad behavior on both sides”, and just. No. There are no “sides”. There is Zak’s continued hatred versus my silence, always my silence.

But before I get started with that, an important aside:

This is fucking important

The real tragedy of this situation is that on an objective level, I have a lot of empathy and heartbreak for Zak and Mandy (his girlfriend/partner who has a serious genetic condition). And not in a condescending “I feel sorry for them for being so crazy/awful/evil” kind of way, because fuck that noise. (I hate it when people pull the “I feel sorry for you for being such a bitch” card on me, because that is 100% bullshit.)

I can’t fully imagine what Zak is going through as primary caretaker of someone with a terrifying genetic condition that is making her body cannibalize itself. Not completely. But I can have empathy for that situation; my own father died nearly four years ago from bone marrow cancer. I wasn’t even a primary caretaker – I had already made irrevocable plans to move to Canada when he was diagnosed. But watching my father grow gradually sicker as his skeleton literally tried to consume his insides, watching him fade more and more as the meds he needed to keep the pain under control grew stronger and more frequent…

Yeah, it fucking messed me up. I didn’t live with my father during his treatment (I did come home as often as I could), but I will never be able to watch Breaking Bad. Wild made me ugly cry for the whole damn movie, and any kind of media featuring parents with cancer is shit that I avoid whenever possible.

So I on an abstract level, I admire Zak for continuing to remain creative in the face of what is surely a painful struggle. And I admire Mandy for not being silent in the face of legit bullshit behavior she has faced, and for her recent hospital glam photos she’s posted. I wish that I’d tried something similar with my father, because it kills me how dead he looks in every photo taken while he was sick and how his spirit was completely broken by his diagnosis. And I hope for both their sake that her prognosis is better than my father’s. I really do.

So I am absolutely not saying that you should boycott Zak’s work if you were otherwise likely to buy it. Nor am I saying not to buy his art. And I am especially not saying you should go hurl abuse at Zak, and especially not at Mandy, because seriously it makes me fucking mad that she has been harassed for being the wrong kind of gamer and I don’t want to be part of perpetuating that kind of toxicity. Support them if you want, don’t if you don’t. Whatever. Everyone draws their line somewhere and it’s okay if you draw it differently than me or anyone else.

In writing this post, I speak for no one but myself. And what I want personally is simply to be left alone, without constantly having to feel like I have to look over my shoulder. (I know that sounds hopelessly naive, but that really is all I want.)

Okay? Okay. Aside over.

Down to business: a chronology of my interactions with Zak

Because this is a thing that has spun out over the course of 3.5 years, first I’ll provide an overview of the timeline of events from my perspective. (It’s lengthy, and I’m sorry about that.) It’s important to note that this only includes publicly available postings, as that’s all I have access to. It’s possible that there’s more in more private locations, like closed G+ threads, that I’m not aware of.

Pre-hostilities interactions on my blog

1) January 2011

Interestingly, our earliest communication was one that I had entirely forgotten about. (Whoops.) I wrote a post about how some dudes had devoted 20 minutes of their podcast to talking about why I was fat, ugly, and crazy. Zak popped into the comments to ask for responses to a survey of female gamers on his blog, as well as to contribute what I thought were actually some pretty cogent points.

2) February 2011

A month later, I wrote a post about Hyung Tae Kim in which I expressed some nuanced opinions about his art and the degree of sexual objectification it displayed. There was a spirited conversation in the comments, which Zak was pretty active in, and which I didn’t participate in very actively because I was frankly too stressed out to attempt having a nuanced conversation about something on the internet.

Looking back on the comments, there’s several of Zak’s comments that seem pretty… sea lionish. (Though of course I didn’t have the language to describe it as such then.) He also engaged in a fair bit of straw-manning other commenters by accusing them of calling HTK “pro-rape”, which got a fair amount of pushback – from myself as well as other commenters, as the opinions being expressed were complex and nuanced, not simple and black-and-white.

I ultimately tried to bow out of the conversation, because the following two things happened within a day or two of making the post:

1) I was laid off from a job that I loved and had felt secure in

2) my father’s cancer took a turn for the worse (he died just over four months later).

Still, Zak kept baiting other commenters and I wound up getting involved again before things ultimately died down. And even then, for like a year after that, my memory of Zak was “oh we disagreed that one time, but our conversation was pretty civil and respectful so that’s cool with me”.

2a) February 2011

What turns out to have been the most significant interaction with Zak actually… wasn’t… an interaction… at all? Twelve days after making my post about HTK, I wrote this post about Japanator’s then-editor who had a history of making crass rape jokes and then hiding behind his female friends and fans who told him he wasn’t sexist.

In the comments of my post, conversation turned to sexism in anime, and in the comments, I had cause to say: “That being said, harem anime is pathetic and disgusting. Fetish anime ditto. Hentai anime ditto.”

Which, sure. That is pretty harsh, and I’ll admit it could have been better phrased. But what I was trying to express is that I have yet to see a harem anime that hasn’t made me feel incredibly uncomfortable about creepy behavior by the male protagonist being played for laughs, because I have been creeped on by geeky guys and it’s really not funny. Similarly, my experiences with hentai have not been with anything depicting anything resembling consensual sexual encounters, and the lack of consent was fetishized just as much as the bodies involved. Which, uh, yuck.

The conversation moved past that point onto other things, and I didn’t realize that my lack of clarification would become such a big deal, because Zak never even posted in that thread. Not even once.

3) June 2011

Apparently, at the time Zak hadn’t thought that my post about HTK was such a big deal either? Because four months later I wrote an admittedly ham-handed post about how the shit I love about fantasy is racist.

And actually, Zak popped in again briefly with some stuff that was actually super on point about the difficulty of trying to be a critic and artist who doesn’t fall into the same traps that I criticize here on my blog. (Again, I’d entirely forgotten about this until I went searching my comment archives.) And even looking back on it now, it seems pretty pointed, but also like something that needed to be said.

So whatever the dynamic now, we had had what I had remembered as pretty civil, respectful interactions in the past.

Hostilities begin: 2012/2013

1) April 2012: It begins

I honestly couldn’t tell you when it happened now, but at some point in maybe 2009 or 2010, I moved all my gaming-related conversations to G+ and rage-quit talking on game forums, because I was done with accepting sexism, erasing, and mansplaining as the price for participating in conversations about games and game design online. (And G+ is fantastic at letting you aggressively curate your conversations to be fuckhead-free.)

So when Zak dropped into a Story-Games thread to make an attack on me in which he called me a fascist ultra-conservative akin to Phyllis Schafly (I am paraphrasing, as the link I have archived seems to be broken ETA: the thread moved! you can find it here), I didn’t even know this had happened until a few people emailed me to let me know what had happened. I wasn’t even notified that this attack had happened until after Zak had already been banned for it, but I remember being bewildered.

What had happened? I mean, where the hell had this come from? I even went back through the comment logs on that old HTK post and couldn’t find any one moment that made me say – ah. That. That is where this emnity is coming from.

I made a response on Gaming as Women in which I was careful not to mention Zak’s name or any identifying details of the incident, and I also asked that people refrain from naming Zak if they knew who I was talking about. Partly this was because I wanted to use my personal experience to highlight the visceral fear that women face when interacting on the internet. But it was also partly because I actually was scared by the anger of that attack and didn’t want to give Zak any further ammunition to use against me.

My previous experience of trolls had been that they would make one or two isolated attacks and then go back to doing… whatever. I honestly thought that would be the case this time too.

It wasn’t.

2) July 2013: AoE’d

The next time I was targeted by Zak, it was part of a shotgun-style attack against a whole host of people that he didn’t like. Rather than rehash what I’ve already written about here, go to this post and scroll down to the section called The Edgy Game Designer, in which I detail how I came to speak out against a gaming organization’s choice to lend someone with a known history of misogynist views their platform to voice those views.

I was one of a few women who spoke out, and in so doing I was careful to focus on my personal experiences and feelings and how this person’s views directly affected me as a marginalized member of the gaming community. And the other women who spoke out all pretty much stuck to that same script. However, there was also one man who spoke out with far more fervor, and far more aggressively than any of them women did.

He made one post in particular that said that the problematic game designer was responsible for rape and death threats against people who disagreed with him. Now I knew what he was talking about – that he was talking about how some nerd-famous men shut down criticism against them by riling up their followers and pointing them at a target (I’ve written about it more in depth here, under the section called “How It Works”). The person who made this post is someone who I respect, someone who got me into game design in the first place, and without whose support I would not still be making games today. I also knew that he was speaking from a place of deep personal trauma, so I plussed the post in support of what he was feeling.

…which turned out to be a huge mistake. This all happened in July of 2013, but in December 2013 Zak necro’d the whole issue to make a shotgun attack against pretty much everyone included on his enemies list. (See the screenshot included here in this post under “The Rebellious Artist”.)

Zak demanded that everyone who had plussed the post retract that plus and make a public apology. I certainly wasn’t about to apologize for talking about my personal feelings and life experiences, and I’d already gotten sick of Zak’s growing vendetta against me. Also, I still really did understand what the person making the original post had meant and agreed with it. So I didn’t un-plus, and I didn’t apologize. I just kept my mouth shut and waited for it all to go away again.

Which brings up to 2014, when things started getting really out of hand.

2014: the year things got kind of bonkers

July of 2014 is when things got weird. First there was what came to be known as ConsultancyGate – a scandal over the inclusion of Zak and another highly-controversial figure as paid consultants on the 5th edition of D&D. I kept my fucking mouth shut about this, aside from a few private conversations on G+. I knew it was going to be a shitstorm (it was) and I wanted no part of it.

My one contribution: Tom Hatfield wrote a piece about the issue for Fail Forward, and I retweeted two things said about the piece while not directly linking to it or naming any names. The first is this tweet here by Tom Hatfield which simply addresses the fact that harassment exists and it is larger than one community. The second is this tweet here about not wanting people to boycott D&D 5e. Those two re-tweets are the sum total of my involvement in ConsultancyGate. Period. (Case in point: this is a pretty thorough summary of ConsultancyGate that is also totally pro-Zak, which fails to mention me at all. ETA: Oh jeez – so the Seebs summary is actually part of a larger effort to harass a trans game developer out of the industry and off the internet. I didn’t know that and wouldn’t have linked to it if I had, so I’m very sorry for missing that.)

That didn’t stop Zak, however. He’s written 6 posts about me on his blog, and five of them are from 2014. (Number six is from this year.) One of those posts is a question-and-answer charity ransom in which he wanted people he’d previously attacked to let him ask them questions, and if their answers were “acceptable” (according to his definitions of acceptable) he would donate to charity. As the mere idea of interacting with Zak directly has become enough to trigger feelings of anxiety, I did not participate. In August, I also found out that he’d been hate-following me on Twitter, after which I blocked him but otherwise said nothing.

In November, there was a thread that was started on TheRPGSite about a promotional post I’d written highlighting the progressive design work done on V20:Dark Ages, which Zak turned into a 32-page hatefest against me. In that thread, his posts alone total over 22,000 words (although approximately half of those words are quotes from other people or sources). In a thread with a total of 311 posts, he wrote 43. (I’ve also backed up Zak’s posts in that thread in a paste on pastebin, since I’m not sure if RPGSite lets you edit/delete posts. The backup consists solely of the text of Zak’s posts along with a link to each post.)

My sole response to all of this was this vaguetweet that didn’t mention his name, the forum/venue of the thing being discussed, or any other identifying information.

2015 hasn’t been so great either

Unfortunately this year looks like it’s just going to be more of the same. On January 6th he put up what can only be described as a conspiracy theory infographic that mentions me, using my quote from a comment thread on my own personal blog (that he hadn’t even participated in) entirely out of context, to claim that I was harassing Mandy. (It’s also important to note that while I have freelanced for Onyx Path twice, I have never been an employee of Onyx Path.)

Only 3 days after that, he made this tweet that thanked the people he had attacked, or parhaps more accurately the controversy he’d used his attack to generate, for helping him sell so many books.

And on February 23rd, the official twitter for I Hit It With My Axe, Zak’s webseries about running D&D for porn actresses, made attacks against some noteable progressive game devs that also included me. (Note: the tweet boxed in red appears to have been deleted later. This screenshot was taken by someone else, whereas when I looked at the I Hit It With My Axe timeline the next day the tweet was gone.)

…so all of this brings us to now, when I am tired of feeling angry, silenced, and afraid every time he attempts to convince people what a miserable human being I am. I am running out of cope.

However, since I’m also aware that it could be said that none of the above actually addresses the substance of the charges against me…

The specific charges against me, and why they’re untrue

(I am not including every instance of every specific charge leveled at me, because that would be tiresome and this post is way too long already. However, I will provide specific links to additional material under each section.)

1) I have publicly, repeatedly attacked Zak and/or Mandy

Before we cover anything else, it’s important to realize that a lot of Zak’s accusations against me are predicated on the idea that I have been making repeated public attacks against Zak and/or Mandy. And that is simply not true.

If you use Google do even a modicum of verification, you’ll see that the only search results for his name on my blog are in the comment section of posts that he himself commented on. There is nothing attached to his name on the blogspot iteration of this blog (from before I moved to WordPress). There is nothing on my tumblr. Nothing on my twitter. And especially never, ever, ever anything public on G+. (My facebook is not public and never has been.) And as previously stated, I quit visiting games forums before I’d even met Zak.

I have from time-to-time written about Zak in an anonymized fashion, such as my original Gaming as Women post. But in each instance I attempted to file all of the serial numbers off of the incidents, and have always said when doing so that people SHOULD NOT name the person being discussed if they are aware of the circumstances being discussed. I have also taken people to task after the fact when they have done so anyway. (Seriously, people, if someone writes about a person that they want to remain nameless, linking to the post and naming them anyway is an asshole move.)

Until right now, this post, here, I have never written anything in a publicly-available space attached to Zak’s real name or any of his aliases. Ever.

However, here is what Zak has to say on the subject, for starters:

…To be clear: in any way supporting a product made by Wundergeek or people who are still supporting her is pretty fucked up considering what she’s done and the attacks she’s made. — RPGSite thread, post #80

…And no matter what you think of Anna’s position, her endorsing the attacks on me and the women in my group and claiming she was harassed by us is straight-up falsehood with no possible defense. —RPGSite thread, post #91

…Her blog entry claims the JDes controversy is “manufactured” and associates me with intentional harassment and with Elliot Rodger. —RPGSite thread, post #171

…You will continue to be causing distress (to, for example, Mandy) until you admit “Yes, Wundergeek is a liar and yes, Mandy, you are right, it isn’t good that Wundergeek lied in public about being harassed” until then, your contention that you feel contrition about causing distress (while causing it) are as hollow as Wundergeek’s contention that she is an advocate of inclusion (while her rhetoric plainly excludes people) and non-judgmental (while her rhetoric is clearly judgmental).

Furthermore, after all you just said, unless you firmly state that you know Wundergeek, David and Filamena are lying your statements here are promoting the harassment (including the death threats) that their claims caused. —RPGSite thread, post #165

…Yeah that’s maybe because you weren’t sitting in a hospital room this August watching Mandy hooked up to a heart monitor and watching her heart rate spike and the monitor begin to crazily beep as every new accusation of your (and her) alleged hate crimes rolled in day after day after day linking Wundergeek as “evidence” on more and more sites in bigger and bigger media wondering when it was all going to end, all because, you made people mad by talking about playing the games you like (which everybody else does) — RPGSite thread, post 270

…that last quote, man.

You know what? I’m sorry that Mandy has been the target of vile abuse. Anyone who attacks a woman, any woman, for not being the “right” kind of woman to play games needs to fuck off to a dark corner forever. But claiming that I’m behind any of the abuse that Mandy has received either in the past or in the present is factually incorrect. Period.

(Additional instances of this allegation: RPGSite thread, post #91The Teachable Moment From All This (Zak’s blog), How Dungeons And Dragons Is Totally Not Endorsing The Darkest Parts The RPG Community At All Even Though There’s Some Tumblr Panic That It Is (Zak’s blog), Dear Angry Gamers, I Am Calling Your Bluff (Zak’s blog), RPGSite thread, post #94RPGSite thread, post #98RPGSite thread, post #108RPGSite thread, post #153RPGSite thread, post #154RPGSite thread, post #161RPGSite thread, post #175RPGSite thread, post #177RPGSite thread, post #188RPGSite thread, post #229)

1a) I attacked Zak and/or Mandy by retweeting the Fail Forward article

I’ve already established previously that my only relation to the Fail Forward article which has become such a rallying cry for Zak was to retweet two tweets making commentary on the issues surrounding the article. These tweets did not actually specify who is being discussed, where, or why. However, this is a specific charge that Zak makes very often, so it’s worth addressing:

[Zak, quoting from a post by Mandy] …Re-tweeting Fail Forward article = harassment

Everyone who forwarded the attacks on us is enabling and supporting their harassment. And you need to go beyond ”Well we don’t support harassment of anybody” and stand up and admit you were wrong and you’ve been ignoring it and these are the people who have been doing it. — Mandy on the Anatomy of a Harassment Campaign

…ALSO ANOTHER WAY TO PROVE SHE’S A LIAR: She retweeted the FailForward article and claimed to agree with it. —RPGSite thread, post #141

…And, while we’re at it, let’s look at the most obvious evidence of shit-headdery: she retweeted the (known to be all false allegations) hit piece article about me. — RPGSite thread, post #108

I never retweeted the article. I never said I specifically endorsed it and all of the content therein. I especially never retweeted a link while also naming Zak as a harasser.

(Additional instances of this allegation: RPGSite thread, post #188RPGSite thread, post #201)

1b) I don’t care if Mandy gets harassed

One of the side effects of me wanting to avoid anything to do with Zak is that it also means I haven’t commented specifically on harassment directed at Mandy. And yeah, that’s unfortunate! But I have consistently, constantly worked to end harassment of women in gaming, and I have always maintained that there is no one “right way” to be a female gamer.

Nevertheless, I get accused of either not caring or welcoming the abuse Mandy has gotten from people who are upset to see women who are in charge of their sexuality enjoying TPRGs. Which. Fuck. I feel like I just can’t win:

…So why don’t gaming gadflies and big indie designers like Fred Hicks (at Evil Hat), GeekyLyndsay, David A Hill Jr (Machine Age Productions), Ryan Macklin (Paizo), Bruce Baugh (Onyx Path), Elizabeth Sampat, Wundergeek, Christopher Allen and Shannon Appelcline (who employ Something Awful members Ettin and Kai Tave at RPG.net) and Tracy Hurley care that these attacks and the people inflicting them originated in a troll forum?

Because long ago we irritated them by playing a different game than them and refusing to let them lecture us about how we’re wrong and because we wear chainmail bikinis on Halloween and aren’t ashamed. Because, for example, Wundergeek and David Hill have real problems with tentacle hentai—and I made a live action tentacle porn because I wanted to. So who cares if I get harassed? I’m the wrong kind of feminist. — Mandy on the Anatomy of a Harassment Campaign

…because I got death threats and can prove it and unlike me you have never addressed those death threats I got and neither has Wundergeek. EXAMPLE: http://oblivionnecroninja.tumblr.com…ng-harrassment — RPGSite thread, post #141

(Please note, this is the only time I will touch directly on things said by Mandy. No I AM NOT saying that she’s a sock puppet, or invented by Zak, or that she has Stockholm Syndrome, or any of that bullshit. I just find the idea that I don’t care about the harassment of female gamers who aren’t like me very hurtful and want to provide context.)

I’ve written 17 posts about harassment in games culture and why it sucks and why it needs to fucking stop. I’ve said that fuck what other people think, you should write games you want to write. I’ve spoken out against people who doxx people they see as anti-social justice. More than once! I’ve even spoken out against people who hate on women because they play different games than the games they like to play, which is what I’m being accused of not caring about! Argh!

So yes. I care, because I am not a monster.

2) I am a liar (especially about harassment)

One of Zak’s go-to accusations against me is that I am a liar: I lie about being harassed myself, I lie about not harassing Zak and/or Mandy, and I lie about the plussing of the contentious post on G+ (previously mentioned), in that I knew that it was a lie and by endorsing it am lying myself:

…If you say she’s not a liar, you are lying and harassing me. —RPGSite thread, post #161

…So one of the people who lied about me this last week because they were sad that I was a Dungeons & Dragons consultant–Wundergeek–once wrote a list of things she was “tired of”. — The Teachable Moment From All This

…Wundergeek, the author linked in the OP publicly made false claims about harassment — RPGSite thread, post #39

…If you say Wundergeek isn’t a liar, you are lying. … So if you repudiate all those things for starters, then you might not be a liar. —RPGSite thread, post #153

…Quote: This does not confirm every detail of her blog post,  

Any detail wrong=lie. So: she is lying. —RPGSite thread, post #175

The matter of the contentious G+ post has been dealt with previously in this post, so I won’t beat a dead horse.

However, there’s also the issue of the fact that I later referred to the flap as a “manufactured controversy”. And given that the timeline that is a matter of public record, I stand by that. It had been five months, and no one was talking about it anymore before it was necro’d again.

And as for lying about my own harassment, this blog is itself an archive of some of that. I didn’t start saving records of harassing communication I’ve gotten prior to 2014, but I’ve written about it here, and here, and here (which post contains even more links). And that’s not to say anything of the occasional email that I get, like this one which dropped into my inbox shortly after the resurrected flap over DidIPlusAThingThatOneTimeGate:

neckbeard

To be fair, this BARELY counts as trolling.

Lastly, he also frequently accuses me of libel. How exactly I am to have committed libel when I have never previously attached commentary to his name in public before is… uh… well I’m not too sure about that, actually.

(Additional instances of this allegation: RPGSite thread, post #94RPGSite thread, post #108RPGSite thread, post #141RPGSite thread, post #153RPGSite thread, post #213)

3) I am anti-porn/anti-sex:

Zak has repeatedly claimed that I am anti-porn and anti-sex-in-games, mostly because of that conversation that wasn’t about porn, that happened in the comments of a post which was also not about porn, in which I expressed a personal opinion about my personal discomfort with harem and hentai anime.

However, the other thing he frequently brings up as proof that I am anti-porn is something I said in the comment thread for my post about Hyung Tae Kim (again, previously mentioned):

…Quote: Wundergeek is openly anti-porn

That isn’t an ok position. That’s like being anti-pictures-of-two-guys-kissing: it’s a thing only bigots are.

[…]

But being ideologically against erotic imagery itself and the people who make it is Max Nordau territory. It’s coding wanting to look at sexualized women as a “male” activity–which ten minutes outside will tell you is not a healthy or realistic assumption and one that erases LGBT experience. — RPGSite thread, post #91

 

Quote: Originally Posted by jhkim View Post

Essentially, you seem to be saying that no one can say anything bad about a sexy outfit, or else they are “slut shaming”.

Absolutely that’s what I’m saying–how is it in any universe remotely ok to tell a woman that the miniature she wants to use to represent her character is inappropriate or wrong?

We’ll come back to anti-porn = bigot in the next section. But first, Zak also characterizes his first encounter with me this way:

First Ever Contact With Wundergeek

Zak (whistles, minding own business)

Wundergeek : Hyun Tae Kim should be pushed to the margins of the industry because he paints fetishy art and hentai is disgusting!

Zak : WTF?

Wundergeek : Why are you so mean, Zak?

Did Jessica Hammer or anyone at Gaming As Women or anybody else that Wundergeek worked with or talked to never explain to Wundergeek that other peoples’ taste in porn is not her business and pin-up art is not the problem, art gatekeepers are? Why is she bothering artists with this shit?  —The Teachable Moment From All This

Which. [sigh] No.

Zak wants to characterize this as him minding his business and me somehow attacking him by expressing an opinion in the comments thread of my own blog.

Secondly, never anywhere in the history of ever have I said that I am against porn or erotica, or that I dislike sex in games, or that I think people who want sex in games are terrible people. I’ve written… uh… pretty extensively about what a fangirl I am of BioWare and their romance plotlines. Hell, I’ve even written about how sex in video games is just so fucking unsatisfying compared to sex in tabletop games, and some ways that game devs might make video game sex actually sexy.

Lastly, I have always been 100% consistent that what I write here is not about judging people for their individual tastes – that what I am doing is criticizing an industry that profits from the dehumanization of women. It’s in the damn sticky that I wrote when I went on hiatus from blogging here in November 2011.

I have only ever said that it is 100% okay to like what you like, that it is totally okay to like something other people find offensive, and that I know I like things that other people find offensive. (Like my love of pretty much anything by Joss Whedon.)

3a) I am a bigot

Zak’s reasoning behind this claim is this: by criticizing sexualized character design and game art as well as an industry that values the commodification of female body parts over depictions of actual women, I am somehow erasing the preference of female-or-nonbinary-identified queer people who are attracted to women, which makes me a bigot. Most of his argument that I am a miserable human being comes back to this idea:

Quote: Does she constantly say homophobic statements?

Yes. Absolutely and we already went over this. I laid out an example on a previous page.

A._You (unknown gender and orientation) claim that kind of speech is not homophobic

B._I (straight male) claim it is

C._Norton (bisexual male) says it is not homophobic but is insenstive

D._The women I’ve asked about this (bisexual females) say her rhetoric is unequivocally homophobic (on basically every post where she talks about scantily-clad women, which is a great many of them) whether or not she herself wants it to be (a detail you, again, keep pretending doesn’t exist). She does this through a rhetoric which (like so many RPG morons of your acquaintance so often do) fails to acknowledge the existence of people with tastes unlike her own and grants to her own taste an unwarranted moral dimension.

While you may not be inclined to grant Group 4 more moral authority than anybody else so far asked, I defer to their judgment since they’re the affected group. — RPGSite thread, post #229

So because there are women who agree with him that my feminist criticism of games is the same as queer erasure, I am homophobic and therefore a bigot. Which. Wut [1].

This also means that Zak is placing himself in a position to judge whose expression of marginalization is most valid. So the irony is that while Zak accuses me of bigotry, the very fact that he putting himself, as a white man, in a position to choose which womens’ opinions count and which do not. And how is that not erasure, which by Zak’s standard would be bigotry?

The writing I do here is not scholarly. I write about my feelings, my experiences, and how these things impact me and the women I know. Yes I bring my training as an artist and my experience in the industry to what I write. But I also bring the hurt, the unwelcome, the scorn, the feeling that my body is not enough, that it will never be enough and therefore I will never be enough.

But somehow he has decided that my expressions of marginalization don’t count, and therefore I don’t count.

…I’m saying: since she’s a liar and a bigot, supporting her in any way instantaneously makes you a shitty person that nobody else should ever deal with. Just like supporting a known homophobe would make you a shitty person. Whether you want to be a shitty person is your business, not mine. — RPGSite thread, post #98

 

…Although calling someone who is a bigoted a bigot does not constitute harassment, publicly lying about them does constitute harassment. — RPGSite thread, post #141

 

…Also: I’d willingly put it to a vote. If I gave Wundergeek’s stuff to every lesbian and bi woman on the planet, and they voted, I’d accept their verdict. As I don’t have access to that, I am deferring to people I trust — RPGSite thread, post #232

 

…So something something is sexist if you can find enough women who agree with you?? What if I can poll my bi/pan female friends and find more who agree with me than who agree with Zak? Does that mean I win? Because… I’m pretty sure that feminism doesn’t work that way.

Now, don’t get me wrong. Queer erasure is absolutely a thing, and I write a lot here about inclusive gaming with the aim of expanding our community into new demographics. I recently wrote 7500 words about self-publishing, with the express purpose of getting more not-cishet-white-dudes into game publishing. I’ve also written about barriers to diverse recruitment, what the process of trying to revise existing game lore to remove homophobia/transphobia/racism in a popular game line can look like, my hope for the future of gaming as an inclusive community, as well as nearly 10,000 words about how not to include offensive stereotypes in your work – including gender and sexuality-based stereotypes.

I’m not going to claim that I ally perfectly, because pride goeth before the fall. But I certainly put a lot of work into not erasing queer people, and getting other people to stop erasing them as well.

(Additional instances of this allegation: RPGSite thread, post #188RPGSite thread, post #113RPGSite thread, post #141

4) I am omniscient/I have not written about everything that needs writing about

Sometimes Zak will criticize me for never having written about a specific thing, and often seems to have the idea that I both follow everything he talks about and does and that I am aware of every game book that he has ever encountered.

I really don’t know how else to address things like this, in which he says that I am picking and choosing who to criticize because I have never written about an obscure thing featuring rape-nagas:

There are 40 naga-kin in Pralaj and about 200 villagers and revived corpses held prisoner while slowly being raped, tortured, and drowned into a susceptible state for transformation into naga-kindred. ...  From here, they prepare the coming of the Naga into her kingdom, and send naga-kin down the River to rape and drown the people into following her.

Now one reason he (I’ll call him Doc Respectable, I hope he won’t mind) has not been called out by Wundergeek or anybody else in a coterie of people that, largely gets very het up about rape in games and about what is in the world’s most popular RPG is because he is a professional. And by that I don’t mean he maintains a responsible and professional demeanor (although he does) I mean that, unlike the RPGPundit (the other consultant who pissed people off) and I, Doc Respectable’s daily bread relies on tabletop roleplaying games. — The Teachable Moment From All This

Uh, and you know what, if I’d known about that being a thing that existed before Zak decided to criticize me for never writing about it, maybe I might’ve! I’ve certainly written quite a bit about the rapey tropes inherent in D&D and other geek media before – including the rapeyness of half-orcs and the drow.

He also seems upset that I have not written about everything that could ever need writing about:

Wundergeek’s friend Vincent Baker–designer of Apocalypse World and the most important designer in a scene whose members came out in force against me and (especially) the RPGPundit, is perhaps the epitome of a Male Game Designer Who Writes About Rape (in both Seclusium of Orphone and Poison’d) And Is Praised For His Creative Vision.

But they don’t talk about it–at least not publicly. …  And so we get lots of trenchant Concerned Gamers re-posting Wundergeek’s I Am Tired litany and re-posting Vincent Baker’s latest project in the same day and there is no good public conversation about the cognitive dissonance and how to resolve it. Like: How you handle rape and why, in public, with examples from Respectable figures in the field given first-hand and input from affected groups. — The Teachable Moment From All This

Uh, okay. I do own a copy of Seclusium of Orphone, from that one time I was part of a failed IndieGoGo for Lamentations of the Flame Princess, but I’ve never done anything more than skim it. I didn’t look at it any closer than – hey! Lists! And neat art! …okay these lists are neat, but there are… a lot of them.

To be honest, the collective game output of my design friends is just too damn large to ever be consumed by only one person. I only have so much time, and sometimes I can think that a designer is totally killing it with design ideas and still not really be into the end result of the thing that they made.

Now obviously I can’t claim to have never read Poison’d. That would be a little hard, since I illustrated it. But Poison’d was published in 2009, two years before I started writing this blog. So it honestly never occurred to me to write about Poison’d, because it’s an older game. Not to mention that there’s a lot of rapey stuff out there that I haven’t written about, simply because man is rape common in games and I don’t want to turn into That Blogger Who Only Writes About Rape. (…World of Darkness, tho…)

5) I am legit crazy

Last, but certainly not least, Zak has accused me of being legit crazy. As in a-danger-to-myself-and-others crazy:

But she needs to get help, not just constant random reification of whatever aggressive anti-sex delusion she’s pushing that day. —RPGSite thread, post #88

“Wait my friend is mentally ill and as someone they trust I need to intervene” . So people like Wundergeek keep doing breathtakingly evil, stupid and dishonest things because people like you, basically, let them and there is no point at which you go “This person is crazy, let’s make sure they can’t hurt anyone else”. —RPGSite thread, post #229

Wundergeek will never listen to anything I say–but if you have even a single person who is friends with her who hasn’t told her she desperately needs therapy by now, every fucking problem she causes is on their head. As it is on yours for defending her. —RPGSite thread, post #229

And let me just say that internet-diagnosing someone of a mental illness as a way of dismissing everything that they have to say, or even their worth as a human being, that is some grade-A ableist bullshit.

There’s a lot of shit I don’t talk about here, like the trauma surrounding the loss of my father and my lifelong struggle with mental illness. But I’ve also been pretty open about things in the game community that do affect my mental health, as well as things that I am doing to try to take care of myself.

So yes, I am “crazy”. But I missed the part where the details of my medical history, including treatment, medication, prognosis, or interventions are anybody’s fucking business but my husband’s.

(Additional instances of this allegation: RPGSite thread, post #232, RPGSite thread, post #232)

Jesus is anyone still even reading this?

(If you’ve made it this far, uh, congratulations? You deserve a medal or something.)

So here we are, at the end. I have laid out everything I have, as exhaustively as I could while also trying to preserve some readability and coherency. I hope I struck the right balance. I might not have. Ultimately, you, the reader, must decide how well I did.

What do I intend to do from here? To go back to what I have been doing. Blogging about the things that I’m passionate about, writing games that I want to write, and making art that makes me happy. This isn’t something I intend to write about again. The purpose of this post was to end a three-and-a-half year silence that was only growing larger, more oppressive, and more suffocating the longer it went on.

I’m not going to pretend that I’m fucking Mother Theresa about this. I have a lot of hurt, a lot of pain, and a lot of anger over this. I also have a lot of anxiety and fear. I am going to do my level best to forget this, but do I have it in me to ever forgive? I’m not sure. I hope that posting this will help me let some of that hurt go.

Do I expect or even desire anything from Zak? No. I hope he has lots more adventures with confident women and nonbinary folk who are in charge of their sexuality, and I hope they keep playing games. Me, I just want to live my life, and I want him to live his without constantly broadcasting his hatred of me. That’s all. That’s all I’ve only ever wanted.

[1] Zak is a professional artist with art in the MOMA. So his entire argument hinges on the idea that he is somehow completely unfamiliar with the idea of “the male gaze”, which was a concept I learned about in art school, waaaaaay before feminism was even a thing I thought worth pursuing. There is, frankly, a shitton of scholarship supporting the existence of the (heterosexual) male gaze as a major influencing force in our culture, so, I’m not going to waste time here by having an argument that is the intellectual equivalent of “should I vaccinate my kids”. (Spoiler alert: YES.)

 

Using games to promote empathy, and related thinks

[This is a terrible title, but it’s the best I could come up. I hate titles.]

I started writing this post because I recently played a game that made me bored, and I enjoyed it. And then I played it again, and this time it made me bored and made me cry, and that time it was even better. And what’s more? I’d totally play it again.

And that’s weird, right? Like what other medium would even lead someone to say that? Okay, so it’s not so weird that I enjoyed something that made me cry since I am a champion at crying at movies that no one else cries at. But actively enjoying being bored? Folks, I have some pretty extreme ADD – boredom is almost physically painful for me, and I will drop something like a hot rock if I get more than a little bored with it.

Even as a hard-core devotee of fantasy and sci-fi novels, where exposition infodumps are often part of the genre’s buy-in, I have a hard and fast rule that I will only read the first 75 pages of a novel and if it’s not interesting by then, I’ll stop reading. Similarly, I didn’t see Alien until a few years ago, and the first forty-five minutes of the movie were almost painful in how slow the pacing was – the only thing that kept me going was the nerd-shame of never having seen Alien in the first place. And even as a hardcore Joss Whedon fan[1], it took two attempts for me to get into Dollhouse. The first episode left me completely cold when it was on the air, and I wound up not actually watching it until it went up on Netflix.

So what gives? How is it that games have the ability to affect us in ways that would be seen as negative in other mediums and still create an experience that is seen as rewarding? And what does that say about our ability to use games as a medium to promote empathy by getting people to engage emotionally with ideas or stories they’d normally rather not think about?

Let’s back up and start from the beginning

So here’s what got me started thinking about all this stuff: I was lucky enough to help Andrew Medeiros playtest The Forgotten – a LARP that he is fine-tuning about civilians desperately trying to survive in a city under siege, based on the actual experiences of survivors of the siege of Sarajevo. The game itself is very simply structured: there are day scenes and night scenes. During the day, everyone is trapped inside because there are snipers everywhere and it is too dangerous to go outside. At night is when the survivors establish a guard and send people out to scavenge.

During the day scenes, often toward the beginning when things hadn’t gotten too bleak yet and we hadn’t had to make too many hard choices, the players wound up sitting around with seven or eight minutes to kill and no game tasks that needed doing, just waiting for the day to be over. And that time… got kind of boring. So we’d wind up reminiscing, or shooting the shit, or picking fights just for something to do, or even just staring at the wall and just wanting the day to be over already.

Later in the game when the bleakness had had a chance to ramp up, day scenes flew by, but everyone was stressed and frazzled. How would you use limited resources when there wasn’t enough to keep everyone alive? The game forced you to make decisions when the only decisions that could be made all fucking sucked – and sometimes made you feel like a bad person just for making the choice in the first place. And worst of all, sometimes (rarely, but it happened) during the night scenes the people that went out at night got killed by snipers. Which is a fucking gut punch, especially when (as happened in our second game) they’ve gone out to scavenge for supplies to save you and then… just don’t come back.

So the result this game that shouldn’t be enjoyable by any of the standards we would apply to other forms of media. By turns, it’s boring, stressful, and horribly agonizing – I jokingly described it as “punching yourself in the feels for two hours”. But the mechanics that produce these feelings create such a great story, and for a lot of people that’s what separates a good game from a bad one.

Which is awesome and exciting! Because if games can make otherwise painful or unpleasant experiences enjoyable, that opens up so many possibilities to tell the stories that get overlooked, or are even intentionally ignored – stories that are hard and painful and maybe a little traumatizing, and stories that challenge our personal beliefs as players and human beings.

Modeling more than just violence

Something that I’ve seen popping up more as a topic of conversation in the design circles that I inhabit is the problem of getting game designers to see game design as more than just building different types of violence simulation engines. A whole heap of brainpower gets devoted to modeling just about every type of violence imaginable. As a result, a lot of mainstream gaming just winds up producing games that let you play different flavors of murder hobos.

Screen shot 2013-02-24 at 8.46.22 AM

(taken from Order of The Stick by Rich Burlew)

 

Fantasy murder hobos! Cyberpunk murder hobos! Steampunk murder hobos! Murder hobos in space! Mainstream gaming is a little bit addicted to murder hobos[2]. Thankfully, however, as games mature as an artform, we’re finally starting to expand the boundaries of mainstream gaming beyond simply “mostly murder hobo simulation”.

The indies, of course, have always been out there doing their own thing. I’ve written previously about how indie TRPG designers have managed to handle the issue of sex, sexuality, and relationships in a far more sophisticated manner than pretty much any AAA video game title out there. There are also a lot of smart and talented designers working in both tabletop/LARP design and in video games to expand the boundaries of what is traditionally considered to be a “game”, and in so doing are creating what might just be a new genre – empathy games.

In the past few years, games like Depression Quest; Papers, Please; and That Dragon, Cancer are increasingly becoming part of the conversation about the future direction of games. And while they’re still not doing business on a scale approaching anything close to the volume that the AAA video game industry puts out, the fact that Papers, Please – a game often described with words like “tedious”, “grim”, and “affecting” – had sold more than half a million copies as of March 2014 argues for an increasing appetite for games that provoke empathy.

Excitingly, the advent of incredibly accessible game development tools like Twine and Unity mean that new designers from traditionally unrepresented backgrounds are getting into game development and doing all sorts of new, compelling, and weird things with the medium.

As far as analog gaming goes, the future is a bit harder to predict. Tabletop gaming is a far, far smaller industry that employs far fewer people than the AAA video gaming industry, and the majority of tabletop gaming’s “mainstream” game lines could still arguably be called violence simulators. D&D, Pathfinder, World of Darkness – all of these are game lines that will devote hundreds of thousands of words in a book to modeling violence and either neglect or completely ignore rules that help model relationships, or empathy, or emotion – assuming that that will sort itself out in the fiction.

Of course, the tabletop gaming industry is also an industry far less dependent on its “mainstream” anchor companies. Indie trpg publishing has been around for a long time. And I’ll admit to some bias as someone who designs for tabletop and not video games, but it often seems to me that the conversation surrounding the design challenges of creating games centered around things other than violence is considerably advanced from that in the video game world, simply because creating these sorts of games hasn’t been marginalized as a fringe concern. (Or at least not to the degree that is the case in the video game world.) And maybe that’s because there’s a whole lot less money in analog gaming? It’s hard to say.

What I can say is that games like The Forgotten make me excited about the future of analog game design. I’ve been following analog design and designers for… well, a long time now. Long enough that I’ve watched some ideas previously dismissed as “hippie” or “indie” slowly creep into even the trad-est of trad games. As indie analog designers continue to create new ways of telling stories, those tools will inevitably creep into “mainstream” games.

Admittedly, the creep is… slow. And empathy games are certainly never going to replace violence simulators, because let’s face it – sometimes when you’ve had a really shitty day, it can feel therapeutic to sit down and shoot zombies in the face for a while. (Or aliens. Or demons. Whatever.) But could they become their own legitimate subgenre? Something without the weird stigma associated with things like Nordic LARP or American Freeform, games that people either dismiss or don’t see themselves as “brave” enough to play? I sure hope so.

[1] Yes, yes, I know he can be kind of awful, and his stuff is super problematic. I just can’t help but love it, though. (At least it’s not Game of Thrones.)
[2] And don’t get me wrong. I do love me some murder hoboing from time to time. I am greatly enjoying playing Dragon Age: Inquisition, which does have a fair amount of “quick, kill those guys! Because [mumblemumble] reasons!

Advice for women looking to get into game design: part 3 [LONG]

[This post is part of a series! Click here for Part 1 and Part 2 respectively]

Administrativa

Some caveats:

First, in the comments on my last post, Wendy makes an excellent point about the danger of using Lulu in that they will attempt to hard sell you on a variety of services that you should not pay for. Please read the full comment here.

It’s also worth noting that there are quality reasons not to use DriveThru RPG’s printing service; The quality of DTRPG’s paper at their non-premium printing levels isn’t as good as what is used by Lulu. Also important – DTRPG doesn’t allow for bleeds! For more information, check out this thread on StoryGames comparing POD services. In particular, make sure you read the posts by Johnstone Metzger. Many thanks to Ryan Macklin for making me aware of this, as I have only used DTRPG for PDF and not for print.

I’ve gone back and edited part 2 to add both of these concerns to my post.

Lastly, Rachel Kahn – the artist and creator of By Crom! – linked me to a talk that she gave about her experience of self-publishing as an indie comics artist. It’s not games, obviously, but she covers a lot of useful topics that still apply to game publishing, so it’s definitely worth a listen.

The agenda:

So far I’ve covered the thinky stuff about why you should consider self-publishing and common cognitive pitfalls to avoid. I’ve also talked about the economics of various distribution models and the pros and cons of each approach. However! I haven’t addressed the elephant in the room – crowdfunding! Nor have I talked about alternative content models and creative partnerships. So I’m going to do my best to address those three topics in this post.

I know that this doesn’t exactly make for scintillating reading, so this is the last post in the series and after this I will return to more entertaining things.

Economics of making the thing

It is literally impossible to possess all of the skills needed to make a polished and professional game without needing the input of another human. If you are fantastically lucky, you might be one of the rare humans[1] who can also make art and do layout in addition to writing and designing a game. However, you will always need a human that isn’t you to edit your work.

Yes always. You are legit not capable of editing your own work because your brain is an asshole and will lie to you about what is actually on the page.

So at the very least, you will need to find an editor. Depending on your skillset, you may also need a layout person and an artist. (Sometimes artists can do layout as well. But in my experience, it’s far more common that these would be separate people.) And of course, any editor, artist, or layout person capable of putting out professional-quality work is going to want to be paid for their time.

With that in mind, let’s look at different options available to you. Although it’s worth noting beforehand that generally, the less money you’re willing to spend, the more time you can expect to spend yourself.

1) Shoestring everything yourself

Admittedly, this is a lot easier if you are an artist or layout-capable person yourself. However, it is possible, and is something I have done in the past.

First, you’ll need an editor. If you’re trying to avoid needing to pay people, consider your network of friends. Do you have any friends who are competent editors? English or Journalism majors? Compulsive grammar nerds? Ask if they’d be willing to edit your draft! A lot of the time, friends will be willing to trade favors for favors. Can you help your prospective editor move? Provide free babysitting? Something else tedious and time-consuming?

Be creative – friends will be a lot more flexible in what they’ll accept as compensation. Just make sure not to screw your friend over by not following through on your end of the bargain. Few things sour friendships faster than screwing over someone in a business arrangement.

Next, artwork. Are you an artist yourself? Cool beans! Congratulations on being a lucky human! If not, however, don’t despair. The Prismatic Art Collection is an excellent collection of RPG stock art featuring inclusive and diverse artwork by a lot of fantastic artists.

If that doesn’t meet your needs, consider getting creative. If you can’t draw, are you any good with a camera? Consider using photography instead of illustration. J. R. Blackwell’s work on Heroine is a fantastic example of how well this can work out.what this can look like.

Lastly, layout. It is possible for the layout-inexperienced to do their own layout, but you need to be prepared for the massive time expenditure this will entail. How long do you think laying out your book will take? Great. Now quadruple that estimate. And maybe double that estimate. Essentially, you’ll be teaching yourself a new skill, and that takes time.

That’s not to say it’s impossible! If you want to go that route, grab several of your favorite game books whose look you want to emulate and crib (without plagiarizing!) from the elements that make those books pleasing. This will require trial and error. Persevere! (On no account, however, should you attempt to do this using any Microsoft product. Period. That way lies madness and despair.)

1a) Shoestring everything but art, source art cheaply

If the Prismatic Art Collection doesn’t fit your needs, stock art can be an inexpensive alternative – although it’s important to note that you’ll be sacrificing specificity if you go this route; you may need to go with something that approximates what you were looking for if you can’t find something that precisely fits what you had envisioned.

There are artists doing some really interesting things with stock art collections on Patreon; typically in exchange for becoming a patron you gain access to an artist’s stock art library. My favorites that I’ve seen are Kaitlynn PeavlerGeorge Cotronis, and James E. Shields. However, with more artists joining all the time, it’s worth taking a look at who else is doing similar projects to see whose art you’re most attracted to.

Your other option is to license stock art from a big stock photo site and then modify it yourself. One great example of this is Apocalypse World – Vincent Baker did traceovers of photos he found on stock photo sites and the end result is fantastic. Going this route will also represent a significant time expenditure! Because I can guarantee that you’re going to spend a fair amount of time on trial-and-error before you settle on something you like.

2) Assemble a team of freelancers, do a KickStarter to raise the funds to pay them

Increasingly, this is what the face of game publishing is looking like. If you go this route (and I’d say any project over about 20,000 words, you should definitely consider this as an option), look at what it is you need that you’re prepared to pay for.

Then go recruiting people to fill those needs. Pitch the project and explain what you want to hire them to do, then ask about their rates and availability. (Availability is important! Putting together a team of awesome people who can’t start working as soon as the campaign is over is going to lead to massive delays and headaches.) Add all that together and that’s your creative budget.

I have more to say about KickStarter, but we’ll come back to that in a bit.

3) Creative partnerships

The middle ground between option 1 and option 2 is a creative partnership. Say you have a project that you want to do, and you have about half of the needed skills. Consider shopping around for a creative partner who has the skills that you lack for the purposes of entering into a creative partnership in exchange for a mutually agreed-upon split of the profits (usually 50/50).

A great example of this is my partnership with Josh Roby on Princess Charming. Josh wanted to write a series of books for children; he was capable of handling writing, layout, and production logistics. However, he needed someone to do art as well as character and setting design. So he pitched the project to me and we became partners on this project. And it worked out really well for me! I did a bunch of fun (albeit time-consuming) art things, and then gave them to Josh and didn’t have to think about it anymore while he did all the work of turning them into physical books. Sucker.

If you go this route, it’s super important to put down in writing who is expected to perform which tasks and what the desired timeline is going to be. It’s also very important that you work with someone you can get along with, because you’re going to be spending  a lot of time interacting with your partner. Don’t be tempted to partner with someone who rubs you the wrong way simply because you like their work, because trust me – that will never end well. Also, consider working together on a small project as a trial run before committing to working on a large project with someone who haven’t partnered with previously. It’s no fun discovering halfway through that you like your partner as a person but they drive you crazy as a collaborator.

You will need to figure out how to monetize the thing you want to make and plan accordingly. Consider signing a contract as to how profits will be split and how and when royalties will be paid to the person not receiving the monies. It is absolutely vital that you be on the same page with your partner about money things.

Serial content: Patreon

Everything that I’ve said about self-publishing so far has been predicated on the idea that what you are looking to do is sell a game. But maybe that’s not what you’re after, and maybe you’re open to alternative content models? So here I’m going to divert a little to talk about Patreon, since it would be a massive omission to not talk about Patreon as a way of funding game content.

Patreon is a great way to create small serial content; with traditional publishing models you can invest hundreds of hours in a project before it’s ready to publish. Patreon helps level out the revenue stream by providing income for content delivered in smaller, manageable chunks.

Most people use this to create content in discrete, self-contained chunks. Josh Roby uses Patreon to create “steampunk ports of call”, which are basically steampunk mini-settings. Mark Diaz Truman is using Patreon to create a monthly ezine called the Fate Codex.

Some people, like Caitlynn Belle and Topher Gerkey use it to fund the creation of small game projects. However, it can also be used to fund the development of larger projects; Quinn Murphy has been using his Patreon to fund the development of Five Fires – a hip hop RPG. You can also release games by the chapter, as this Patreon for the development of a Mexican RPG about killing angels. (I know I’m not doing it justice with that description, so please do check it out.)

Alternatively, some people use a per month model to fund the development of a larger project, or to enable more nebulous, hard-to-quantify work such as activism. Avery McDaldno is a good example of this; she makes games, coordinates events, gives talks, and does all sorts of awesome gameish things.

(And of course, because I’m bound to leave someone out here, it’s worth checking out this list of RPG-related Patreons over on RPGGeek.)

It’s worth noting that generally if you’re just starting out in game design, you should consider sticking to a per-content model rather than a per-month model. Without a proven reputation or established audience, a per-month model can be a hard sell; there are too many great Patreons out there to ever be able to support them all. You need to make potential patrons feel secure about seeing a return on investment, and a per-content model is a great way to do that. If you don’t create content, they don’t pay you anything! You’ll also need to invest effort in promoting your Patreon. Simply creating a Patreon and waiting for the money to roll in isn’t going to work. At all.

(And of course, Patreon is still a pretty new platform, so it’s hard to say definitively that these are your only two options. Who knows! There might be other exciting things people are doing that I’m not aware of!)

KickStarter

There are two main crowdfunding platforms for game content: IndieGoGo and KickStarter. I’ve written previously about why I use KickStarter and why you should too, but tl;dr is that IndieGoGo’s ethics leave a hell of a lot to be desired.

Anyhow, this section isn’t going to be about logistics – because there are a ton of people who have written voluminously about the logistics of running a game KickStarter. I could probably do an entire roundup post of KickStarter advice, and now that I think about it I really should. (Hmm.)

Anyway, most of what’s out there is written from the perspective of people who are running REALLY BIG CAMPAIGNS. So here is some perspective from the opposite end of the scale.

Budget, budget, budget

It can be a bit daunting figuring out exactly how to put together your budget, so for illustration here is my budget for Ruined Empire[2]. It does not include an editor! Make sure you don’t omit that.

budget

YMMV, naturally, but this is a pretty good overview of the stuff that you should be thinking about. (Plus editing.) You’ll note that I’ve included payment for myself in my budget. ALWAYS ALWAYS DO THAT. KickStarters are a huge, huge job and you don’t want to wind up going through all that effort essentially for free.

I’m a big fan of spreadsheets, so I put this together using magic formulas to do the math for me. But if spreadsheets aren’t your thing, maybe check out these KickStarter budget calculators I found here and here? (I’m afraid I can’t vouch for their effectiveness in depth, but they looked useful when I was checking them out.)

KickStarter will be your lord and master

Running a KickStarter is like having a baby. No matter how prepared you may think you are, you aren’t ready at all. There will always be tasks that you hadn’t anticipated doing. A KickStarter is like a hungry, angry baby constantly demanding your attention.

Sound annoying? It is! And stressful! And time consuming, if you’re doing it right!

There is no replacement for KickStarter in that it can enable large projects that would otherwise be out of your reach. I would never have been able to put together Ruined Empire in a format that I felt would do it justice without KickStarter. However, KickStarters are a huge time and energy sink. Expect to be able to run 1 per year when you’re starting out; even the really experienced single-person publishers I know only manage 2 per year.

Make sure that your KickStarter revenue and expenses are in the same calendar year

This is actually something covered in pretty much all “mainstream” advice, but it’s important enough that I’m going to say it again here.

I didn’t do that with Ruined Empire and it’s kind of fucking over my taxes. Whoops.

Pay your damn freelancers

The big companies get away with screwing freelancers with unfavorable terms, but you should aspire to a higher standard. Half payment up front and half upon completion of work is a reasonable standard, and paying your freelancers promptly when you determine that their work is the final draft with no further changes needed will endear you greatly to them.

Seriously.

I could say more but I won’t

I know there’s more that I could say about KickStarter, but I’m going to hold off on that until after Ruined Empire and do a detailed post-mortem of that, since it’s the closest thing to a traditional game product I’m probably ever going to publish. Until then, to the Google!

onward

So how much money can I make?

On my previous post, I got asked how much money you can expect to make selling RPGs. But that question is kind of impossible to answer for a number of reasons. To quote myself:

It depends. What kind of game are you trying to sell? What is it about? Is it something with broad appeal, or a weird little niche thing with limited appeal? How polished is it? Is it a standalone product or a supplement that requires another book to play?

How long have you been working on building an audience? Are you part of a community of gamers/game designers who can help promote your game? Have you been going to conventions to run your game? Have you been making an effort to get your games into game retailers?

I can’t give you numbers. Game design is like ANY business in that you have to put time IN to get money OUT.

So that is what I leave you with, my lovelies. I can’t promise you great fame or riches, all I provide here is a roadmap of what self-publishing can look like and how to get there. However, self-publishing is a business, and like any business you can’t expect the money to come in by itself. Businesses take time and effort sustained over years in order to build – they’re not something that just happens overnight.

Still, I hope that writing at such length (!!!) is helpful at demystifying the publishing process.

[1] John Harper is seriously amazing.

[2] Note that these numbers are in $USD, while the campaign itself funded in $CAD

Advice for women looking to get into game design: part 2 [LONG]

[ETA: Some important concerns were raised after this post about Lulu and DTRPG, so I’m editing a brief summary of these concerns into this post under 3a.

This is also part of a series! Part 3 in this series can be found here.]

In my last post, I talked about why it’s not enough to tell women to get involved in game design through freelancing for a major game publisher; it’s important that women know that self-publishing is also an option, and frequently it’s the far more financially beneficial option.

This is going to be a more practical post, talking about the nuts-and-bolts of distribution as a self-publisher. Obviously this is largely informed by my experience as an (admittedly tiny) self-publishing game designer, and everyone’s situation is unique, and YMMV blah blah blah.

Also, I’ll note that this post is information-dense. So if you’re not super super interested in self-publishing, maybe go watch some goat videos.

Lastly, I had intended to also tackle the different funding models of actually assembling a finished game project, from crowdfunding to creative partnerships and all that. But this post ballooned far beyond what I thought it would be, so that will have to wait for my next post because I have a lot to say about that! And I also want to talk about using Patreon to support serial-format game content, which may or may not fit in with my next post, so we’ll have to see what happens.

The changing face of self-publishing

I published my first game (Thou Art But A Warrior) in 2008, which feels like the Dark Ages now that I look back on those experiences. Crowdfunding didn’t exist. Drive Thru RPG was still a nascent force in indie publishing, hardly the juggernaut of market-share that it is now; Indie Press Revolution was the major arbiter of “hip, cool” indie TRPGs. And most importantly, PDF sales weren’t a thing that most indie publishers bothered worrying about; the iPhone had only been out for a year at that point, and the tablet market was still a twinkle in some marketer’s eye.

Determined to save money by doing everything myself, I did my own art and laid the book out myself in Word. (Oh god was that a mistake. Don’t ever ever do that.) Even then, the initial print run of 100 books cost me $400ish (it was a pretty small book), and then I had to take them to GenCon – which is itself no small expense – to spend my convention running endless demos. And even then my costs were comparatively tiny! Being able to do my own art took off a significant expense. And being able to rely on my husband’s editing[1] “for free” removed another significant expense.

(…yeah, yeah. I know how this sounds. Bear with me! This is going somewhere.)

get-off-my-lawn

Damn snowbirds with your retirement communities and your bingo!

Anyway, the point that I’m making is that publishing “back then” came with a pretty high barrier to entry. In addition to being someone who could afford to take the time to write a game, get it playtested, get it revised through multiple drafts, and have the bandwidth to deal with the nightmare that is printing[2] – you also had to be able to sink a lot of money into a game that had no guarantee of selling. Every time you self-published a game, you were taking the risk that all of your time, effort, and money would vanish and all you’d be left with was a box of books in your living room.

So it’s not terribly surprising that the horde of self-published game designers that were pimping their games at the IPR booth that year were a rather… monochromatic bunch of people.

Thankfully – as new self-publishing tools have been created, that barrier to entry has gotten lower, and lower, and lower. Which brings us to right now, when it has literally never been easier to publish your own shit.

So now let’s talk about how to get that done.

The current self-publishing landscape

(It’s important to note here that I will not be talking about how to make a finished game, for the most part. I’ll touch on art, editing, and layout as expenses that need to be considered and planned for, but as for “how to make a game that is polished and professional” – that’s an entirely different subject that people far more qualified than I have written extensively about.)

Self-publishing in 2015 is vastly different than in 2008, and it can take many different forms. As a publisher, you can put as much or as little time into your publishing as you want. So I’m going to go through the different “levels” of self-publishing as a one-person operation[3], though please note that “higher level” does not equate with “better”. “Higher level” simply means a greater investment of time, resources, and creative bandwidth.

Level 1: No books, just PDFs

This is what I think of as “entry-level publishing”. With tablets growing increasingly common at the table, PDF is now its own viable market segment – although it’s worth noting that the availability of PDF is never going to replace the demand for books.

At this level, all you really need is a game to publish, a website, and either a storefront or a distributor (or both).

1) The Game

Now when I say “a game to publish”, it’s important to note that I don’t necessarily mean  a complete roleplaying game with original setting and mechanical system. Hell no! Instead you could have a fully-fleshed out setting, or a small game that does a small but very specific thing, or a standalone hack of someone else’s game, or even a small hack of someone else’s game that doesn’t stand on its own. Whatever! If it is a game or helps other people play games, it counts.

2) The Website

Thankfully, this too is far easier than it used to be. There are a number of hosting services that use drag-and-drop content management systems that allow you to create slick, professional-looking websites without having to know a lick of HTML. Personally, I use SquareSpace (they are not paying me to endorse them) – their hosting rates are cheap, their templates attractive and easy to use, and if you pay a year at a time it includes a free domain name. I’ve been with them more than 2 years and never had any hiccups in service. (There are other similar services out there if you want to shop around – I just can’t comment on them.)

Even if you are  someone who knows HTML and web design, a service like SquareSpace is awesome because it just saves so much time[4].

3) The storefront/distributor

The easiest and cheapest way to handle this is to put a PayPal button on your website and email PDFs to customers yourself as your orders come in. I do a little of this – right now I’m only selling Thou Art But a Warrior through my UnStore, mostly because I’m also trying to get rid of my last dead-tree copies. However, this option is also the least visible. So either you’ll need to do self-promotion to offset this, or you’ll want to consider using multiple distribution channels. (Which you probably should! But more on that in a second.)

One additional, unfortunate complication to the selling-through-your-website model is that as of January 1st of this year, the new EU VAT rules basically mean that self-publishers can’t sell PDFs directly to their European customers.

Thankfully, PayHip is a storefront service that will handle VAT for you! They’ll take 5% of each sale, but really 5% is more than worth it for not having to deal with the VAT yourself. And what you get is a pretty slick looking storefront with some pretty decent analytics and social media tools built in.

However! PayHip still doesn’t do your self-promotion for you! And if that matters to you, you may want to look into a larger distribution channel like Drive Thru RPG or Indie Press Revolution. (And since they’d be doing the distribution, VAT would ultimately be their problem, not yours.) DTRPG will give you 65% of net profit as a non-exclusive publisher, and 70% if you publish with them exclusively. IPR doesn’t charge as much in royalties – they take 20% of cover price for all PDF sales. But then, their sales aren’t as large as DTRPG, so that’s a judgement call you’ll have to make.

It’s worth noting that DTRPG is huge, and has an enormous customer base. Many DTRPG customers will only purchase game PDFs through DTRPG so that their game libraries are effectively centralized in one location that they have access to away from home. So there are a lot of sales that you will only capture through DTRPG. However, DTRPG also takes a lot more of your money.

A good way to balance this is to launch a new game through your website and/or storefront of choice, and only release on DTRPG after a month or two when initial sales have peaked and started to taper off. (This was the approach I took for SexyTime adventures and I wound up doubling the number of copies sold.)

Of course, if all of that sounds like too much of a hassle, and it might, there’s nothing wrong with publishing exclusively with DTRPG and linking your website over there. Ultimately, you have to do the personal calculus and decide if the return on investment is worth it for anything beyond that.

3a) Important caveats (edited in after initial post)

In the comments, Wendy makes an excellent point about the danger of using Lulu in that they will attempt to hard sell you on a variety of services that you should not pay for. Please read the full comment here.

It’s also worth noting that there are quality reasons not to use DriveThru RPG’s printing service; The quality of DTRPG’s paper at their non-premium printing levels isn’t as good as what is used by Lulu. Also important – DTRPG doesn’t allow for bleeds! For more information, check out this thread on StoryGames comparing POD services. In particular, make sure you read the posts by Johnstone Metzger. Many thanks to Ryan Macklin for making me aware of this, as I have only used DTRPG for PDF and not for print.

Level 2: Books

Books are something that are never going to go away, period. So it’s worth considering that as an option, because some people won’t buy a game if they can’t get a book. (Although it’s worth noting that Print + PDF is becoming the standard for a lot of indie outfits, as increasingly people like having an option of owning a book but not having to haul around the extra weight at a convention.) But of course, books means printing as well as shipping, which ups the nuisance factor considerably.

But if books is a thing you want to do, then here’s what that can look like:

1) Sell books through website/storefront, mail them yourself

This is originally what most of self-publishing looked like, and it can still be viable if you’re willing to put up with a lot of hassle. Shipping books yourself means you’re not paying handling fees to someone else to do it for you. However. This also requires you to keep physical copies around your house, as well as mailing supplies. And you need to be able to take time to make semi-regular trips to the post office. It is time consuming, to say nothing of space-consuming. And if you live in Canada, Canada Post’s absolutely ridiculous postage rates are going to preclude you from doing this. (I have someone in the States who ships my print copies of TABAW for me.)

Most importantly, however, this model means that you will have to have gone to the trouble of getting it printed yourself, which is no small task. And that means either sinking in money up front, or funding a print run plus extras through crowdfunding, which we’ll come back to. So increasingly, people are ditching this model in favor of #2.

1a) Print books, send them to a distributor who will sell/ship them for you

There are several distributors who do this for small indie publishers. Indie Press Revolution was the first, and the only distributor I have any direct experience with. (I stopped using IPR several years ago.) However, it may be worth considering if you want to save money on printing costs but don’t want to or can’t mail books yourself.

Importantly, distributors like IPR sell to retailers – which means that you could potentially get your game into local game stores. However, with IPR retail sales are made at 55% of cover, with the remaining profit being split 80/20 – leaving you with 44% of your cover price as compared to 70% of cover for direct print sales. So you may decide that retail sales using this model aren’t worth it to you, since you’re “losing money” as compared to a direct-to-the-customer print sale. Or you may decide that the reduced royalty is worth the extra exposure. It’s your call.

However, while this model saves you from dealing with shipping, it still doesn’t save you from dealing with printers. Which is why more publishers are shifting to…

2) Upload a print-ready PDF to a platform that will print-on-demand for you

Drive Thru RPG is great for this, because you can upload one print-ready file and set different options for how people can buy it. So you set price levels for PDF, for black and white, for color softcover, color hardcover, etc etc etc. And when people order a print copy, DTRPG prints it on demand and mails it for you, and you get the royalties without ever having to go to the post office.

Which, as someone who has dealt with printers, let me tell you this is something you should strongly consider. Printers are either 1) glacially slow or 2) amazingly talented at fucking things up. No exceptions.

Lulu is an alternative for those interested in the “not needing to handle books” model of selling books. They charge a flat price for printing, you set the cover price and get the difference. However, using Lulu comes with the same disadvantage as selling only through your website. If you want your game to sell well, you’re going to have to put extra work into promoting it.

Crowdfunding!

Most dead-tree print runs these days are being funded through crowdfunding, because as noted previously, printing is expensive. And as shipping costs sky rocket, publishers handling dead-tree books need to be able to make sure their costs will be covered. However, this post is already long enough, so crowdfunding will have to wait until next time.

images

[1] Being married to your editor is both a blessing and a curse. It’s impossible to grumpily ignore your editor when they give you brutal edits if they live in your house.

[2] Actually, dealing with printers isn’t any better now than it was in 2008. Even when you’re dealing with a good printer, the process still sucks.

[3] Much of what I say might not apply to medium sized indie operations like Bully Pulpit.

[4] No more coding lightbox galleries manually! Whee!

Advice for women looking to get into game design: Part 1

[ETA: Part 2 is now up! You can find it here! Part 3 is here.]

Before we get started

Lately, the issue of women and minorities in game design and development has been a topic of conversation in indie tabletop circles. I recently wrote about the dustup that happened over the level of female representation on D&D’s core design team. Since then, several interesting data points have been added, such that I think it’s worth taking a look at here.

So I’m going to write a 2-part series here about getting started as a woman in indie publishing. Some of what appears here will be “recycled” content, in that it’s repurposed from a Google+ post that I made several months ago. Most of it, however, will be “original” content that has not previously been pulled from my brain meats.

Part 1 is going to handle what I’m calling “thinky stuff” – pros and cons of publishing your own content, as well as common cognitive pitfalls that women face in game publishing.

Part 2 is going to deal in more practical matters. I’ll talk about my experiences as a self-publisher: how I got started, what goes into making a finished game, and the many different avenues available to self-publishers.

So now that I’ve laid that out, let’s get started.

1) The pros and cons of self-publishing

Most of the time when people talk about “breaking into the industry as a game designer”, what they mean is “getting a freelancing gig for one of the ‘mainstream’ publishing companies[1]”. But if that is all that you think of when you think of “breaking in”, then let me tell you YOU ARE SELLING YOURSELF SHORT.

Not to get all “get off my lawn” on folks here, but it has never been easier to self-publish games than it is right now. There are so many tools now that allow people to self-publish exciting and polished games that just plain didn’t exist when I started dabbling in self-publishing nearly seven years ago. It is absolutely possible for a one-person operation (like yours truly) to make and publish games that people want to buy.

There’s also the issue of economics. Simon Rogers of Pelgrane Press wrote this fantastic look at the economics of publishing from the standpoint of one of the “big dogs”, and it’s a great look at why freelance writing is not well paid, and why it’s not ever going to be well paid in the current market. The fact of the matter is that very often, a tiny self-publisher with a tiny audience can shoestring a game of their own and still make more money than they’d make freelancing for one of the big companies.

As a new writer in the industry, you can expect to make between 2-3 cents per word. That’s it. But as a self-publisher? You get all the profit, minus only expenses related to distribution, which adds up much more quickly.

Real-world example:

The work that I did for V20: Dark Ages was at a contracted rate of 3 cents per word. 3 cents per word times several thousand words means that my final fee was several hundred dollars.

Contrast that with SexyTime Adventures: the RPG, my stupid satirical dungeon-running not-even-a-standalone-hack of Dungeon World that’s mostly an exercise in mocking bad fantasy cheesecake art. I shoe-stringed producing it and it wound up costing me $35 total. To date, it has earned me more money than the work I did on V20: Dark Ages[3].

More importantly, I own the rights to all of it. My work on V20: Dark Ages was done work-for-hire, which means I don’t own any of the work that I did on that project.

Now all of that said, there are some cons to self-publishing. I’m not going to pretend that it’s all giggles and unicorns! Because there are distinctly unfun parts to self-publishing too. So I’m going to do a good old-fashioned pro-con list here:

Self-publishing pros Self-publishing cons
You own 100% of your work Self-promotion and publishing are time-consuming
You don’t have to wait to get paid KickStarters are NOT for the faint of heart (or the weak of organizational skills)
You don’t have to worry about getting screwed out of a comp copy, or about an employer just not paying you for your work – all of which are very real risks Building an audience is something that takes hard work over time. There is no substitute for this. None.
The profit margins are much, MUCH larger Finishing a draft is just the beginning of the process
You are in control of the creative process You’ll need to find a trustworthy, competent editor. Getting your edits will never be fun, or your editor isn’t doing the job right.
There are no rules for what self-publishing HAS to look like. How much time and effort you put into publishing is up to you Organizing playtests sucks. Seriously, it’s just the worst. (Except KickStarters.)
There are many alternative funding models and storefront options for people not willing/able to get into the logistics of dead tree books

Personally, I would LOVE to see many more people start self-publishing their own stuff. Tell that voice in your head that’s blasting the litany of reasons why it wouldn’t work to STFU. (It’s lying, but we’re going to come back to that in part #2.) I’m obviously pretty biased, but as someone who has experience with both ends of this? Self-publishing is by far my preferred method of game-writing. BY. FAR.

In the end, you have to do the calculus of what makes sense for you. But don’t let the Myth of the Game Designer fool you into thinking that you’re not “good enough” or “popular enough” or “talented enough” to publish your own content. And don’t EVER let yourself fall into the trap of thinking that you have to do freelance writing for “exposure” or to “gain experience”. Because here’s the deal.

As a freelancer, YOU ARE PROVIDING A SERVICE THAT HAS WORTH, or else they wouldn’t be paying you for it! The game companies are NOT in this to help you, the lowly freelancer. They are in this to MAKE MONEY, pure and simple. Working for “exposure” is an endless, useless trap so DON’T DO IT.

2) Self-publishing: common cognitive pitfalls[2]

[This is directed pretty much exclusively at women (misandry!), and is all taken from things I have berated myself for at some point or another.]

You have imposter syndrome, and it is lying to you.

Granted, it’s true that I know lots of male designers and writers with imposter syndrome. But it’s worse for women, because we have the double whammy of starting out a new craft in a hobby that tells women we don’t belong here.

You will feel like you have nothing to contribute, that you have no business calling yourself a game designer. That’s bullshit. Tell your brain the shut the fuck up and keep designing. (You may not ever get rid of that voice, but I promise it gets easier to tell it to STFU with practice.)

Write the game that you want to write

Making games is work and you have to really be excited about a project to see it through from start to finish. Don’t discard a game idea because you think no one will be interested or want to play it. Make it anyway and put it out there. You may be surprised! Hell, I’m still surprised that ANYONE actually bought SexyTime Adventures, let alone played it. But it happened! And I almost didn’t publish it, because I thought no one would be interested but me.

This goes double if you want to write a game about something stereotypically “girly”. You want to write a game about saving kittens? DO IT. A game about teenage girl angst? ROCK. A game about shoujo magical girl anime? OMFG DOOO IIIITTTT.

doitnow

You do you. It’s okay to design for a niche audience.

Only writing hacks doesn’t mean you’re not a “real” game designer

It took me years to call myself a game designer because I can’t write original systems for shit. But I’ve learned that I’m really good at taking a system that does 75% of what I want it to do and Frankensteining it into doing a particular thing it didn’t do before. That’s game design!

Did you make a game? Then you are, grammatically, a game designer. Own that label.

Not being able to get outside groups to run playtests does not mean that no one will want to play your game

Seriously. It doesn’t mean that you suck, or your game sucks. It means there are too many games and too little time to play them in. It’s okay. Find some friends to play your game with you. It’ll be okay.

Keep your eyes on your own work

I still sometimes beat myself up that I’m not as prolific as Designer X or I’m not as popular as Designer Y. And it’s stupid and pointless. Be the best designer YOU can be.

Perfect is the mortal enemy of good enough

There is a difference between perfect and polished. Your game will never be perfect. Is it good enough? Good. Shove it out the door and move on.

You do not need a middleman. REPEAT. YOU DO NOT NEED A MIDDLEMAN.

Self-publishing is a thing that you are allowed to do. Yes, you with your no previously published games. Yes you with your lack of budget for a professional illustrator. Polish your game to the best of your capacity and put it out there. You do NOT need to shop around for “established” publishers to publish your work before you can call yourself a “real” designer.

That said, self-publishing is work! And maybe you don’t want to do that extra work, and that’s okay. But be upfront with yourself about your reasons – if it’s about validation, then re-consider. Because the economics of freelancing means that even self-publishers with tiny audiences (like me) can often make more money by publishing their own work.

Find a community of designers who you can talk about design with

I’ve learned A LOT about game design from talking with other designers and watching their process. Similarly, I find that talking about my in-process design thoughts helps me refine my ideas. Google+ is a GREAT place for that, because Circles and robust blocking tools make it easy to aggressively curate a discussion space you find productive.

You do not require the validation of assholes

That’s so important I’m going to say that again.

YOU DO NOT REQUIRE THE VALIDATION OF ASSHOLES.

It’s a sad reality of the gaming community that there are assholes, and as a woman you WILL encounter them. Sometimes, it may be someone you’ve heard about, someone who you think of as a Big Name. It can be really hard when that happens to remember that your worth as a designer is NOT contingent on their approval.

Say that the absolute worst case happens and they try to blacklist you. Remember that your audience is NOT 100% of gamers. Your audience is people who like and appreciate your games. And contrary to what they think, Big Name Assholes don’t really have as much power to affect your game sales as they think they do. People who would listen to a Big Name Asshole calling for a boycott of your work? Aren’t sales you should care about losing.

MASTER THE GLORIOUS ART OF NOT GIVING A FUCK, FOR IT WILL SET YOU FREE.

Remember to have fun

You’re making GAMES after all! Have fun! Even if I hadn’t sold a single copy of SexyTime Adventures, I would still consider it a success, because I giggled to myself the entire time I was writing it. Make games that you have fun making.

[1] Wizards of the Coast, Paizo, Pelgrane Press, Evil Hat, Green Ronin, Onyx Path, etc etc

[2] This section was originally written as a Google+ post, which you can find here.

[3] Full disclosure: that’s not factoring in the 30% pay bump that was one of the KickStarter stretch goals. By that metric, it falls just short.

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