|Things I made this year|
Beyond Fomalhaut started two years ago, and while most people tend to do this in late December or early January, this is my regular time for stock-taking and reflecting (and ranting). I should actually have posted this a day or two earlier to make it exactly one year, but we were gaming. Gaming takes precedence. Sitting down by the table with my circle of friends and playing is the reason to participate in this hobby, and it is the wellspring from which everything else flows. I am making a point here, and I will return to it at the end of the post. But for now,
The State of the Blog
Last year, I had 55 posts; this year, I had 42, this one included. It is slightly less (although some of my 2016 posts were reposts), and there have been more reviews than discussion. I have always been more of an actual play guy than a theorist, and I just had less to say about general matters than I used to. (I also canned some posts I did not think were up to par.) Reviews, on the other hand, are not just easy and enjoyable to write, they sometimes involve discussion on practical game design. The 23 I posted average out at 3.0, about the same as in 2016-2017 (3.1). This year, there were more outliers and slightly less reviews in the middle. This is how the rating break down:
- 5 with the Prestigious Monocled Bird of Excellence (). This rating was not awarded this year.
- 5 went to one new product, The Red Prophet Rises. This is a great sword&sorcery adventure module which I would recommend without reservations.
- 4 went to eight products, ranging from the fairly high-profile (The Hyqueous Vaults and Deep Carbon Observatory) to the oddball little surprises you find in PDFs, zines, and even a blog post (Sanctum of the Snail, The Quarrymen and The Secret Garden of Lord Vyre). These are very good, too.
- 3 went to seven adventures. Most of them were in the “decent but could have been better” league, with the only flawed gem being Crypt of the Lilac High Priest – and I almost gave that one a four. I would recommend Lilac High Priest with some reworking, and Fever Swamp if you like a good helping of masochism in your gaming.
- 2 went to four adventures. This mostly means there is an entire category of lacking modules I am successfully avoiding, or leafing through and not writing the review. To turn Tolstoy’s quote on its head, “every good adventure is good in its own way, while the poor ones are all alike”. There are patterns common to this rating which can become helpful warning signs for the reader, and a time-saver for the harried reviewer. I will post on this issue soonish.
- 1 went to three adventures. One, The Wrath of Grapes, was classic shovelware, the kind you pick up out of curiosity and regret immediately afterwards. Then we come to Orcs in Tarodun’s Tomb and The Exfiltrators, which both caught me off guard at the end of this year. Neither of these were newbie efforts; in fact, they were both written by people with fairly well-known names and industry awards. Something went wrong in both cases: one is a creative failure as an intro adventure, and the other is a return to bad writing and design practices which have been around in the hobby for a long while. I suppose both are instructive in the “don’t do this” sense.
My campaign journal, still going strong last year, died an ignoble death after its 13th instalment. I don’t think it had too many followers: the posts were too long, increasingly convoluted (a fairly natural progression for a campaign, but not easy to buy into as a reader), and I am no writer. It has also been more useful to share actual game materials, which brings us to...
The State of the Fanzine
E.M.D.T. lives, again! After a lot of vacillation about the business end of things, I took the jump and launched my zine. This has been a tremendously enjoyable experience, and probably the best way to publish game materials these days. I have long been complaining that social media and blogs have the wrong kind of architecture to make things last – posts inevitably drop out of sight in the information churn, and hobby publications do not receive enough time to prove themselves and find their proper place in the popular imagination. Zines are small and inexpensive enough to be personal, but substantial enough to have staying power. These are not exactly the newsletter-style zines of the 70s to 90s: their information exchange role has been assumed by the Internet, so you don’t really get much of correspondence and commentaries-upon-commentaries that had once served to connect fandom. (This was still the case in Chaos Ultra, the late-90s diskmag where my first game-related writings appeared.) Instead, they are an excellent venue for self-expression and craftmanship.
This aspect has always drawn me to zines and newsletters. For a long time, most of my output was in the form of PDFs, but I grew to miss the look and substance of a physical product. I knew Echoes From Fomalhaut would have to be a physical zine, and I had very specific ideas about the way it would look and feel (mainly influenced by the early Judges Guild instalments). There is something slower and more old-fashioned about a paper zine than an RPGNow PDF. I buy and enjoy a lot of those, too, but receiving an envelope in the mail and poring over someone’s handmade booklet is a feeling like no other. It also goes for publishing my own. Writing and disseminating a zine involves a lot of busywork from editing to packing envelopes and doing taxes, and now that I’m working out of the weekend house, it is kind of physical, too – the post is 40 minutes away on foot, and a round trip in the summer heat is a good daily walk. But it is tremendously enjoyable labour. So much of what we do these days is virtual or hard to put into concrete terms that the routine of processing orders feels like a task that produces clearly understandable value. Seeing the first working proofs after multiple homemade prototypes, or bringing three or four envelopes’ worth of zines to the post at a time is a reward onto itself.
The ideologues among us could be right to point out that Echoes, like most of its peers, kinda betrays the DIY principle. That’s correct: I did not actually make it all by myself. I have had help, and lots of it. The unsung hero behind the zine is Akos Barta, my printer: an old gamer friend from way back, he owns the printing company which had published my 2013 Helvéczia boxed set, and now prints and assembles my booklets. I have also been lucky to commission excellent illustrators who truly “get” the old-school style: Denis McCarthy, Stefan Poag, Matthew Ray and Andrew Walter (so far). As Denis had once remarked in our personal correspondence, they draw on different old-school predecessors from Sutherland, Russ Nicholson, Trampier and a bit of Otus; I will add that they also have developed personal styles that are their own, and which fire my imagination. Last but not least, my players: obviously, but sometimes you have to restate the obvious. Thanks, guys!
|Zine readers vs. zine publishers|
So how’s the business going? The first two issues of Echoes From Fomalhaut, and The Barbarian King, which was kind of a test balloon to see if I could also do print modules, have sold sufficiently well to recoup my costs and generate a modest profit after social security and the taxman’s cut (you are welcome, guys). Echoes #01 is getting close to selling out its first print run at 194 of 220 copies sold (this does not count a 30-copy pre-release I distributed at a Hungarian game convention), and will be reprinted; TBK and Echoes #02 are at 121 and 115 copies out of 240. This means the zine project is financially self-sustainable, and generates a profit I can reinvest into subsequent issues, more modules, as well as larger projects down the line. That’s pretty good. The next issue of Echoes is scheduled for late September, and I would like to make it run on a quarterly schedule, with the odd module and supplement on the side. The next module will be in the Hungarian, to coincide with the tenth anniversary of my RPG (it will also be the 50th E.M.D.T. release). If time allows, I would also like to release something in English, a utility product based on something I had once worked on with Matt Finch, but never ended up releasing. This may or may not come out before Christmas.
|I did not finish this|
The State of My Other Projects
People who have been reading this blog might remember the promises. Well, burnout and a stronger focus on the zine has also meant that Castle Xyntillan, my Tegel Manor homage, has been very slow to progress, but at least there is light at the end of the tunnel. I was dissatisfied with some of my ideas for the dungeons, and rather than beat my head against the wall, I scrapped the problem areas and replaced them with something completely different. We are also in the final stages of our campaign, meaning we will wrap it up soon and if I can find the time, it will be reasonably easy to complete the manuscript and hand it out to people for comments and criticism while I redraw the maps (they will still be hand-drawn, just a bit prettier). Xyntillan is going to be a larger book, maybe a hardcover similar in size to the 1e PHB, with large foldout GM and player maps (either two or three of them each). It is also for OD&D/S&W.
Helvéczia, my picaresque fantasy RPG, has been lying untouched for almost two years now (the last major work I did on it was in August 2016). The rulebooks and the first two adventures are translated and mostly laid out, but as projects tend to go, I stalled at 90% readiness and haven’t been inspired to progress ever since. It will happen, although I don’t know if it will happen in 2019. Maybe the end of it. Helvéczia is a game I believe in, and want to see it done right no matter what it takes (apparently, years).
|Other things I made this year|
There is also something else I haven’t been talking much about on RPG forums. Thief: The Dark Project, my favourite computer game will have its 20th anniversary at the end of November, and there is a level design contest for an old-school thieving experience. Some ten years ago, I was one of the people trying to go for an old-school aesthetic in the Thief level design community, and I have since found a following of talented people (for some reason mainly French) who have taken things to the next level. In the last eight years, I have been focusing on The Dark Mod, the free Thief-inspired stealth game, but the anniversary and the contest were a one of a time opportunity to return to Thief level editing. It turns out Dromed, the hoary old level editor used to build Thief fan missions, is as quirky as ever, but it has gotten some improvements to make it easier to work with and remove some of its hard limitations.
|"That stupid thing with all the lines"|
Building Thief levels is an incredibly addictive hobby; using simple geometric shapes (cubes, wedges, cylinders, pyramids, corner-apex pyramids and dodecahedrons) to construct complex terrain and build rewarding gameplay is time-consuming and utterly absorbing. Where a simple house could be a cube with two wedges on the top, a sequence of interlocking shapes (which can be solid, “air” or water) can result in some pretty sophisticated stuff. Of course, by current computer game standards, Thief is incredibly low-fi: even on its release 20 years ago, it didn’t win any awards for graphics. But it is this low-fi aesthetic which makes it look timeless, and its other features (a revolutionary stealth system, the world’s best sound design, and the ability to build huge, labyrinthine levels have stood the test of time very well. If some of my RPG projects have been slow to appear, Thief and Dromed are partly to blame.
The State of the Old School
Old-school gaming is as stable these days as it gets. It may not be obvious to many, but with its roots in communities like Dragonsfoot, the OD&Dities fanzine, and the Necromancer Games forums, it has been around since 2000 and 2001. OSRIC was published in 2006, and Swords & Wizardry will turn ten this October. Contrary to a lot of doomsaying and wishful thinking on part of its detractors, it has not been proven a passing fad, or a few nostalgiacs clinging to their childhood. Instead, our niche interest (and a niche interest it will remain) has established itself as a legitimate approach to gaming. It is here to stay, although not necessarily at the level of its 2010-2012 peak. Being fan-based and decentralised without a dominant lead product, old-school gaming has weathered its boom years better than the d20 system.
The breadth of old-school gaming has necessarily brought divisions: with common roots in the classics, the communities around OSRIC, LotFP, Into the ODD and Dungeon Crawl Classics can easily remain in communication, but they are otherwise increasingly separated by taste, design interests, and the kind of people they attract. I personally think early 1st edition AD&D is the game with the strongest and most distinct creative legacy, and the common wellspring to which we can (and should) all return time and time again. There is, however, no denying that there is an equally strong interest in the Basic/Expert lineage, a segment of the OSR which has strongly overlapped with the indies, and ideas which have drifted off into far-flung corners of gaming. In some of these cases, the influence and mutations of old-school philosophies may yield surprising new result. It may also turn out we may not like some of them. So it goes; this is, fortunately, a corner of the hobby where the stakes are small, and everyone can create the kind of gaming they want. More or less, anyway.
The last time, I mentioned commercialisation and a loss of our focus (as bottom-up, actual play-focused DIY communities) as one of the threats which can seriously harm us in the future. I am not too happy to bring it up, but this time, it is politics. Make no mistake, I am not anti-political (to the contrary, I am a politics junkie), and if releasing a politically charged game is your poison, be my guest. But there is too much of a good thing, and the people who can’t shut up about their specific brand of radicalism are becoming a nuisance. Perhaps a lot of things are political, including my chair, my table, and especially the parasol I am sitting under (all bourgeois conceits when I could be building barricades), but the people who try to bring their crummy politics into everything are rapidly becoming “that guy”. And they never seem to notice themselves.
But there is more than nuisance, there is just plain shitty behaviour. When you see people clamouring to punish other gamers for imagined or real ideological transgressions, or for associating with the wrong kind of people, or as it happened, for interviewing someone on a podcast who had associated with the wrong kind of people, that is not a “nuisance”. These people will incessantly talk about toxicity and bad guys, while consistently making the Internet a worse place for everyone. They will try to ruin you, get you fired from your job and destroy your business and reputation for failing their self-made ideological tests. The thing to realise is that fuck no they aren’t fighting the good fight, and they are not acting out of good intentions, let alone “self-defence”. These ideological bullies want power, and they’ll be sure to start abusing it as soon as they get their hands on it. We ought to recognise it. We have known Pat Pulling and her ilk, and these new heirs of her are just the same, the same, the same. They don’t own gaming and they only speak for a small clique. The correct response to their jackassery is found in the classics: “Well, hello, Mister Fancypants. Well, I've got news for you, pal, you ain't leadin’ but two things right now: jack and shit... and Jack left town.”
What to do, then, if you perceive something political in gaming that annoys you? My plan is to game more, and that should be your plan, too. First of all, a commitment to gaming will weed out the people who are in “the community” to spread misery and generate outrage. They can fuck off back to wherever they came from. Second, in its own modest way, I think gaming is beneficial. Our hobby is built around friendship and hospitality, and if there is something our world needs more of, it is those two. How many times do modern people invite friends over to sit around their dinner table for a few hours of conversation? More than that, enjoying gaming lets us realise the things we have in common. Shared creativity and friendship enriches us all. Is gaming a recipe for moral improvement? Do not ask too much of it. But do not undersell the small things either.