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Embrace the Crazy


It’s been a year already?

Greetings readers, and welcome to the one-year anniversary of Rogue Warden. I started this blog one year ago, and it’s nice to look back and see how it has gone. How did I do? I wrote 41 posts in one year, which is 11 posts short of one per week (my original goal). Room for growth next year! Still, I feel that Rogue Warden had a great start; I interviewed some great figures in the industry, wrote some fun posts about games and gaming, and reviewed some of my favorite games of all time.

What do you have to look forward to in year 2 of the Warden? Well, I plan on doing more interviews, more game reviews, more thoughts on professionalism in gaming, more discussion of gaming tropes, more how-tos, and more of my thoughts on gaming in general.
Enough about the past and the future, let’s stick to the present – today’s blog post revolves around a concept I like to call “Embrace the Crazy.”
Back in my discussion of Mohawks vs. Mirrorshades I touched briefly on the style of game that exemplifies “crazy awesome;” that is to say, over-the-top, unrealistic, action-packed stories where the rule of cool is paramount.
Jut to be clear, there is a paramount difference between something that is plan crazy – i.e., silly, nonsensical, and unengaging – and something that is crazy /awesome/ — i.e., exciting, action-packed, and memorable.
And just recently, I watched a film that really made me think about the idea of crazy awesome and the rule of cool, and how embracing those concepts can lead to a certain wild entertainment.

Spoilers Ahead

Just in case you haven’t watched the movie yet, this blog has some spoilers – and basically, a small review – for GI JOE Retaliation.
This is my childhood…

It should be noted that I hold the hate of a thousand suns for GI JOE: Rise of Cobra. I felt (and still feel) it was a terrible, terrible, completely unfulfilling film. So I was understandably quite skeptical about going to see the sequel. And at first, I felt the same – sneering at the cliché’d dialogue and setups, laughing at the ridiculous settings. But slowly, my attitude changed. There’s a scene with ninjas fighting each other on grappling hooks and ziplines on a mountaintop, and it /should/ be stupidly bad. But it wasn’t – there was an undeniable sense of commitment to that scene from everyone involved. You could just tell that the guys making the movie believed in this scene, in the movie as a whole. And I started to get into it.

After about fifteen minutes, I was actually laughing with delight rather than derision, because the film knew it was nuts and was actually embracing that. In turn, I began to embrace the ridiculous use of exposition, the unashamedly over-the-top action, the crazy vehicles that came right out of the cartoon – this movie actually grabbed me by the lapels and made me like it. There are RPGs out that that do the same thing.

How to Embrace the Crazy in an RPG

I’d like to say a few words here about how to bring the rule of cool and crazy-go-nuts into your RPGs. As always, these bits of advice are from my own personal experience, and all groups are different… so remember, YMMV.

Get the Players on Board

Yeah. It’s kind of like that.

Embracing the crazy is not for everyone – I happen to know several groups who love the opportunity to cut loose with some insane moves, and I know several groups who would definitely prefer other styles of play. The key is to find players who will find crazy awesome/rule of cool gaming enjoyable. I find that most fans of Hong Kong action cinema are a fertile ground for gamers who like this approach!

Set The Tone

Tone is super-important when you’re running or participating in an embrace-the-crazy RPG. While cutting loose can be great fun, taking things too far or in the wrong direction can be a mood-killer. So my advice is to take a strong stand at the beginning and set the tone of your game – get everyone on board with the feel you’re trying to evoke and the style you want to showcase, and the game will run much smoother.

Go for the Gold

Don’t hold back! Losing restraint is a process that takes a while, so let it be organic – I would even recommend starting out with something normal and then letting the crazy ramp up over time. This is not to say that starting the game out totally batshit insane can’t work – it can – but that’s not my personal style.

Nothing is Sacred

Aside from the “setting the tone” advice above, a big part of embrace-the-crazy roleplay is to just let go of the part of your brain that demands things make sense. My own brain was shouted down during the ninjas-on-the-mountain scene in GI JOE: Retaliation, and that’s the feeling this style of play needs to recapture; it’s okay for things to not make sense, it’s okay to celebrate style over substance, it’s totally okay to try and pull of stunts that would never, ever work in any other style of gaming.

RPGs that Embrace the Crazy

Let’s be clear; all RPGs have the capacity (in the right hands) for crazy awesome things to happen. However, some are more suited to an embrace-the-crazy style than others!

Feng Shui

A representation of Hong Kong action cinema in RPG form, Feng Shui lends itself very well to crazy awesome games. Rule of cool is practically a religion for Feng Shui, and if you’re not trying to make everything as awesome as possible, you’re not doing it right.

Exalted

You totally CAN.

Exalted practically built its reputation as a game where over-the-top awesomeness is built in. The game’s focus on playing as godlike beings, incredible action stunts, and holy-crap-you-can-do-what? abilities earn it a place on this list.

Star Wars

I had a great GM back in my Army days who ran an extremely unusual Star Wars (West End D6) game – it was highly adversarial, but also highly entertaining. This was the game where I first began embracing the crazy and learning to love when a game gets a little out of control in a good way.

Rifts

The gonzo setting of Rifts is another RPG that nearly demands fun, over-the-top action. Now, Rifts is such a wide and varied setting that it can support multiple styles of play—but when I think of Rifts, the most appealing part to me is trying to play it in an embrace-the-crazy style (for more on this approach, see the Rifts sourcebook Juicer Uprising).

Paranoia

Happiness is mandatory, and some craziness nearly always ensues. Paranoia is an RPG that many folks prefer to play in a gonzo, lets-all-be-crazy style, and the game’s artwork and text tend to support that approach.

TORG

Much like Rifts, the kitchen-sink approach of TORG has some applications to crazy awesome games, particularly in the Nile Empire. See my review of TORG for more details.

Shadowrun

For more information on this, see my previous discussion on Mohawks vs. Mirrorshades.

Sidenote: Mohawks adventures

Back in September, I pitched Catalyst Game Labs a series of adventures in the over-the-top, embrace the crazy style. In fact, I wanted to call this line of adventures “Mohawks,” as they would embrace telling stories that you don’t often see in many more mainstream- or mirrorshades-oriented Shadowrun games. My ideas were threefold:

Mohawk 1: All Elves Go to Heaven

In this adventure, the Shadowrunners are hired by a Mafioso to escort his daughter on her metaplanar quest to become an initiate mage. Journeying to the metaplanes has been done in Shadowrun adventures before, but only when there are huge stakes (Harlequin and Harlequin’s Back being examples). So metaplanar quests are fairly uncommon in Shadowrun but a really cool thing to do, because it allows you to bring in distinctly non-shadowrun themes and events to see how your Shadowrunners react. I actually wrote this adventure and used it as a 4-hour convention game at Genghis Con 2013, and it went over really well.

Mohawk 2: Send in the Trolls

Is this ever bad advice?

Mohawk 2 and 3 are mostly just concepts right now, so I’ll put down some of my main ideas – just don’t get the wrong idea, these are very much works in progress! Send in the Trolls features an all-troll party facing some unusual challenges for that particular metatype (social encounters, maybe a journey into a matrix game to rescue a rich corp kid who is trapped there as an e-ghost, more social encounters in high-class environments, plenty of opportunities for hilarity with an all-Troll group).

Mohawk 3: Only a Ninja Can Kill a Ninja

See above for my enjoyment of the ninja scenes from GI JOE – there’s a lot of coolness still present for the concept of supernaturally-skilled shadow warriors from the far East. This adventure would, of course, revolve around a ninja clan seeking revenge against another, and the runners get caught in the middle. I would probably try and fit in as many crazy and ridiculously cool locations for swordfights into this adventure – an under-construction skyscraper, a gondola over a canyon, a planetarium, that kind of thing.

Hmm. Obviously, next week I need to take a look at toning things down a notch, maybe focus on grittier, lower-level campaigns. Sounds like a good idea to me;  see you then!

Professionalism in Gaming—Giving a Damn


Fair warning, gentle reader; today’s post is one that is highly personal to me and my writing is going to have a fair bit of my own emotions poured into it.
For professionals in the gaming industry, it can be easy to take the job for granted. I’ve found that this concept is just as true for the struggling-to-survive freelancer as it is for the highly-paid video game designer. The game industry simply promotes the idea that it is somehow okay to not care about your work. Medical professionals are the one job I can think of where not giving enough care and attention to your job can result in people’s death – so while it is true that the game industry doesn’t have quite as much at stake, there’s still plenty of good reasons why we should focus, why we should concern ourselves more with what we do—and even more importantly, how we do it.
I’ve talked about being professional before on the Warden. Integrity, courtesy, respect; these are the critical tools for earning respect as a professional in the industry. However, I promise this post isn’t going to just re-hash what I’ve said in a previous post—I wanted to revisit this subject because I feel like I have more to say.
Some simple tasks that promote more care and professionalism:

Improve Communication

This business runs on communication, and one of the primary methods of this is e-mail. Taking weeks to respond to an e-mail is generally unacceptable.
Note: Not to say that I haven’t fallen prey to this exact problem myself. I do always attempt to apologize when it does happen. Mea culpa – we all have ways in which we can improve!

This is especially true when you’re answering a question via e-mail. Many times, answering questions is core to doing business. Freelancers need to know when their assignments are due or asking for clarification on a developer’s feedback. The publisher may be asking for when they can expect to see a signed contract or when they can set up a business meeting at Gen Con.
Some people may think that ignoring e-mail is one way to get across that you’re really busy and/or important—instead, it’s a surefire way to look unprofessional.

Honesty

In my book, respect begins with integrity. A big part of integrity is honesty, commitment, and keeping your word. This applies to a professional’s dealing with customers, colleagues, and clients alike.
So, my words to all professionals: Be Honest. If you’re not passionate about a project, don’t try and fake it. If you feel like another assignment is going to be too much for you to handle before the deadline, say so. This goes both ways – publishers need to be honest too! Not ready to do business on a particular project? Don’t give a bullshit excuse – just say so. This industry has grown-up adults in it, we just need to remember that and act like it.

Take Responsibility

It’s easy to lay blame when something falls through with the gaming industry. Rather than pointing fingers, however, the right thing to do is to take responsibility for your work. This applies equally to both success and failure – it can be possible, for example, to be responsible for an excellent game that was still a failure in the marketplace. Or to produce a mediocre game that succeeds wildly. In any case, a professional takes ownership and makes no excuses. Your work stands on its own, as some of my friends like to say.
For myself, I take ownership of two products that are good examples of this concept:
For Rogue Trader, I am responsible for that product’s success in both design and market performance; the 40K RPGs as a whole make up (and have made up for several years) the third-best-selling RPG in the market. Whenever I need motivation, I often look at Rogue Trader and Deathwatch as examples of success despite the odds, and it carries me through to go that extra mile.
For Complete Divine, I take ownership of that book’s terrible editing. It was one of my first forays into the industry as an editor and it is a good example of why I decided my talents lay elsewhere! Fortunately, I’ve learned a lot and used that failure as an impetus to improve my skills since then.

Meet Your Commitments

In an effort not to unnecessarily repeat myself, I’m just going to mention that professionals turn in their work on time and sticks to agreements that he makes (i.e., honoring contracts and NDAs).
However, commitments are more than just contracts and deadlines – anytime you make a professional arrangement, you need to keep your word. This goes for meetings – be on time and in the right place, or inform the other party if you’re going to be unavoidably late. Be prepared when you’re in the meeting – take notes. Have something to say at the meeting – you don’t have to have all the answers, but if you can at least give the other person something they can depend on (i.e., “I’ll research that and get back to you by 4 PM tomorrow.”), they won’t feel like you’re wasting their time.

Storytime!

I’m going to present here a perfect example that combines much of the above points. This is a true story in that it comes directly from my experience. To keep things on a professional level, I’m using the story as an example but I’m keeping any specific names out of it. The core of this story is “How NOT to act as a professional game company.”
I approached a game company that had a really exciting new product they were working on and a solid history of producing good games. The new product was an all-new IP and I approached them about helping them create and manage the narrative and setting for this property.
The very first warning sign was that, while the company was certainly interested in talking to me about doing some work with them, they absolutely could NOT settle on a time and place for a meeting. We were both attending a large gaming convention, and there was absolutely no reason why this company couldn’t have found a way to set aside 10 minutes to have a conversation about something as important as the core narrative and setting for their new property. (Commitments fail!)
 “We’ll talk about it at the show, just stop by our booth.” That was the extent of the communication from the company to me. I took them at their word and arranged to get into the dealer’s room an hour early on the first day of the convention. However, once again, the company failed to make any effort to set an actual time or place for a real meeting. I was told to chase down another member of the company who was in another part of the convention space. To make matters worse, this person wasn’t even in the space I was told to find him at! Instead, he was in a similar but completely different spot – all in all, it took me over 48 hours to arrange a 10-minute meeting with one member of this company about doing some work with them.
Needless to say, I already felt as if the company wasn’t taking me seriously by this point. At the actual meeting, the person I was sent to speak to was in the middle of a demo. Did he ask me to stop by after the demo? Did he maybe set aside some time to speak to me like a professional? 
Nope. He chose to talk to me during the demo, interrupting what should’ve been a short, easy-to-conclude discussion every five minutes with answering questions from the folks in his demo. He failed to discuss things with me on a professional level and failed to present his product demonstration to potential customers in a professional manner. Red alert! Alarm bells were ringing hardcore for me at this point, and my instincts were telling me that this company was having serious problems dealing with professionals.
At the end of the meeting, the person I spoke to had no real answers for me – despite his self-described role in the company as “the decider.” In order to get any momentum out of the meeting at all, I was forced to suggest to him that he take my proposal to his partners and think about it overnight – I’d return to find out a decision on the next day.
Coming around to the booth the next day, I got a chance to speak to another representative of the company (I had no desire to talk to the previous representative!). He regretfully told me that there was no way they could afford my previous proposal. I pointed out that the kickstarter for the property had taken in hundreds of thousands of dollars and showed him that I could add hundreds of thousands more with my contributions. He continued to insist that the company simply could not afford my initial proposal no matter what. The kickstarter for this project took in over $900,000. (Honesty fail!)
Having dealt with two major disappointments with this company, I was severely disinclined to consider any more business. However, the company did approach me with a third proposal, and we agreed on a payment for my services that was in the low five figures – a significant sum! Before taking things any further, however, I insisted in seeing a contract from the company so that I could gauge just how serious this company was about dealing with me in a professional manner. 
Considering the runaround and wasted time trying to discuss things with them in person, I was feeling understandably very cautious about trying to enter into a formal business arrangement.
Well, asking for a contract was responded to with – silence. Four weeks later, I received one more e-mail from the company. In this e-mail, the company wanted to move ahead right away and asked me when I could start. (Communication fail!)
Not only did they completely ignore my request for a contract, not only did they waste my time with weeks of non-communication, not only was I lied to and given a runaround for personal, professional meetings – now they just wanted me to jump on board and get moving without any kind of formal agreement.
Needless to say, this was the last straw. I had no intention of trying to work with this company any further, and despite the promised riches of the payment, I had no guarantee in the form of a contract and no confidence given their unprofessional behavior that I would actually ever get paid if I had taken the job.
My friend Jason Marker has a fantastic description of this company’s behavior and subsequent professional reputation: “Grab-asstic Amateurs.” I couldn’t agree more.

Being a Good RPG Player


So, this week I’ve been doing a lot of thinking about what it takes to be a good RPG player rather than a GM. I’m actually in the process of wrapping up a very successful Shadowrun campaign as the GM, and I have to say that this game would not have been nearly as fun or engaging without the players being as great as they are. A lot of emphasis is put on the GM’s shoulders for making a game fun, but I also believe that the players’ active participation is a hugely significant factor. Let’s take a closer look at what I believe are some good player behaviors, shall we?
Just as a quick disclaimer before we get too far into the rest of this article; YMMV. I’m using my own experiences and observations as the basis for the advice and discussions hereafter, but I certainly would not say that all groups are going to respond the same to trying some of these ideas out.

For the Group

Being a good player means looking out for the group’s fun as a whole. Here are some ways to do that:

Offer to Help

Hosting the game can be a great way to contribute. If you can’t host, consider offering to help out with food or drink arrangements. Even something as simple as volunteering to help the GM keep the event organized (such as sending out e-mail reminders or double-checking availability) can keep the game running on track.

Bring the Materials

A well-stocked library never goes amiss!
It can be criminally easy to forget some basic gaming materials; books, dice, or even your character sheet! However, a good player does his best to remember to bring these vital items to each and every game. Hauling along some extra dice, pens & pencils, or some dry-erase markers can make you one heck of a valued member of the team!

Don’t Be a Distraction

There is often a bit of downtime here and there during an RPG; maybe another character has the spotlight, maybe everyone else is taking a 5-minute smoke break, or maybe the GM has drawn one of the other characters aside to provide some unusual information. It’s okay to get out your phone or ipad and distract yourself every so often. However, what is vital is to not distract the other players from the game itself. If you’re going to play a game or watch a video, turn the volume way down or even switch it off so that you’re not interfering with other people’s fun—that’s just not kosher.

Niche Protection

One thing I’ve always sought to do when joining an RPG group is to find a way to make a character that brings something different to the table. Often, this is as simple as asking a few questions of the GM or the group and finding out what particular types of characters are lacking. What I think is most important about this particular activity is to make sure your character doesn’t step on another’s toes. This can also be an example of just making a character that’s too similar to someone else’s.
  
There’s room for all kinds!
I played in a Deadlands campaign in Louisville, Kentucky in the early 2000’s. My character was a riverboat gambler, an excellent shot with a gun, and knew a bit about the nasty creatures of the Weird West. Unfortunately for me, I joined the group after my friend George had already brought in his character; a gunslinger based on Jonah Hex who happened to be good at (wait for it) gambling, shooting, and knowing stuff about the supernatural. It didn’t take long before our characters were tripping over each other in nearly every scene, and I definitely wish I had taken my own advice in this incident.

Engage

Don’t just be a bump on a log! Find ways to engage your character in the action. Try and find one moment each session where you try and do something awesome. Often, it doesn’t really matter even if you succeed or fail. What’s important is the attempt, and what it says about your character, his role in the group, or what lies in store for him in the future. At the end of the day, the session will be more memorable and fun for everyone if the other players all feel like everyone was involved. If there is obviously someone “just kind of there” throughout the session, it doesn’t carry the same impact.

Share the Spotlight

This is a true fact.
The spotlight is that moment during the game when your character is the center of attention – it can be an intoxicating feeling! A good player knows that it is good to share that feeling with the rest of the group rather than hog it all to yourself. Find ways to help the other players have their “shining moment of awesome” at least once per session. If the characters are split up or working on different paths towards the same goal, find ways to incorporate the other players into the scene. Have your character give them a call, send a message, or just openly wonder aloud “What Xander would make of all this?” If you can enable the other players to have just as much fun in the spotlight as you do, then you can pat yourself on the back – you’re well on the way to being a good player.

For the GM

Being a good player is also about playing nice with the GM; be part of the solution rather than part of the problem!

Communicate Your Desires and Goals

This is a big one; I’ve always been a proponent of increased communication between the GM and players, but it is important not to overlook that players can and should initiate communication as well.
Take a moment to talk to the GM about your character every so often, just to touch base and make sure the GM understands something about where you’d like to take the character. This can be expressed mechanically through the direction you want the character’s abilities to grow or develop. It can also just be in relation to the story; for example, if you would really love to get your character involved the elven war happening on the other side of the mountains, it is a good idea to remind the GM about that every now and then just to keep it fresh in his mind.

Provide Feedback

Another part of communication with the GM is providing feedback about the adventure and campaign as a whole. What do you like? What don’t you like? If you could change one thing, what would it be? What are you most looking forward to doing or achieving before the end of the game? Answering these questions and talking them over with the GM can really help him not only prepare for next session but for the rest of the campaign. If possible, get the other players involved in the discussion – maybe you can discuss the goals and desires of the group as a whole, or address any issues that may be keeping the game from quite hitting the high points that it could otherwise reach. As with all communication with your group, be sure to keep things respectful and polite – giving feedback should be something you do because you love the game, not offer you a chance to tell everyone just what they’re doing wrong!

Go With the Flow

My ideal gaming group!
Sometimes the GM is going to present a twist in the story that’ll make you say “Huh. Wait, really?” Sometimes, you’re not going to agree with a rules decision. Sometimes, you’ll want to speak up when a spell or an ability doesn’t quite work the way the book says it should.

Here’s the thing—a good player lets it go. By all means, bring it up after the session if you feel it is important to your enjoyment of the game, but don’t bring the action to a screeching halt to tackle an issue right then and there.
If the issue happens to be something dealing with the story rather than the rules, this advice means to give the GM a chance. Sometimes, GMs like to experiment, to change things up in their gaming style in an attempt to keep the game feeling fresh and to keep the fun times coming. I’ve been known to do this myself from time to time, and I always appreciate it when my players just nod and say “Okay. What’s next?” rather than throwing a fit.

Going with the flow also means meeting the GM halfway when it comes to the pacing and the flow of the game. If there’s an obvious plot hook hanging around, consider biting at the hook rather than trying to be all “Lone Wolf” and searching for another answer. Even if you know for certain that the giant monster attacking the city is a red herring for the real crime happening elsewhere, a good player will at least think about engaging with the giant monster for a round or two just to give the GM a chance to showcase an encounter he’s obviously spent some time preparing.

For Yourself

Being a good player is also about helping yourself enjoy the game more on a personal level. Here are some of my suggestions:

Spread Your Wings

Try some new things! This can be as simple as choosing to play a different character type (a rogue instead of a paladin, for example), but perhaps more meaningful and interesting is to choose to play a character that is markedly different from others you have played before. For example, I have a friend who consistently likes to play anti-authoritarian rebels. In this case, to “spread his wings” would mean giving a different type of character a try, such as a constable, city watchman, or even an ambitious politician-type.

Go the Extra Mile

This happens sometimes.
Players who put some extra effort into their characters can make the game more memorable for everyone. It is not too difficult to bring a picture of your character if you can find something appropriate on the internet, or to try out some interesting and unusual “catch phrases” that set your character apart with sound as well as sight.
The key here is to not go overboard. A couple of cool, unusual phrases every now and then can be fun for the whole group; talking in a nearly-incomprehensible accent all night long – not so much.

One last way to go the extra mile is to consider doing some “blue-booking.” This is an approach I’ve talked about before where players can continue to tell the story of their characters in-between sessions, often through e-mail, forum posts, and the like. During my campaign of Shadows Angelus, the players did so much storytelling in between sessions that the website for the game has almost three times as many events happening in blue-booking as there were actual sessions of the game!

Professionalism in Gaming – Getting Paid


Greetings readers, this week I want to talk about some factors of working in the gaming industry—namely, getting fair compensation for your work. This is actually part of a panel I’m scheduled to give at Gen Con this year alongside my co-conspirators John Dunn and Jason Marker. The panel is titled “Professionalism in Gaming” and is going to cover quite a few subjects—amongst them contracts and payments and the like—but I’m taking this opportunity to give a sneak peek (as it were) at some of my own opinions on the subject of payments for freelance RPG writing.

 

Contracts

All too common in this economy.

I always work with a contract. This is, for me, an ironclad rule. Even when I’ve done work with people I consider trusted friends, I’ve always insisted on a contract. I firmly believe that a contract is necessary for professional work – it provides a clear description of the expectations on both sides and gives both sides a form of recourse if anything unexpected happens. I would strongly encourage any new writers, artists, editors, or anyone doing any professional work in the industry to always… ALWAYS get a contract between you and the employer. In my opinion, it’s just that simple.

 

Communication

As in every aspect of business, communication is vital for a freelancer. Make sure you touch base with the developer in charge of your project every so often; there’s no need to ping every day or even every week, but regular contact is completely reasonable. During my time as a developer, I always e-mailed a pre-agreement to a freelancer that I was planning to contract for work. A pre-agreement was basically just a statement from me stating the pertinent facts of the assignment I wanted to offer him; this included the date the project was due to be turned in, the word count requirement, and the compensation he would be paid for his work. A quick e-mail like this takes hardly any time and helps clear up any misunderstandings before you get to the stage where contracts need to be amended.
I found the pre-agreement method to be a very useful tool, as it kept me from having to change any contracts once they were written and sent out by the accounting/legal department, and my freelancers appreciated the additional step of communication and clarity about what they were getting into.
In the business of being a freelancer, the contract for your work is one of the last places you want to get a surprise…

 

Getting Paid

I’ve worked in the game industry for over 13 years now, and I can tell you that I’ve been very fortunate throughout my career. One of the ways in which I’ve been very lucky is that I’ve always been paid for my work. I know several of my friends and colleagues who have, at various times, had great difficulty getting their just compensation for their work from different employers.
While getting the check in the mail is great, that’s actually only half the story. Getting paid ON TIME is the second half of the equation (and another reason why contracts are super-important; they spell out just how much time you can expect between turning in your work and getting paid).
I helped build the RPG department at Fantasy Flight Games up from a small team of two to a large and engaged group of six-plus designers. One of the early rules I wanted to make iron-bound was that OUR department always paid our freelancers, and we always paid on time. This was a professional goal of mine since I had began writing in the industry, and it was extremely important to me to make that happen. I’m still very proud to this day that the FFG RPG department has a sterling reputation in the industry for professionalism and dealing well with freelancers.
At the top of a good reputation for a company is whether it can be trusted, and trust starts with paying people for their work on time.

 

Royalties vs. Flat Rate

Let me be clear: I’ve never worked for royalties. I’ve been offered a chance to write for royalties more than once, but I’ve never taken the bait. Instead, I’ve always chosen to write on a for-hire basis, getting paid a flat rate for my work. Typically, the compensation for RPG writing involves three things; a fee (calculated on a per-word basis), a writing or development credit in the finished project, and a complimentary copy of said project when it is published.
If only it carried over into real life!

If you want to write for royalties, go ahead – just be aware that you’re selling your time and effort in return for a future payoff. And royalty payments are, in general, more problematic (as in, anything that can go wrong with mailing one check is now spread out over several checks).

In the end, I’ve often wondered “why not just publish it myself?” rather than accepting royalties as payments.
Now, in the era of the internet, royalties are becoming a lot more hassle-free. Publishing electronically (especially through reputable merchants like RPGNow/DriveThru) has made the royalty model a viable one for many creators.

 

Know your Worth: Writing Rates

A quick note about writing rates: the RPG industry pays an extremely low rate compared to other types of writing-for-hire. For example, writing for an established magazine or web-page like the Escapist is likely to pay far higher rates than the ones listed below. It is a sad truth of the industry that writers are generally undervalued and underpaid; often this is a symptom of small budgets and small print runs, a result of a niche market.
Since I’ve been working in the industry, the numbers have changed, but not much – here’s the word rates as I know them, at least as current as 2011 (when I was last a developer). So, YMMV – this is the information as best as I know it from my own experiences.

 

.01 per word

This level is generally only paid by very small companies or for very small projects. Often only beginner writers work for this rate. When I was just getting started in the industry, I took jobs for this rate.

 

.03 per word

This is the standard rate for a new writer in the RPG industry. Most of the larger and more successful RPG companies pay out this rate for a first-time writer doing work for them.

 

.04 per word

This is a standard rate for an established writer in the RPG industry. Once you’ve got a few published projects under your belt, this is the rate you can reasonably expect.

 

.05 per word

This is a top rate – and often the most that many publishers can reasonably afford. Top writers in their field, skilled authors, or those with tons of experience in the gaming industry command these rates. It generally takes steady work for a publisher (and remember that a professional writer turns in quality work ON TIME!) for roughly a year (or half-a-dozen individual projects, if basing it on number of books rather than time) before you can expect to get this kind of rate.

 

.06 per word or higher

This is a top rate; only extremely well-known designers and writers can command these rates. Alternatively, it means you’re writing for a extremely well-established or successful company. I would generally expect to see rates like these only from top-tier publishers like WOTC and Paizo.

 

Credits & Comp Copies

Sometimes the answer is “throw money at it.”

No one should ever write for RPGs with the goal of getting rich – but there are two other benefits that come with writing for the RPG industry. The first is your name in the credits (depending on your involvement) as a writer, designer, or developer. Credits are very important in this industry, as you will often find your expertise, abilities, and professionalism are going to be weighed due to your accomplishments. Therefore, it is very important to get your name spelled correctly and receive the correct attribution for your work in the credits of any project you work on. If you find out later that your name was misspelled, left out, or given the wrong attribution, it is important for you to contact the publisher and attempt to get the mistake corrected as soon as possible (hopefully to be present in a second printing, if there is one).

When it comes to complimentary copies of the project, there’s a good reason why these are important rewards for freelancers. Just having the physical copy of the project on your shelf can provide a great sense of accomplishment; having an extra copy to send to a family member only makes that sense greater. It’s just cool to have a copy of your own book as a reward for your work. Again, I feel this is an underrated feature of many work-for-hire contracts in the industry, and I’d like to encourage more publishers to take it more seriously.

Interview Time: Sam Stewart

Greetings readers! This week I have an interview with Sam Stewart, Senior RPG Producer at Fantasy Flight Games. Sam and I worked together for over three years at FFG and Sam was the first person I turned to for help with the various Warhammer 40,000 RPGs. Sam’s work was instrumental to the success of Rogue Trader and he quickly became a valued member of the RPG team.
I wanted to interview Sam as he has recently had some great success in the RPG arena with the release of Black Crusade and Only War followed by the excellent new entry of Star Wars as an RPG with Edge of the Empire.
Sam is a very gifted writer with a lot of editing chops and a solid game designer who has several good games under his belt and many more on the horizon. If I had to point to a designer to watch in the RPG industry, I’d nominate Sam in a heartbeat. If you’d like to know more about Sam, you can find his BGG profile here.

As usual, my questions are in red text.

Llllladies.
 
RW: How did you get your start in the RPG industry?
SS: I got started because Fantasy Flight needed an editor for its board game rulebooks. My education was in print journalism, so I have a fairly solid grounding in grammar and editing. My first job with the company was about as entry level as you can get.
RW: What is something great about working in the RPG industry?
SS: They say that if you love your job, you never have to work a day in your life. I’ve had jobs in several different fields, but that’s only been true for me in the RPG industry. It’s challenging, interesting, and what you’re working on day by day is constantly changing, so you really never get bored. Plus, you get to make books about spaceships, dwarves, and gribbly monsters! What’s not to like about that?
RW: What is something really bad about working in the RPG industry?
SS: Well, it is a very hard industry to get into, and even harder to make a living in. I have friends who work in the industry and because of expenses like student loans, are barely scraping by.
RW: How has your perception of working professionally in the RPG industry changed over the last 5 years?
SS: Five years ago, before I was working at Fantasy Flight Games, I had no idea how close-knit the RPG industry, or the game industry in general, really was. For example, just last year I ended up working with Shane Hensley (CEO of Pinnacle Entertainment Group, who does Deadlands amongst other things) who did some freelance writing for Edge of the Empire. This came up partially because Shane is a good friend of my boss, Christian Petersen. So turns out, it really is a small world.
RW: You’ve been in charge of your own projects before… how would you do things differently now as opposed to the first couple of projects you were in charge of?
Sam wrote the starship combat and starship construction rules for this game.. and they kick ass.
SS: Plan earlier, plan longer. Turns out you really never can get started too early on a project, because there will always be complications you don’t expect.
RW: What do you believe is the most important aspect of professionalism in the RPG industry from the viewpoint of the freelancer? What about from the viewpoint of a publisher?
SS: I think the most important professional trait for a freelancer to have is to treat their work as they would any other job. This is kind of broad, but it means the freelancer should be courteous to their boss, meet deadlines, be very communicative, and respect all aspects of a contract (including any parts that ask them not to talk about what they’re working on). A lot of freelancers treat their work as a hobby, which I think is a mistake.
On the other hand, I think the most important aspect of professionalism on the publisher’s side is to be quick with feedback and punctual about paying out contracts. I think paying contracts on time is the single most important thing a publisher can do to engender goodwill from their freelancer pool.
RW: If you could change one thing about the RPG industry, what would it be?
SS: Does increasing the fan base by 100 percent count as “changing?” But seriously, I think the RPG industry is actually in a pretty good spot at the moment, and has been developing in very interesting directions over the last few years.  
RW: How do you engage with the fans of your work?
SS: Personally, I prefer to meet them face to face, at conventions or game stores and the like. If not that, then email conversations. Basically, any situation where I can interact with someone one-on-one.
RW: What do you feel is your greatest accomplishment as an RPG professional?
SS: Star Wars: Edge of the Empire. Getting that project done with Jay Little has been the apex of my career thus far, although I hope I’ll have even bigger accomplishments in the future.
RW: What do you feel is your greatest setback as an RPG professional?
SS: That’s a hard question to answer. I think I’ve definitely had failures and faults in my career thus far, but identifying your own mistakes is always a tricky business.  Budgeting my time is something I’ve always struggled with, so I’ll go with that. Happily, I’ve never had a project that turned out a failure, as far as I can tell.
  
RW: How do you reconcile working on a game that, on the one hand, requires a set of rules… but on the other hand, encourages GMs and players to break the rules or come up with their own?
Sam’s first major project as lead developer — he did a fantastic job!
SS: I’ve learned that the best thing you can do with a ruleset is create one that’s robust but flexible. Basically, the rules should be internally consistent amongst the entire set, but flexible enough that they can cover a wide range of situations. The worst thing you can do as a designer, in my opinion, is try and come up with rules for every single situation that could arise in a game. That just lends itself to bloat and confusion. If you create a ruleset that deliberately doesn’t cover every situation, but is designed in such a way that the GM and players can figure out how to use the rules in unexpected scenarios, then I think you’ve pulled off the best of both worlds.
RW: If you were a fantasy adventurer, you’d be a…?
SS: A paladin, probably. Either that or a neutral good ranger.
RW: What’s your favorite RPG (that you have not worked on)?
SS: Hands down D20 Iron Kingdoms. It’s the game that really got me into roleplaying back in the day, and one of those games that I really obsessively studied as a fan to learn every minute rules detail.
RW: What do you look for… and what is a red flag… for a random freelancer submission?
SS: The first thing I look for is a professional cover letter and resume. It shows me the freelancer is approaching his submission like he would a job application (which it is), and taking things seriously.
The biggest red flag in my mind is the freelancer who submits fiction as an example of his writing. It’s hard to objectively judge the quality of fiction, and it doesn’t demonstrate any ability to write rules. In addition, I expect freelancers with experience writing for RPGs to submit their prior work as an example. So fiction isn’t a deal breaker, but I’m less likely to take a freelance submission seriously if his or her writing sample is a short story.
RW: What are the best and worst parts about working with a licensed property?
SS: The best and worst parts are actually two sides of the same issue; the IP is already defined. On the one hand, this means you just can’t do some things, because they don’t fit into the IP. You can’t put hard sci-fi in Warhammer 40,000, for example. But on the other hand, because the setting is already defined, it frees you up to focus on the aspects of the setting that are open to interpretation and development. Basically, a lot of the conceptual heavy lifting has already been taken care of, and left you in a big sandbox to play around in. 
Awesome Star Wars smugglers & gamblers action.
 
RW: What is the biggest challenge about working with a licensed property?
SS: Remaining true to the core IP while still creating something new and interesting for fans to enjoy.
RW: What would you suggest to a fan or prospective game designer looking to improve his knowledge of the industry?
SS: Ideally, I’d suggest they go to a convention, find someone in the industry, and offer to buy drinks or a meal while asking a few questions. But since that’s kind of an expensive proposition, most people will do just as well turning to the Internet and reading blogs like yours. There’re a bunch of current industry insiders who post about their experiences on-line, and reading them presents a pretty good picture of the industry.
RW: If you could pick up the dice and play an RPG right this very instant, you’d play…?
SS: Edge of the Empire. I’ve GMed several games while working on it, but I haven’t actually gotten to play a character in it yet!

Player Empowerment


Greetings readers! I just got back from attending Genghis Con, a great gaming convention held in Aurora, Colorado. This year I was one of the convention’s guests of honor – the first time I’ve been to a convention as a guest. The experience was extremely memorable and I had a wonderful time. I’ve been to Genghis Con three years in a row now, and I’m always impressed with the quality of the games held there. One thing that may be responsible for the relatively high quality of the gamemasters at Genghis Con may be their feedback sheet, a kind of “report card” that tracks how well GM’s perform across the convention (and across multiple years).
One of the best gaming conventions I’ve ever been to.
While I was going from game to game at Genghis Con this year, I was trying to analyze why the games were so fun—to try and find some common elements that I could use to enhance my own approach to running a game. Among the elements that I observed was one that I found particularly interesting: player empowerment.
My good friend Robert Dorf has a great story on this topic. Robert has run games for decades, and his wife has been a part of many of those games. Robert was once running a game at a convention where his wife was one of the players. The adventure began with a giant monster attacking the city, and the players – all superheroes – trying to defend the citizens. However, Robert’s wife was having none of that! Instead, she announced that she was flying off to find the “real crime.” When asked about this, she remarked “I know Robert. Things like the giant monster attacking the city are /always/ a distraction for the real crime that’s going on somewhere else.”
This question gives Robert an interesting choice to make. The adventure as he envisioned it revolved around the attacking giant monster, and naturally, he would love to have this wife’s character participate in that. However, if he chooses to enforce his original vision, his wife is going to be disappointed that there is no other crime going on and end up spending a great deal of time chasing a red herring.
If Robert decides to alter his original plan and create a “real crime” for his wife’s character to discover, he is empowering his players. Robert’s wife feels as if she has figured something important out, that she has “outsmarted” the GM in this case and thus her enjoyment of the game is heightened.
When you empower the player, what’s really happening is that you’re providing opportunities for the player’s choices to matter. Sometimes this concept can change the entire thrust of an adventure, as described above. Sometimes, it can be as simple as saying “Yes,” when the player asks “Is there a fire extinguisher nearby?”
Basically, this. But cooler.
Some games provide a resource that can be traded in for player empowerment (especially with elements of the game that are of lower stakes, such as the fire extinguisher example). These resources include Savage Worlds’ “bennies,” WFRP and 40KRPG’s “fate points,” and “action points” or “hero points” in Champions. Often, the existence of these resources gives the GM a way to make the player’s desires a more meaningful choice… in other words, the GM offers the player what he’s looking for in the game as a point of narrative control in return for some of those resources previously mentioned.
In my opinion, player empowerment is more important than the story. It is more important than the theme of the game and it is more important than what the Game Master has planned. Granted, there are and should be limits to player empowerment – if what a player is after actively harms fun for the other players or if empowering the player will cause the GM to lose interest in continuing to run the session or campaign, then it should be avoided.
When I was analyzing my games at Genghis Con, I realized that one of the reasons I enjoyed those game so much is what my character was able to accomplish – what my decisions had led to, within the framework of the game’s overall story and the character’s role in that story. Defining the character’s role is sometimes easy; many of the characters I played during Genghis Con all had an easy set of complications, disadvantages, or personality quirks that I could wrap my brain around and find fun things to use with during the game.
Similarly, I wrote two adventures for Genghis Con that followed this paradigm. First, I designed my Shadowrun game, All Elves Go to Heaven. In All Elves, I made sure each pre-generated character had a solid dramatic hook, a single narrative prompt that I could use to remind the player about that character’s core identity and that the player could use to improvise responses to the encounters in the game. One character was deeply in debt to some very dangerous people, whilst another had to deal with a legacy of intense racism against non-humans. By pointing these issues out at the very beginning and highlighting them through the encounters of the game, these issues gained the players some valuable payoff in the form of great roleplaying scenes that they created in the final third of the session. I specifically designed the adventure in this way to provide those opportunities for the players to make meaningful choices about their characters and thus gain the benefits of player empowerment.
Harvey Birdman has the power… of attorney!
 
At Genghis Con, I had to re-write one adventure in a hurry due to the fact that the prepared adventure I brought with me had already been experienced by half the table! Genghis Con is a small convention and I see a lot of familiar faces, and in this case, it was actually a good thing because it got me thinking about how to apply principles of player empowerment to a setting that I know extremely well – my very own creation, Shadows Angelus. Thus, the Shadows Angelus game at Genghis Con evoked one core element for each character and made sure that each element involves a choice for that character to make during the game.
Player empowerment is actually quite simple and much easier than many people believe; sometimes it can be as simple as glancing at a player’s character sheet to examine the choices he made about his character from the creation step. Other times, it can be a matter of listening to the players during the session or campaign and finding ways to weave into the game the things that each player finds important or interesting.
Remember. The key here is meaningful choices. Not the illusion of choice.

Remember that empowering a player means that the player feels as if he has made a meaningful choice – that what he has decided to do in your game has some significant effect on the outcome of the story. That effect can be small (a lucky placement of a fire extinguisher) or large (changing the point of an entire adventure), but it always improves the player’s overall enjoyment of the game. And isn’t the point of the game to have fun in the first place? Let’s all try to maximize having fun – and if that is your goal, player empowerment is a tool in the toolbox.
In the end, I strongly encourage game masters to make sure the players feel empowered rather than just acting as guest stars in your story.

Interview Time SPECIAL: Auction Hunter Allen Haff

Greetings readers!

One thing that never ceases to bring a smile to my face is to find out that someone I like or admire happens to be a tabletop gamer, and never more so when that person speaks out in favor of my favorite hobby and pastime: roleplaying games.

Allen Haff and Ton Jones are… the AUCTION HUNTERS!

I happen to be a big fan of a television show on Spike TV called Auction Hunters. In this show, Allen Haff and his partner Ton Jones bid on storage locker auctions, investigating the contents for cool and unusual items and then selling those items on camera. Auction Hunters is in its fourth season this year, and I happened to catch the second episode, entitled “Win, Lose, or Joust.” In this episode, the Auction Hunters find some hand-crafted jousting gear, including lances, armor, and a shield inside a storage locker.

Allen Haff was very excited about this find, and he explained to Ton how he used to play Dungeons and Dragons, how “it kept him out of jail,” and how he played characters who were knights and paladins. Later in the episode, Allen gets a chance to use the jousting gear in a real joust… and although he gets unhorsed, Allen is obviously having the time of his life.

Allen is suited up here ready to joust. It was one hell of a ride!

It was very inspiring to me when I watched this episode, so I reached out to Allen on facebook to see if he’d be willing to talk to me about both the show and his history with roleplaying games.

Allen told me that he had played RPGs throughout high school and into college, and in fact, one of his cousins had hooked up his gaming group with advance products from Mayfair.

It was a great opportunity to discuss RPGs with a television celebrity. Allen was extremely engaging and gracious, and I am extremely pleased to present the results of that conversation here on Rogue Warden:

(As usual, my questions are in red text)

RW: Have you ever found gaming memorabilia, gaming collections, or gamer stuff in a storage locker that we haven’t seen on the show? I know you guys mostly throw out books, but you never know, right?

AH: Actually we donate most contemporary books but sell our first edition older books online. I’ve found and kept an original D&D basic box set in mint condition, plus i’ve accumulated all of the AD &D manuals even though I’m not playing anymore. It’s nice to look through them once in awhile. Growing up there wasn’t an abundance of disposable income around my house so it was my friend who had all the cool AD&D stuff and Star Wars action figures. But that’s why it’s such a great game, it doesn’t cost money for hours of endless entertainment and our parents were glad we weren’t out running in the streets or driving around looking for trouble. That’s why I say it kept me out prison.

“I propose a new strategy, R2. Let the auction hunter win.”

The more you play with the same group of guys the better you know each other and it’s reminds me of playing in a rock band. You got your bandleader (DM) picking the songs and then each of the players work together to make it work. Once in awhile you take a solo and raise the stakes and I remember a few of those sessions. Nothing like pulling double damage out when you are conducting a raid on the Thieves’ Guild. I only played into my college years with the same super creative group of childhood buddies and our level of play was pretty advanced so I doubt I would have liked playing with the game with new people.

RW: Would you say that there are things you learned from your gaming experience that helps you plunder the treasure troves of the storage lockers we see on the show? If so, what are they and why?

AH: Gaming groups learn teamwork and to compliment each other, like my business partner and I do. Everyone has different strengths and areas of expertise. D&D and a few other RPG’s helped me learn to use my imagination for the good of the group and to critically think about how to deal with challenges. We had to improv and act out what our characters were doing, and this may have contributed to me being even faster on feet.

Allen Haff, entrepeneur, auction hunter, tv celebrity, gamer!
RW: What are or were your favorite roleplaying games? With a Mayfair connection I’m sure you’ve seen things like Chill, the DC Heroes RPG, and possibly some of the Role Aids products or Underground.

AH: DC Heroes was our second favorite game after D&D and I got this game a year before anyone else had it. Star Frontiers and there was also a spy game but the name now escapes me. (Ross’ note: I think Allen may be describing Top Secret here) I even got some D&D modules up until TSR sued Mayfair for copyright infringement.

RW: Can you tell us a bit about your favorite role-playing game memories, and how you got into the hobby? Do you still get a chance to sling dice with your friends? If you could play an RPG right now, what character would you play and why?

AH: I haven’t played since college but you have to understand I started playing AD &D when I was 9 years. it pleases me that my buddy who’s cousin taught us the game still plays games to day and online computer stuff. he’s got a lot more time than I do now and with everything I’m into there just isn’t time. Maybe we’ll do a reunion game night when we’re old and retired.

RW: All of your fans are rooting for you and Ton to make your pawn shop a great success! What can you tell us about the challenges and advantages of opening your own pawn shop? Are there any specific items you’d love to see walk through the door? (For example, you did seem pretty excited about the Avengers #4 comic book until it turned out to be a reprint)

The Haff Ton pawn shop, a new feature for Season Four.

AH: It’s expensive! We’re both exhausted with all of the extra work and stress and it is taking a toll on us. You’ll see how we deal with that stress and hopefully meet the new challenges to make even more money this year. Thanks to the store though I JUST BOUGHT AN ORIGINAL STAR WARS COLLECTION AND AN ORIGINAL BOBA FETT STILL IN THE CARD worth $2500.

RW: Lastly, I am super-grateful for you to take the time to talk to me, I’m a huge fan of you and Ton. My favorite two things about Auction Hunters:
A. How excited you and Ton get when you find something really cool. 

AH: Thank you. We love what we do.

RW: B. How you always try out what you find and get cash for it right then when you sell it on camera. That’s unique! 

Allen and Ton investigate some buried treasure.

AH: That’s the fun part, which is why it makes the cut. No one wants to see us use that vintage china tea service for high tea, but we still make a lot of money on the more conventional antiques we find. Thank you!

TSR, MSH, & FASERIP: A review of Marvel Super Heroes


Hello readers! I’ve recently noticed that one of the local area RPG meetup groups has someone wanting to run a game of TSR’s Marvel Super Heroes RPG from the late 80’s and early 90’s. I have very fond memories of this game, and spent many lunches, afternoons, and weekends rolling up characters and fighting supervillains with my friends in high school. The nostalgia factor of my memories may be coloring those times with more epic than was actually present, but I seem to recall some pretty amazing storylines, compelling characters, and climactic clashes with arch-enemies.
The one, the only. This is the name of the game folks.

The Creators

Jeff Grubb and Steven Winter built the original set in 1984. The 1991 revised edition credits Jeff Grubb as the primary designer, with assistance from Timothy Brown and Steven Schend. Seven years between editions isn’t bad!

The System

The Marvel Super Heroes game is one that truly embraced acronyms. The game itself is often abbreviated into TSR MSH, or FASERIP (an acronym representing the individual attributes of a character). Performing an action in the game is known as a FEAT (Function of Exceptional Ability or Talent).
The many faces of awesome. 
The game also is fully aware of its comic-book roots, and abilities are represented by both a number and a title; Spider-Man’s Strength score is 40, which has the title “Incredible.” Captain America’s Fighting score is 50, which is “Amazing.” The Thing’s Endurance of 75 is “Monstrous.”
Each of these titles is not merely a name – it also represents a column on the Universal Table, a cross-referenced chart of values, dice rolls, and results. The system uses a d100 (also called percentile) system, most often represented on the tabletop with two D10’s, one as the tens column and the other as the single digits. The higher your character’s score with any ability, the better his column was on the chart. Each column had a number of colored blocks; white results were generally bad or represented a failure, green results were a basic success, yellow results represented a success with a bonus, and red results (at the high end of the scale) were a critical success. As an example, a character with a Typical ability (a score of 6), received a white result for any die roll of 01-50, a green result for 51-80, a yellow result for 91-97, and a red result for a roll of 98-00.
Behold the chart of DOOM!
The game also includes a resource known as Karma. A hero earns Karma for doing things that a normal Superhero does in a comic book – saving lives, rescuing cats from trees, dealing with complications arising from his secret identity, and roleplaying his inner turmoil. Karma is not normally earned by defeating enemies per se (like XP in Dungeons and Dragons), but rather for resolving the battle without someone getting hurt (although there is a slight karma loss for the hero being defeated). Karma is reduced if the hero commits crimes, kills people, or generally does not act like a classic superhero.
A hero can spend karma to increase his odds of doing something amazing and cool during the game. Basically, a hero could declare he was trying to do something that would require a yellow or red result and roll the dice. The difference between his roll and his desired outcome is the amount of Karma that is spent, or 10 Karma if the roll succeeds on its own. Aunt May might need a 100 to hurt Galactus with a butter knife, but the old girl has earned plenty of Karma taking care of Peter Parker, so she’s got a chance to succeed!
Power Stunts are another cool mechanic featured in the game. Basically, any character can declare he is using his powers or abilities in a creative and unusual way—anything the character can theoretically achieve with his powers but isn’t specifically mentioned in his writeup—and declare a Power Stunt. A good example is Spider-Man forming a shield out of his webbing to deflect a blast; this is not normally a feature of his webbing, but the ability is plausible and Spider-Man can declare a Power Stunt to do it. Power Stunts cost Karma to perform and require a yellow result or better, but it is a cool feature of the game where you can have your speedster spontaneously run around in a circle to generate a whirlwind if you want to try.
Sadly, Power Stunts are missing from the revised basic set…
Karma also acts as experience points, and is the resource players spend to increase their character’s abilities or to gain new ones. In my opinion, it is a cardinal sin of game design to have the resource you use for advancement the same resource you use for any other purpose… since the majority of players (or at least, every single player I’ve ever met) will hoard their points for advancement and never even consider spending them on anything else.
The powers in the Marvel Super Heroes RPG are at once specific and general. There are different powers for fire generation and electricity generation, and each has specific abilities that they have different from each other. However, there are many other powers that have very broad descriptions and applications (such as Force Field and Teleportation). The Talents section describes abilities that are not truly powers (more like Super-Skills), including a variety of martial arts styles that each grant their own specific benefit.
What is interesting to me is that character advancement is optional in the revised basic set – I think this makes Karma a much more engaging feature of the game, since you aren’t saving it for improving your character. Instead, it becomes the resource it always felt to me it should have been; something you earn by doing hero stuff and spend to do even more heroic stuff.
If you’re a fan of this game, rejoice! All the materials for it are available for free at classicmarvelforever.com.
Some products may be a little more outdated than most…

 Super-Strengths

The Marvel Super Heroes RPG Is relatively rules light – it provides mostly guidelines for how to resolve actions in the game (and the majority of these are in the combat section) but it doesn’t feel complex or difficult to learn. The game allows for a lot of freeform action, and it specifically rewards and encourages good roleplaying  in the comic book hero style. The random character generation can be very fun for casual games and short campaigns.
The relatively rules-light and freeform system provided a fun contrast to its contemporaries, Heroes Unlimited and Champions, yet it has plenty of crunch of complexity for people who like that kind of structure.
The MSH product line had good production values and overall a high bang for the buck value ratio. Some of the supplements were lavish boxed sets during TSR’s domination of that market, and they look great on the shelf. The creators had access to the Marvel bullpen and archives, thus most of the books feature stellar artwork as well.

Vulnerabilities

The Marvel Super Heroes RPG is not without its flaws; the insistence on random rolls for everything—especially in character generation—can be very frustrating and disheartening for new players. In addition, the game itself enforces a rather strict one-true-wayism of superheroic roleplay; this game discourages anti-heroes, street-level vigilantes, and Watchmen- or Authority-style games among others.
There’s a certain four-color, traditional superheroism cherished by the game (particularly in the Karma rules) that feels very bronze age. Punisher and Nomad are explicitly called out as characters that are “doing it wrong” even within the milieu of the Marvel Universe.
Another example of this approach is the Universal Chart, which has “Kill” results for shooting, edged weapons, and energy attacks. These kinds of powers are at worst actively discouraged and at best, the hero with such an ability should intend to be very careful with using it.

The Game Line

Marvel Super Heroes had a very robust game line in total. There were two basic sets, the advanced set, the Ultimate Powers Book (which I’ve mentioned before), some great adventures (including the Future In Flames series that I’ve mentioned before), and lots of additional supplements detailing the X-men, the Avengers, and Spider-Man. There were also the Handbooks of the Marvel Universe (collections of characters from the comics written up with game stats). 
There are some great fan-made products out there too. I’m not sure what this is, but I want a copy!
All in all, this game represents a fantastic snapshot of the Marvel Universe between 1985 and 1993, and even now – almost thirty years later – the game mechanics are fairly solid. If you want to see my final analysis of the game, skip to the end. Otherwise…

Making Characters

MSH’s random character generation (particularly the enhanced set in the Ultimate Powers Book) resulted in some truly memorable characters over the years. Maybe these were not very /good/ characters, but certainly memorable! The rules were mandated to be random (the basic set allowed you to re-roll one single roll during the process, whilst the UPB allowed you to choose your origin). This meant that one could (and I often did) end up making lots of characters in order to find one that you like.

Placed here ‘cuz I’m a fan of Joe Mad artwork. When I made MSH characters, this is what I had in my head…

Some of the most memorable characters from my experiences include:

Cyber Commando. A creation of my friend Scott Venable, Cyber Commando had Incredible superspeed, Amazing telescopic sight, and… alas… Feeble ability to generate fire. Scott joked that his character could see an attractive lady with a cigarette a mile away and zoom over there to offer her a light.

My high school buddy Brad Wilson created a couple of great characters, amongst them Rudy Gonzalez – a street punk who could generate blasts of fire, and use those blasts of fire to propel himself in massive leaps through the air. Another character of his was generated from the UPB: Brad rolled “Plant Lifeform” with the power of “Martial Arts Supremacy.” Thus was born the Mighty Shroom!
Another member of my high school gaming circle was Mitch Beard, who came up with an android with retractable osmium blades in his arms and could shoot “electric fire” (a combination of electricity and fire generation) from his hands.
Messing around on my own I created Dave 2000, the Voodoo Robot (Ultimate Powers Book: Usuform Robot origin with Sympathetic Magic powers) and the Cloud of Steel (Ultimate Powers Book: Gaseous Life Form with Body Armor powers).

Random Character Example

Here’s a quick example of random character generation using the UPB:
Physical Form: 55 (Modified Human: Extra Parts)
I will choose Wings, gaining the Flight Power at Remarkable Rank.
Random rolls on stats gives me the following:
Fighting: Incredible
Agility: Poor
Strength: Good
Endurance: Remarkable
Reason: Excellent
Intuition: Incredible
Psyche: Remarkable
Clearly, our character is in overall fit shape; a good fighter who can take care of himself, but clumsy and slow. Perhaps our character is a form of gargoyle or dragon-man?
Resources: Incredible (Reduced to Good)
Powers: 1
Talents: 0
Contacts: 2
My luck was extremely poor with Powers and Talents, but the UPB allows me to spend Resources to get more of each. I’ll spend three ranks of Resources (dropping the stat down to Good) in return for an extra power and one Talent.
Time to generate our powers!
Power 1: Matter Conversion category.
Hmm, this looks interesting.
The dice roll and… Combustion (at Typical Rank). Our hero can make things catch on fire! Fire Generation is an Optional Power, but I’m going to roll randomly for the next one to see what I get.
Power 2: Lifeform Control category.
Another unusual result… I’m curious to see where this is going…
The dice roll and… Hypnotic Control (at Good Rank).
So, I have a winged, clumsy, hypnotizing superhero who can set things on fire. One randomly rolled Talent later, and the character is also a Photographer.
I have thus created the soaring Dragon-Lad, who fights crime by setting it ablaze… and then convincing any onlookers that any property damage is NOT his fault.
If this kind of thing entertains you, search RPG.net for more examples of crazy superheroes created for the Marvel Super Heroes RPG.

Final Analysis

Marvel Super Heroes is a good game… possibly even a great game! I’m a big fan of this approach to superheroic gameplay and I’m looking forward to another chance to fight injustice in the Marvel Universe the way that Jeff Grubb taught me!

Interview Time: Andy Hoare


Greetings readers!

January is a crazy month full of madness — from looming project deadlines to illnesses. These are not excuses, just letting you know what’s up and why I haven’t been as blog-post-making-guy as I used to be. 🙂

This week’s blog post is all about Andy Hoare. Andy is an exceptionally gifted writer and game designer who I came into contact with when I was working at Games Workshop back in the early 2000’s. Andy is a great human being who has conquered some amazing challenges and continues to inspire legions of fans with his books.

Behold the mad genius himself.


I brought him into the 40K RPG side as soon as I could when I was working at Fantasy Flight Games from 2008-2011 and he always provided top-notch writing even under some heavy deadlines!

Andy’s fantastic work helped build some great games, amongst them Deathwatch, Rogue Trader, Black Crusade, and Only War amongst others.

I’m very pleased to count Andy as a friend and colleague, and I’m very proud to have interviewed him for the blog.

If you want to learn more about Andy, check out his blog at: Mr. Andy Hoare, Esq


As always, my questions are in red.

RW: Can you tell me a little about yourself as a gamer and as a game industry professional? 

Andy: As a gamer, it all started with red box D&D at school. I bought my first blister of miniatures around about the same time (a Citadel Lord of the Rings blister containing Gandalf, Ranger and Frodo). The blurb on the back of the blister mentioned White Dwarf and Warhammer, so a week later I bought White Dwarf issue 86 and that Christmas I received 2nd edition Warhammer, which I fell in love with. The next year (1987) 1st edition Warhammer 40,000 came out and that was the best Christmas gift ever!

 A prolific crafter of worlds!

As an industry professional, I worked in the Games Workshop Design Studio from 2001 to 2009 as a games developer. During that time I worked alongside or met some of the leading lights of the industry, both past and present. Since leaving GW I’ve been fortunate to work with several other companies, including Fantasy Flight Games, Wyrd Miniatures, Architects of War, Wargames Illustrated, Mantic Games and others. I’ve also written a number of novels for Black Library. 

RW: How did you get your start in the RPG industry? 

Andy: It started when I heard that the Dark Heresy roleplaying game was to be expanded into Rogue Trader. I was working at Games Workshop at the time and knew a few other people in the business had been brought in as freelance writers. I contacted one (John French, who I’d say is one of the least well known best writers at Games Workshop) and he put me in touch with a guy at FFG called, oh, what was his name.. Ross something? I’d met Ross a few years earlier when I was a guest at Baltimore Games Day when he was working for the US White Dwarf, so clearly the stars were in alignment. Loving the 1st edition of Warhammer 40,000 as much as I do there was no way I wanted to miss out on a chance to work on a roleplay version and as it happened it was the start of a really good working relationship that continues to this day. 

I think Andy is a Rogue Trader at heart!

RW: What is something great about working in the RPG industry? 

Andy: Anyone who can genuinely say they work in the industry they most want to work in is fortunate indeed, so that’s how I feel about it. 

RW: What is something really bad about working in the RPG industry? 

Andy: While not specific to the rpg industry, perhaps the biggest downside is that everyone’s an expert when it comes to critiquing your work! We all do this of course, whether we’re denouncing the latest Hollywood blockbuster as uninspired or slating a novel for a lack of pace, so you have to cultivate a certain degree of empathy with the consumer and not regard such critiques as the work of the antichrist or as personal attacks. 

RW: How has your perception of working professionally in the RPG industry changed over the last 5 years? 

Andy: There seem to have been a lot of changes in the four years or so I’ve been most involved in the rpg side of things. The enormous rise in social networking has brought writers and players into direct contact, especially at the smaller end of the scale. Bigger companies can’t really communicate that way of course, so I doubt that’ll change enormously. On a less positive note, I’ve seen a lot of unpleasantness being aimed at individual writers, but that’s more an issue with human nature and the platform of social networking than anything specific to the industry. 

RW: You’ve been in charge of your own projects before… how would you do things differently now as opposed to the first couple of projects you were in charge of? 

Andy: It’s inevitable that you’ll look back on past work and see immediately how you’d do it differently – in fact I’d worry if that wasn’t the case! 
 
RW: What do you believe is the most important aspect of professionalism in the RPG industry from the viewpoint of the freelancer? What about from the viewpoint of a publisher? 

Andy: Something I’ve seen in many would-be freelancers and in fact in some newly minted ones, is the desire to reshape a setting or ruleset according to their particular view of it. For me, the ability to zero in on what makes a line popular and to accentuate that element, even if it’s not how you personally would do it if you were in charge, is key. Writing for someone else is not an exercise in vanity and you have to set aside your own wants in order to fulfill the brief and serve the needs of a product that is the result of many peoples’ creativity, not just your own. You also have to be able to respond to feedback positively and not expect your first draft to be accepted without comment, which is another area many fall down on.

Mr. Hoare is THE White Scars expert.

In terms of the publisher, I think they have to walk a fine line when dealing with freelancers, who are often in a precarious position themselves! Communication is really important, as I’ve often seen people given almost carte blanche within a project only to be told on handover they haven’t produced what was wanted. Good briefs that set solid milestones whilst identifying which parts the writer can really go to town on are very important. Managing creatives is a tricky business though, and I’ve seen some people get it very wrong and others get it very right, so there’s no simple answer. 

RW: If you could change one thing about the RPG industry, what would it be? 

Andy: The obvious answer would be more money and paid in advance, but that would be madness! 

RW: How do you engage with the fans of your work? 

Andy: Well firstly, I dislike the term ‘fan’ because it implies the work is passively consumed by a spectator, which isn’t the case in this industry as people actively engage with it in the process of playing. To be honest, I’m not really one for pushing myself into the limelight (I know I probably should though!) but I hope I’m open and friendly and if anyone asks me something on my Facebook page or blog I’m always very pleased to answer. 

RW: What do you feel is your greatest accomplishment as an RPG professional? 

Andy: A couple of things stand out actually. One is the Lure of the Expanse adventure book Owen Barnes and myself wrote soon after Rogue Trader was released. There’s a couple of things I’d do differently of course, but on the whole I’m really proud of it and consistently see positive chat about it.

There’s also the settings for Black Crusade and Only War (the former written alongside lycanthropic tabletop wargames veteran Andy Chambers). Developing a background like that is a real challenge as you have to provide a broad but necessarily shallow sandpit that everyone can play in, whilst seeding numerous ideas that you and other writers can expand on later on (which means you can’t be too precious or jealous about these ideas). I’ve seen this happen with the Black Crusade setting, where little ideas I included in the core rulebook, often no more than a paragraph, sentence or name, are now being expanded on and because they’re rooted in the core description of the setting the whole process is pleasingly organic. 

RW: What do you feel is your greatest setback as an RPG professional? 

Andy: Being a generally positive person it’s hard to say, but I hate missing a deadline, though if I do its usually only by a very small margin and I’m sure to agree an extension with the client before it becomes an issue. I’ve occasionally had to turn a job down due to other commitments, which I really hate doing as you’re never quite sure if that client will come back (they have so far!). 

RW: How do you reconcile working on a game that, on the one hand, requires a set of rules… but on the other hand, encourages GMs and players to break the rules or come up with their own? 

Andy: I have no problem at all doing so, but I appreciate that others do. For me it comes down to seeing the issue in black and white or as shades of grey. I’ve seen some people objecting to the idea that GMs should add in their own rules on the grounds that they could do that anyway, so what’s the point in buying a rules set in the first place, while others want a game that allows the GM lots of leeway to jam along as they see fit. The way I see it is you have to provide a balance between the two; you have to provide a usable and stable framework and when you build in leeway you have to provide examples of how to do so. There’s very little point in saying ‘make stuff up!’ if you don’t give a couple of examples to demonstrate what you mean. Ultimately, any game has to appeal to a wide range of people to be commercially viable but, paradoxically can never be all things to all players. 

Professor Hoare’s latest adventure involved some squidly fellows.

RW: If you were a fantasy adventurer, you’d be a…? 

Andy: An old school sword and sorcery barbarian 🙂 

RW: What’s your favorite RPG (that you have not worked on)? 

Andy: I cut my teeth on West End Games Star Wars and have a soft spot for their D6 system so I’d say that’s still my favourite. I still enjoy a good old mechanical dungeon bash though! 

RW: What is your favorite part about writing for games? The background, the rules, the adventures? 

Andy: I’ve always tried to occupy the exact point where these things all come together and spark the player’s creative drives to go off and do something. When I was writing codexes and White Dwarf articles for Games Workshop I’d always try to provide those small gems of background, rules or hobby inspiration that make you go off and collect a new army, write a new scenario, start a new campaign or whatever. 

RW: What advice would you give to someone looking to enter the game industry? 

Andy: To get there in the first place, take part, contribute, be a positive influence and promote your creativity in a way that inspires others and ultimately gets you noticed. Maintain a blog and fill it with examples of your work and lively discussion so that when you approach potential clients you can show them what you’ve been doing (and they may well have heard of you already). Be rounded and don’t obsess over little details (at least not in public!). Don’t indulge in rants or hyperbole. Be humble and polite, and respectful of other people working in the field, even if deep inside you think they’re fools of the worst order – remember that one day (if you’re lucky) you might be working with them or given a brief to write something in a way you wouldn’t choose to do yourself and it might all look very different indeed. 

RW: What is a project that you have always wanted to make but never have had the chance? 

Andy: I’ve been plugging away at a set of narrative tabletop skirmish rules for a while, aimed at non-setting-specific ‘sword and sorcery’ wargaming and if I ever get the chance I hope to develop them to a publishable point and get them out there. If they proved viable I’d expand the core rules into other genres too so you never know… 

RW: What do you look for… and what is a red flag… for a random freelancer submission? 

Andy: I think you primarily look for people who can demonstrate that they truly ‘get’ the setting. This doesn’t have to be an intimate knowledge of the canon (though that helps) but rather an affinity for the themes, feeling etc that it promotes. In terms of turn-offs, I’d be on the look out for the writer’s ego seeping into the work too much – like I said before, if they’re trying to re-write the setting or rules to better fit their own idea of how it should be done they’re doing it for the wrong reason. 

RW: If you could pick up the dice and play an RPG right this very instant, you’d play…? 

Andy: FFG’s Rogue Trader, WEG’s Star Wars or (red box) D&D, all for very different reasons!

Know When to Hold ‘Em, Know When to Fold ‘Em


Hello readers… my apologies for the long absence. Holidays and other writing commitments have kept me away from Rogue Warden far too long.
“Son, I’ve made my life out of readin’ people’s faces…” God bless ya, Kenny.
Having survived the predicted end of the world, this is a perfect time to start talking about how you wrap things up when you’re dealing with a long-term RPG campaign.
Thus, today’s blog post is all about a time of endings – when, how, and why you should pick the right moment to close out your campaign.

Types of Campaigns

First, it is a good idea to define our terms for this discussion. Naturally, these terms are being defined by me using my experiences; if you don’t agree with these descriptions, that’s just fine.
Just ask Robert E. Lee about planning for a long campaign…
These are the types of RPG campaigns based on length:

  • One Shot: A one shot game is typically played only once per year in a single session. One shots are not really a campaign (although some rare campaigns do take place once per year over many years).
  • Short Campaign: A short campaign typically takes place over three to six sessions and usually covers around two to three months of real time.
  • Medium-length Campaign: This kind of campaign usually covers around seven to twelve sessions and usually covers around six months of real time.
  • Long-term Campaign: This campaign is generally my most favored approach, and covers from twelve to thirty (or so) sessions and takes years of real time.
  • Unending Campaigns: Some few RPG campaigns have started and have never yet stopped. If you are a player or GM in one of these groups and your game has been ongoing for more than three years, I am very envious of you!

Old Campaigns I Have Known

I’m tackling a number of campaigns that I’ve played to a satisfying conclusion in chronological order.

The Messian Campaign

First there was the Messian Campaign, ably adminstered by my good friend Joshua Fairfield. This was a heroic fantasy setting for the 3.0 Dungeons and Dragons RPG that was heavily based on old, post-crusade Jerusalem. It was one of the first D&D campaigns I had played in with such a strong geographical focus, and I loved it. We got to know the districts of the city quite well, and I learned several lessons playing in this campaign that would inform my later efforts with Shadows Angelus (see below). Josh was a gifted DM with a talent for setting up interesting and unusual organizations—some as friends, some as enemies, and others we were never quite sure of. Playing these factions off against each other towards our own ends was a ton of fun. 
Yeah, playing in Josh’s Messian campaign was kind of like this…
My character for this campaign started out as a young, naive farm girl and ended up as a passionate champion of an adopted faith—a plane-travelling hero who freed slaves all across reality. It was a great experience and completely unforgettable in my mind.

How did it end?

Our group went from 1st level all the way up to around 17th. It was a campaign thick with all the most unique tropes of D&D: there were groups founded upon the tenets of certain alignments; we died and were raised from the dead (everyone, at least once and often more than once); there were psionics and magic and they did not mix.
The campaign reached a point where our group confronted an evil god, cheated an entire evil race out of immortality, and set ourselves up as the caretakers for a newly born goddess of hope. My character’s epilogue was a return to her long-lost farm, serving as a surrogate mother and guardian of the young goddess… and occasionally going out to other planes to take out a slaver’s nest or two before dawn.
I certainly felt like I got my money’s worth from the Messian campaign – the story that was told was a powerful one, and we all felt like we had a lasting and important impact on the setting. It was one of the first times I had actually reached what I felt to be a satisfactory conclusion to a campaign and the first time I truly felt a significant sense of closure.

Shadows Angelus

Next up was Shadows Angelus. As I said earlier, I learned a lot from playing in Josh’s Messian game, and I chose to focus more on Shadows Angelus’ setting (a single city in the dark future) because of it. Shadows Angelus was born from a very long fascination with the idea of mixing magic, psionic powers, and cyberpunk aesthetics with a gothic and lovecraftian horror milieu. Yeah, I know that sounds complicated, but go check out Silent Moebius and you’ll get the idea. To say this setting and campaign are special to me is an understatement! Luckily, I was able to share my passion for this setting with a truly great gaming group of my friends in Maryland, including Hero writer Michael Surbrook (who inspired much of Shadows Angelus with his great Kazei 5setting).
So I get to blame Michael for pictures like these…

I structured Shadows Angelus into small story arcs that eventually interconnected, and I had planned from the start that the campaign would (or should) run around 24 sessions (or “episodes,” as I liked to call them) in length. This was a bit ambitious for me, but I felt like I had a pretty solid buy-in from the group and it turned out that my faith was rewarded tenfold. The game went for 26 sessions in total, with plenty of in-between session action through blue-booking on an e-mail list.

How did it end?

It is important to note that I had basically scripted an end to this campaign far in advance. I knew that there was a point in the story I wanted to reach, a climax I wanted to share with the players, and then that would be that for the campaign. My players understood that the campaign had a definite end as well, although I think this went over well because there was also a promise of over twenty different sessions—so none of them felt short-changed. It was a planned moment and I was able to give all the player characters some great final moments for the players to build on if they wanted to epilogue (and many of them did) their own stories.

The Captains of Crunch

Just this year, I helped get a gaming group started playing Shadowrun 4th edition. This was very much a “Mohawk” style campaign, with plenty of fun and craziness all around. The name of our Shadowrunner team became known as the “Captains of Crunch,” a moniker related to one of our earliest jobs. The campaign was fast-paced, energetic, and fun. It was also played on a fairly accelerated schedule – we played every weekend for about three months, and each session lasted around 7-8 hours. All this means that we got plenty of gaming going on every Sunday for quite a while…
This is the artwork for the original Shadowrun nintendo game box. It also looks like a Captains of Crunch adventure.
Our adventures were many and varied, and we made quite a habit of surprising the GM with unusual solutions to the various challenges placed in our path. We managed to get ourselves out of some very tight spots and it looked like we were going to keep playing for quite a while…

How did it end?

Typically, a Shadowrunner’s end goal is to make a big score and retire, a goal that few ever really reach. Previously, one of my characters in the online Shadowrun games that I’ve talked about before managed to make a million-nuyen-run and quit the street life for a cabin in the mountains. However, that kind of thing is usually quite rare.
Well, our team hit that big score – unintentionally. We were set up in a deal with a dragon (something you should never ever do in Shadowrun!) and we figured out a way to turn things around. At the end of the day, our little group of Shadowrunners had managed to enact a coup of the nation of Dubai and had taken over rulership of the entire country. I promise I am not making this up. There are going to be some readers who will instantly believe that our GM was off his meds that day or that such a score is – or should be – impossible. Yet, we managed to pull it off.
At the end of the session, we were stunned. We looked at each other, just sort of savoring the moment of our success. But there was something we needed to talk about, so we broached the subject of ending the campaign. The GM hadn’t planned on ending the game this way, but we all agreed that it wouldn’t get any better than this session. It was just the right time to bring things to a close and go out on a high note.

What do you mean, “Stop?”

If someone had asked me about ending an RPG campaign ten years ago, I would’ve responded with confusion. Why would anyone want to stop playing an RPG campaign? Especially a good one?
I like to think I’ve earned some wisdom along with my experience, and what I’ve learned suggests this: when it comes to storytelling, there is sincere value in closure. Not all stories need to end, but many stories benefit strongly by having a definitive ending point. This also applies to roleplaying games – because, at their heart, RPGs are exercises in cooperative storytelling.
Basically, this.

Endings help the Game Master build towards a satisfying conclusion. If the GM knows in advance that the campaign has a definite ending point, it can really help him in designing the sessions that lead up to that ending. Foreshadowing, prophecies, bringing back long-lost loves and old enemies alike are just a few tools that the GM can use to build the action and the emotions of the story as the game approaches the climactic ending.
Sometimes the right time to end the game is when the power of the characters overshadows or interferes with the verisimilitude of the campaign. This is often a problem for games like Dungeons and Dragons, where epic-level characters can change the game’s feel quite far away from the idea of swords & sorcery. When you can cast Wish spells, the paradigm changes considerably! Similarly, an RPG campaign can take characters from humble beginnings to the rulers of an entire realm, or even possibly a world or universe of their own! In these cases, the GM or the players may simply feel that the time is right to move on – the characters’ power level means that typical adventuring just doesn’t make sense.
Choosing to bring a campaign to a close can also provide the impetus to try something new and keep things fresh – this is often more important for groups that meet regularly on a weekly or bi-weekly schedule. There are many gamers like myself who enjoy trying out new games or different spins on existing games, and keeping a rotating schedule of new campaigns is a good way to accomplish that.
It is very important to remember that ending a campaign does not always mean that game is gone forever. You can always come back to the campaign again later if you choose or even reincarnate it with a new group. I’ve done this myself with Shadows Angelus (now on its fourth incarnation), and I’ve seen it happen before. In fact, the Messian campaign mentioned earlier was a campaign that had been played before with a different group!

In Conclusion

Knowing when to draw your campaign to a close can be a valuable lesson. Some campaigns are meant to last and last – as I said above, I’m very envious of those who have managed to keep a game going for long lengths of time! Thinking about it that way, knowing how to continue the game is the real diamond in the rough. Feel free to share your own stories in the comments of either ongoing campaigns or ones that ended – for better or worse!