Gary Gygax, the Passing of a Legend

If you haven’t heard by now, Gary Gygax passed away. Gygax’s obituary gives a brief overview of his career in the gaming industry. The father of GenCon, of modern gaming, of the industry I’ve been working with, his passing does not go quietly into the night.

A host of gaming sites and communities offered online memoriams like this one from Wizards of the Coast. An Order of the Stick edition featured a personal thank you, as well as a slew of other webcomics including Questionable Content (check out the chalkboard), Penny Arcade and others. Affecting artists, gamers, industry folk, and fans, our community has even agreed to roll the die and game in honor of his memory. GaryCon across the Globe encourages us to dust off our old D&D sets and play.

In an industry where stigmas abound, I’m unsure how many folk that are not familiar with the hobby understand just how much of an impact this one man left on the entertainment industry. Without his influence all forms of modern gaming as we know it would not be the same. MMORPGs, video games, card games, board games and RPGs are evolutions of the classic dungeon crawl that he and Dave Arneson co-created.

By far, though, the biggest impact on me is the people I’ve met over the years. No other creative industry has been as welcoming and as encouraging as the gaming industry, perhaps because deep down inside we all have a gamer geek inside of us that simply loves to play. In my opinion, trying to get from Point A to Point B to reach Goal X has inhibited our ability to be kind to one another simply because we are that busy. Not so at the conventions and events I’ve attended, and definitely not so at GenCon.

Every year of GenCon has its ups and downs, but I have some amazing stories to tell of people reaching out to other people to simply do “good things.” Gary Gygax enabled all of that to happen, and I’m a better person for being part of this community. I think Bill Walton, who runs The Escapist, a gaming advocacy site, summed up his feelings best by writing about the Gygaxian Butterfly Effect listing the slew of people he never would have met if it wasn’t for Gary. I can definitely add my voice to that choir.

So this Saturday, I’ll be rolling the die along with the rest of them and counting my blessings. May all your rolls be successes, and may you slay your dragons well. Rest in peace, Gary. Your memory will live on in every character we generate.

Game Design for Girls: Scholarship and Day Camp

PacMan Girl Ghost | OpenSource ArtI belong to several writing and networking groups all around the web, and sometimes there are events posted that are just “that cool.” This summer event is so in touch and up-to-date with our current culture, it’s definitely worth checking out and is perfect for young women interested in this multi-million dollar industry.

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Write Games? You Must Work for the Devil! Right?!?!

One of the first issues that came to my attention when I started writing for the hobby games industry and playing more video, card, PC, and RPGs, is the stigma that’s associated with gaming. Enter Dennis, from Game politics who has covered a whole host of articles on the subject, “Violence in Video Games.” (Caveat* I’ve written a few articles for the site.)

It’s funny how many times I’ve gotten weird looks and other sorts of declarations ranging from comments declaring everything from a “lack of maturity” to “video games are the work of the devil!”

And to top it all off, this stunning (NOTE THE SARCASM) article comes out. TV, Film and Game Violence seen as a threat.

Sports are violent. Sports are a game. Take ice skating, for example. How many comedians have done skits on “what went wrong” with the skater’s performance? Our entire media and local TV news are both violent; rarely does either of them specialize about what is great about humanity. Protect the children? Hey, your parents probably played “Cops and Robbers” or “Cowboys and Indians” growing up, with more realistic-looking guns than the ones they have out now.

Don’t agree with me? Fine. I get extraordinarily frustrated with all these studies because, in the end, people “forget” that there is a conscious brain behind the person absorbing the content that’s around them. Yes, there should be levels of play depending upon ages, and I have no problem with that. But if I play Resident Evil, for example, I know I’m smashing zombies — not humans. I don’t feel the urge, afterward, to go hit someone. I’ve already relieved my stress, without drugs, alcohol, or any other “harmful” substance involved and I have *gasp* morals against that sort of thing.

I play games because it makes me a better writer and I get some enjoyment out of it. Screenwriters, fiction authors and game writers — no matter what field you are in within the industry — are entertainers. We don’t create content to be “violent,” we create it to be entertaining within the scope of a license, a team, or our own, little universe for the purpose of selling that media to people who are interested in playing it.

Here’s the kicker: If so-called violent video games didn’t sell, no one would be making them!

Working for the “devil?” If money is the devil, then I guess I should probably let my horns grow. Huh, now there’s an interesting story idea.

About Me: On Game Design

One of the ways that I’ve expanded my portfolio over the past couple years is to write games. I get quite a few questions regarding my game writing experiences, one of which is, “What does it mean when you say you write games?”

Writing games, whether you are writing video games or tabletop role-playing games, has some commonalities. All games need rules, otherwise known as mechanics. Many games, especially role-playing games, need a “world” to play in, and characters to play with.

Video games and computer games require a writer to understand script (or screen) writing. In this particular arena, I do not have the experience to speak to what the game writing process is. I do know, from looking for jobs in the video game design field, that there are several, different requirements that go beyond writing the script for a game. You can see on this list of video game positions that writing is typically not offered as a separate job. I say typically, because not every game company is structured the same way, and I am associated with people who write for video game companies.

Narrative or tabletop role-playing games (RPGs), differ greatly from video games. While I can’t make comparisons about the process, there are, what I would define as, three tiers of writing for game design. The first level, would be to write for a well-established RPG that has its own set of mechanics. In this instance, you, the freelancer, would be writing setting-related material with little-to-no “mechanics” design. You provide the setting and the characters, and simply use the mechanics you have available to support your game or adventure. If you were to tweak a mechanics system, creating new rules to fit your adventure or game, then I would consider that to be the second tier. The third tier is the most time-consuming and, in some cases, the most fun. Not only do you help build the world and create characters and conflict, but you also help set up the framework of rules.

What are game mechanics? In any game, these are the “points of logic” that you and your players need to play the game. Mechanics can affect the plot, determine how strong your character is, how far you can run, what your character knows, and how fast they heal. RPG-style video games, like Knights of the Old Republic utilize behind-the-scene mechanics. Whenever you take an action, it affects your character, but you don’t have to roll the dice to see what the outcome is. Tabletop games, on the other hand, often require you to roll the dice in order to see what happens when you try to shoot a gun, climb a tree, open a lock or even change the direction of the plot.

Unlike video games, writing RPGs requires a lot of technical writing skill. Often, you’ll work through an outline before you write, in order to integrate rules and mechanics in a systematic way to present to the reader. There is room for some fiction, but writing RPGs is primarily about fleshing out a skeleton to provide a playable setting. In fiction, you opt for a seamless story that engages your readers; in RPGs, you commonly break out protagonists, antagonists, scenes, plot seeds, characters, etc. in order to inspire others to participate in the game you’ve created. While there is a lot of debate over how RPGs should be written, several RPGs are based on the concept that the players and the Game Master (GM) or Narrator of your game, drive the story. As a freelance writer for the RPG industry, you provide them with the tools to do just that.

Of course, there are several exceptions to this concept, the easiest example is to point out games like the Army of Darkness RPG. Writing for licensed games requires writers to know the setting they are writing for and often, the process can be pretty tricky.

So there you have it; that’s my opinion on Game Writing 101. As this is a huge topic for discussion and debate, I encourage you to read other articles about game writing for the RPG industry if you’re interested in learning more about it. Over the course of this blog, I’ll be writing about more specific aspects of RPG writing, rather than a generic overview. I will tell you that many game designers are extraordinarily friendly and will be honest with you about the pros and cons of the industry as a whole, which might help you understand your market before you dive, feet first, into it.

Articles about RPG game Design | How to Create an RPG World | How to Write a Role-Playing Game

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