I find myself lately frustrated by the tendency in our hobby to elevate and promote the same people over and over again. Dreamation this year was a reminder that there is so much good stuff being put out in the world, but the vast majority of it will never be seen by a wider audience. What do we have to do to elevate the voices of new people? Even more important, what do you need, as a consumer, to consider the work of someone other than these #SameFiveDudes?
I find myself lately frustrated by the tendency in our hobby to elevate and promote the same people over and over…
I find myself lately frustrated by the tendency in our hobby to elevate and promote the same people over and over…
I try to cultivate my input so it has a lot of women, queer, and non-white designers. Then, the games I learn and get excited about are more likely to have those folks in them.
I try to cultivate my input so it has a lot of women, queer, and non-white designers. Then, the games I learn and get excited about are more likely to have those folks in them.
As a con organizer, I try to ensure my guests are less known, valuable, and diverse. I do not put as much value on straight white dude voices as I do on minority voices and I ensure that my guests feel valued, worthwhile, and heard. I choose PoC and women, trans, or enby folk as my guests of honour. I organize scholarship programs to help diverse designers get to my conventions. I support the IGDN scholarship. I only back kickstarters that have a minority on the team, and will not give money to games made by straight white dudes. If I can’t tell, I ask the creator directly how the creative team is diverse. I don’t promote game content by problematic people. I shut down conversations that are like “sure, he’s a shitty dude, but his writing is great” because that’s promotion and it means giving money to an asshole. I speak out constantly about all of this and blog about it and put my money where my morals are. I tear down bullshit around sexism, ableism, rarcism, transphobia, and queerphobia.
As for buying games, I research it before I commit. If it’s a game by a diverse designer, I make a point of talking about it on social media. I follow diverse designers on kickstarter and social media so I can see what they’re backing. I blog about games that are about and by minorities and tend to take to task games that have an all dude dev team.
As a con organizer, I try to ensure my guests are less known, valuable, and diverse. I do not put as much value on straight white dude voices as I do on minority voices and I ensure that my guests feel valued, worthwhile, and heard. I choose PoC and women, trans, or enby folk as my guests of honour. I organize scholarship programs to help diverse designers get to my conventions. I support the IGDN scholarship. I only back kickstarters that have a minority on the team, and will not give money to games made by straight white dudes. If I can’t tell, I ask the creator directly how the creative team is diverse. I don’t promote game content by problematic people. I shut down conversations that are like “sure, he’s a shitty dude, but his writing is great” because that’s promotion and it means giving money to an asshole. I speak out constantly about all of this and blog about it and put my money where my morals are. I tear down bullshit around sexism, ableism, rarcism, transphobia, and queerphobia.
As for buying games, I research it before I commit. If it’s a game by a diverse designer, I make a point of talking about it on social media. I follow diverse designers on kickstarter and social media so I can see what they’re backing. I blog about games that are about and by minorities and tend to take to task games that have an all dude dev team.
For me, Gauntlet word-of-mouth has done pretty much this. For other people, I’m not sure.
For me, Gauntlet word-of-mouth has done pretty much this. For other people, I’m not sure.
I participate in a playtest group to help upcoming folks (including myself) get the support they need to design.
I experiment with new and unknown story games to get a better idea for what’s truly out there.
I invite a diverse group of players to my table and intentionally introduce new people to the hobby.
I participate in a playtest group to help upcoming folks (including myself) get the support they need to design.
I experiment with new and unknown story games to get a better idea for what’s truly out there.
I invite a diverse group of players to my table and intentionally introduce new people to the hobby.
PS: due to my participating in playtest groups, meet ups, and other stuff in the Seattle area, I’ve actually had the opportunity to meet with what I suspect are some of the “same five dudes,” which is an interesting experience for me as an aspirational designer, but one thing I try to do when I do see them is talk about up and coming designers and games and matters of diversity and how these issues play into their own process.
PS: due to my participating in playtest groups, meet ups, and other stuff in the Seattle area, I’ve actually had the opportunity to meet with what I suspect are some of the “same five dudes,” which is an interesting experience for me as an aspirational designer, but one thing I try to do when I do see them is talk about up and coming designers and games and matters of diversity and how these issues play into their own process.
As a consumer I typically drift toward stuff with great art and layout in my purchases because I consider that tied to the value proposition these products make. I have bought plenty of stuff that is just being excited about the text, but in general I’ll admit that I gravitate towards products that are way harder to make. It’s a bad impulse I’m trying to curb.
As a consumer I typically drift toward stuff with great art and layout in my purchases because I consider that tied to the value proposition these products make. I have bought plenty of stuff that is just being excited about the text, but in general I’ll admit that I gravitate towards products that are way harder to make. It’s a bad impulse I’m trying to curb.
To elevate the voices:
-Buy the games, run/play the games, tell people about the games.
-Stop just referring to RPGs as D&D. Use the names of the creators when you talk about a game.
-Nominate new products for awards.
-Run those games at your local FLGS. Talk to the store about carrying those lesser-known products. In the last month I’ve seen Laser Kittens and Tales From the Loop at local stores, which made me really happy.
To elevate the voices:
-Buy the games, run/play the games, tell people about the games.
-Stop just referring to RPGs as D&D. Use the names of the creators when you talk about a game.
-Nominate new products for awards.
-Run those games at your local FLGS. Talk to the store about carrying those lesser-known products. In the last month I’ve seen Laser Kittens and Tales From the Loop at local stores, which made me really happy.
So, as a consumer, I’m looking for three things in the games I buy.
1) Short and/or easy to learn
2) In a genre that interests me
3) Does something different mechanically
The complexity of a game – its level of crunchiness – is a huge determinant of my interest. Genre is a criteria, though if it seems interesting, this is the least important one. Finally, I’m very interested in how games work mechanically. As cool as PbtA might be, I know how it works. If someone is doing something honestly outside the envelope, that will interest me, but new playbooks for a new genre likely won’t.
And I learn about new games almost exclusively by word of social media – Twitter and G+. If people I follow mention something that hits two of my three criteria, I will research it. If it hits all three and there’s enthusiasm, I’m in.
So I guess, for me, boosting the signal of cool games is an important action we can take for games that might otherwise fly below the radar.
So, as a consumer, I’m looking for three things in the games I buy.
1) Short and/or easy to learn
2) In a genre that interests me
3) Does something different mechanically
The complexity of a game – its level of crunchiness – is a huge determinant of my interest. Genre is a criteria, though if it seems interesting, this is the least important one. Finally, I’m very interested in how games work mechanically. As cool as PbtA might be, I know how it works. If someone is doing something honestly outside the envelope, that will interest me, but new playbooks for a new genre likely won’t.
And I learn about new games almost exclusively by word of social media – Twitter and G+. If people I follow mention something that hits two of my three criteria, I will research it. If it hits all three and there’s enthusiasm, I’m in.
So I guess, for me, boosting the signal of cool games is an important action we can take for games that might otherwise fly below the radar.
I read blogs, follow groups like this one, listen to podcasts. When names or products pop up repeatedly they hit my radar.
Then I ask if this product brings something new to the table. For example, I love retro-clones but I need another one like I need a hole in the head. Unless it brings something new to the table; Beyond the Wall’s collaborative party creation process, Astonishing Swordsmen and Sorcerers of Hyperborea’s classes, round structure, and setting focus, Spears of the Dawn’s unique setting focus, DCC’s… well… everything.
And artwork. I fall into the category of people who have more time to spend reading game books than running or playing with them, so now more than ever the experience of reading a good book means a lot to me.
I read blogs, follow groups like this one, listen to podcasts. When names or products pop up repeatedly they hit my radar.
Then I ask if this product brings something new to the table. For example, I love retro-clones but I need another one like I need a hole in the head. Unless it brings something new to the table; Beyond the Wall’s collaborative party creation process, Astonishing Swordsmen and Sorcerers of Hyperborea’s classes, round structure, and setting focus, Spears of the Dawn’s unique setting focus, DCC’s… well… everything.
And artwork. I fall into the category of people who have more time to spend reading game books than running or playing with them, so now more than ever the experience of reading a good book means a lot to me.
I hope you don’t mind me posting this here, but this is right in line with our mission and it warrants talking about. We are trying to elevate the Professional GM, regardless of their personal traits, as well aiming to encourage new content producers (who likely also run/play games) on http://www.LookingForGM.com.
I love that the quality GMs are promoted because, remember, they too did not always have the fame and success they have now. Let them have credit for what they’ve created. We all started somewhere However! We want to help those people that have their own dreams of become big famous Game Masters or content creators to build their reputation among the community and increase their chances for success. That’s where LFGM comes in!
Come by and take a look and let us know how we can help you become more successful. This is what we’re all about and we want to hear all the ideas you might have.
I hope you don’t mind me posting this here, but this is right in line with our mission and it warrants talking about. We are trying to elevate the Professional GM, regardless of their personal traits, as well aiming to encourage new content producers (who likely also run/play games) on http://www.LookingForGM.com.
I love that the quality GMs are promoted because, remember, they too did not always have the fame and success they have now. Let them have credit for what they’ve created. We all started somewhere However! We want to help those people that have their own dreams of become big famous Game Masters or content creators to build their reputation among the community and increase their chances for success. That’s where LFGM comes in!
Come by and take a look and let us know how we can help you become more successful. This is what we’re all about and we want to hear all the ideas you might have.
I mean I’ve learned all I know about all the PbtA games (except monster hearts) from your podcasts. +1 forward sure, but more recorded sessions of new work is a great way for me to learn about them!
I mean I’ve learned all I know about all the PbtA games (except monster hearts) from your podcasts. +1 forward sure, but more recorded sessions of new work is a great way for me to learn about them!
I don’t have an answer specific to indie roleplaying games, but I think I can analogize by how I feel about books from certain authors. I often find books that are fitting the kind of story I am in the mood for through a variety of means: Good Reads, Amazon reviews, and personal recommendations from friends. With friends that I trust a lot, we even have developed a system of getting each other to read special recommendations sooner than other books. If I end up liking the book, I’m more likely to buy other books from the same author, hoping for a similar experience. If the author is already famous, I don’t bother giving my friends who are readers an earful about it. I may mention it, but odds are they are already aware of it. But, when I chance upon a more rare find, something I like but others have not heard of, I talk about it a lot more. I get excited to share these treasures with my friends. I secretly hope HBO picks up the book as a mini-series to further validate my fandom.
It’s tough to break in to a saturated market. Books may be similar to indie RPGs in that sense. RPGs have it even harder because by purchasing, you probably have some hope of playing, which means not only committing to the solo venture of reading and understanding the text, but also convincing others to try out the game too. Fortunately for us, we have lots of friends who want to game with us here at the Gauntlet so it’s easier for us to get a game to table than someone running a home group. So maybe that’s part of the answer: growing communities that have more players than games to balance against the market filed with games but not players.
I don’t have an answer specific to indie roleplaying games, but I think I can analogize by how I feel about books from certain authors. I often find books that are fitting the kind of story I am in the mood for through a variety of means: Good Reads, Amazon reviews, and personal recommendations from friends. With friends that I trust a lot, we even have developed a system of getting each other to read special recommendations sooner than other books. If I end up liking the book, I’m more likely to buy other books from the same author, hoping for a similar experience. If the author is already famous, I don’t bother giving my friends who are readers an earful about it. I may mention it, but odds are they are already aware of it. But, when I chance upon a more rare find, something I like but others have not heard of, I talk about it a lot more. I get excited to share these treasures with my friends. I secretly hope HBO picks up the book as a mini-series to further validate my fandom.
It’s tough to break in to a saturated market. Books may be similar to indie RPGs in that sense. RPGs have it even harder because by purchasing, you probably have some hope of playing, which means not only committing to the solo venture of reading and understanding the text, but also convincing others to try out the game too. Fortunately for us, we have lots of friends who want to game with us here at the Gauntlet so it’s easier for us to get a game to table than someone running a home group. So maybe that’s part of the answer: growing communities that have more players than games to balance against the market filed with games but not players.
I buy a lot of games. Really, a lot. I Kickstart a ton of them too. What everyone else has said holds true for me as well – be interesting and hopefully offer something mechanically novel and thought provoking. Just being from someone I haven’t heard of isn’t enough.
That said being by someone I haven’t heard of won’t shut me out either. Scavengers, Red Markets, Sigmata and Devil’s Run (to a lesser degree as it’s using 2d20 at this point) are all unique systems by NOT the same 5 dudes.
What I don’t want is something poorly thought out, different just for the sake of, “It’s not d20, so it’s cool!” poorly executed or too wrapped up in RPG philosophy to be actually playable.
Signal boosting helps a lot for these smaller games and I confess I’m terrible about it. I hate feeling like I’m hawking something.
I buy a lot of games. Really, a lot. I Kickstart a ton of them too. What everyone else has said holds true for me as well – be interesting and hopefully offer something mechanically novel and thought provoking. Just being from someone I haven’t heard of isn’t enough.
That said being by someone I haven’t heard of won’t shut me out either. Scavengers, Red Markets, Sigmata and Devil’s Run (to a lesser degree as it’s using 2d20 at this point) are all unique systems by NOT the same 5 dudes.
What I don’t want is something poorly thought out, different just for the sake of, “It’s not d20, so it’s cool!” poorly executed or too wrapped up in RPG philosophy to be actually playable.
Signal boosting helps a lot for these smaller games and I confess I’m terrible about it. I hate feeling like I’m hawking something.
“[W]hat do you need, as a consumer, to consider the work of someone other than these #SameFiveDudes?”
I don’t think you’re going to get many useful responses to this question. People think they understand the sources of their enthusiasms, and will go on at great length about what they like, but they don’t actually consciously understand how certain enthusiasms surface for them and others don’t, how or why one game by one creator seems exciting and interesting and another game just doesn’t for some reason. They’ll come up with an explanation if you ask, but probably it’s a rationalization. The truth is that people don’t pay attention to what they don’t pay attention to because our brains filter stuff out for us. People will happily list out content criteria, themes and media they like, format requirements, price points, but it’s all mostly noise and they’ll violate it again and again for games or creators that actually deliver what they really care about. What people really care about is shared enthusiasm, identity factors, lifestyle factors, relationships, and shame. If you want to promote the work of diverse folks, those are your weapons.
“[W]hat do you need, as a consumer, to consider the work of someone other than these #SameFiveDudes?”
I don’t think you’re going to get many useful responses to this question. People think they understand the sources of their enthusiasms, and will go on at great length about what they like, but they don’t actually consciously understand how certain enthusiasms surface for them and others don’t, how or why one game by one creator seems exciting and interesting and another game just doesn’t for some reason. They’ll come up with an explanation if you ask, but probably it’s a rationalization. The truth is that people don’t pay attention to what they don’t pay attention to because our brains filter stuff out for us. People will happily list out content criteria, themes and media they like, format requirements, price points, but it’s all mostly noise and they’ll violate it again and again for games or creators that actually deliver what they really care about. What people really care about is shared enthusiasm, identity factors, lifestyle factors, relationships, and shame. If you want to promote the work of diverse folks, those are your weapons.
We need an industry person willing to suffer the inevitable slings and arrows to issue an RPG version of the Bradford Challenge:
http://tempest.fluidartist.com/non-fiction/the-challenge/i-challenge-you/
We need an industry person willing to suffer the inevitable slings and arrows to issue an RPG version of the Bradford Challenge:
http://tempest.fluidartist.com/non-fiction/the-challenge/i-challenge-you/
Jim Crocker Isn’t it inherent in the notion that we want to promote work by people other than “the same five dudes” that we know who those people are already? Not sure why an invasion of privacy is even suggested there. Bradford’s challenge related directly to cis/het/white guys, but it could easily be phrased another way.
Jim Crocker Isn’t it inherent in the notion that we want to promote work by people other than “the same five dudes” that we know who those people are already? Not sure why an invasion of privacy is even suggested there. Bradford’s challenge related directly to cis/het/white guys, but it could easily be phrased another way.
I’m not sure what I need as a consumer, but I’m commenting here in the hopes of hearing some stuff that helps.
I guess also hearing more of that gushed about on (your) podcasts helps. That’s how I have learned about a number of games lately.
I’m not sure what I need as a consumer, but I’m commenting here in the hopes of hearing some stuff that helps.
I guess also hearing more of that gushed about on (your) podcasts helps. That’s how I have learned about a number of games lately.
The absolute best way I can think of would be the same five guys promoting the lesser known stuff. That turns them into gatekeepers, but they already are gatekeepers. They have no choice.
It would be better if they could be convinced into being better gatekeepers.
The absolute best way I can think of would be the same five guys promoting the lesser known stuff. That turns them into gatekeepers, but they already are gatekeepers. They have no choice.
It would be better if they could be convinced into being better gatekeepers.
My thoughts echo what Paul Czege has said. The community struggles with being self reflective enough to take apart where their fan excitement and energy comes from and how that feeds into structures that keep a select few people in power. It’s part of much larger human and cultural issues.
For my part, many of the con games I’ve run in the last two years have involved marginalized members of the North American community (with the exception of Raspberry Heaven at Dreamation 2017). Those con games have always sold out. As a con organizer, I make sure that our schedule involves a wide range of events that goes beyond #SameFiveDudes and that we make spaces for marginalized volunteers who want to bring in new and challenging games. We host a booth at Breakout that sells game products from designers that struggle to get into the local FLGS community.
As a podcaster, I’ve been working to network with PbtA designers that aren’t white cis-men and get their voices out there into the wider community. I’m working on widening the amount of game reference points we have on +1 Forward so that we can talk about PbtA games beyond highlighting the same people over and over again.
My thoughts echo what Paul Czege has said. The community struggles with being self reflective enough to take apart where their fan excitement and energy comes from and how that feeds into structures that keep a select few people in power. It’s part of much larger human and cultural issues.
For my part, many of the con games I’ve run in the last two years have involved marginalized members of the North American community (with the exception of Raspberry Heaven at Dreamation 2017). Those con games have always sold out. As a con organizer, I make sure that our schedule involves a wide range of events that goes beyond #SameFiveDudes and that we make spaces for marginalized volunteers who want to bring in new and challenging games. We host a booth at Breakout that sells game products from designers that struggle to get into the local FLGS community.
As a podcaster, I’ve been working to network with PbtA designers that aren’t white cis-men and get their voices out there into the wider community. I’m working on widening the amount of game reference points we have on +1 Forward so that we can talk about PbtA games beyond highlighting the same people over and over again.
“Even more important, what do you need, as a consumer, to consider the work of someone other than these #SameFiveDudes?”
I need to hear about the games in the first place. And then I need to be intrigued by the games’ premise/theme/intent/whatever enough to actually spend time checking the game. Who wrote the game is almost irrelevant to me, except in the sense that if it is creator I’ve heard of then I may have a point of reference. But it’s not in any way that significant.
“Even more important, what do you need, as a consumer, to consider the work of someone other than these #SameFiveDudes?”
I need to hear about the games in the first place. And then I need to be intrigued by the games’ premise/theme/intent/whatever enough to actually spend time checking the game. Who wrote the game is almost irrelevant to me, except in the sense that if it is creator I’ve heard of then I may have a point of reference. But it’s not in any way that significant.
Hmm. I get visibility into some of the bigger projects, and sure, I support some of them, but mostly I’m digging some of those smaller lighter ventures. For me, having a collaboratively driven system makes it easy prey for Games on Demand type venues, which is my preferred method of gaming at cons, and a way for me to easily introduce games to others.
If it’s not collaboratively driven or built with a very simple ruleset, I suppose it helps when a game comes with a sort of cheat sheet that helps you run it quickly and efficiently (like those provided at the end of Microscope and Downfall) help immensely. Of course some games just run themselves (Fall of Magic, Autumn of the Ancients) and having some attractive form factor helps, but isn’t necessary.
I think having those designers, or people who know how to run their games, on popular “channels” (read: running at Gauntlet Con or the Gauntlet or other similar accessible venues) is a big plus. I always get drawn to those games when I see them at game cons. Conventions that prioritize bringing guests of that ilk are big pluses (such as GauntletCon). As an example last Big Bad Con I got to play in Bluebeard’s Bride, Love Commander, The Watch, Tension, and more.
At least those are some initial thoughts…
Hmm. I get visibility into some of the bigger projects, and sure, I support some of them, but mostly I’m digging some of those smaller lighter ventures. For me, having a collaboratively driven system makes it easy prey for Games on Demand type venues, which is my preferred method of gaming at cons, and a way for me to easily introduce games to others.
If it’s not collaboratively driven or built with a very simple ruleset, I suppose it helps when a game comes with a sort of cheat sheet that helps you run it quickly and efficiently (like those provided at the end of Microscope and Downfall) help immensely. Of course some games just run themselves (Fall of Magic, Autumn of the Ancients) and having some attractive form factor helps, but isn’t necessary.
I think having those designers, or people who know how to run their games, on popular “channels” (read: running at Gauntlet Con or the Gauntlet or other similar accessible venues) is a big plus. I always get drawn to those games when I see them at game cons. Conventions that prioritize bringing guests of that ilk are big pluses (such as GauntletCon). As an example last Big Bad Con I got to play in Bluebeard’s Bride, Love Commander, The Watch, Tension, and more.
At least those are some initial thoughts…
So, as many have said, many different aspects of games appeal to us when considering where to spend our money. Games are not like books. There is no picture of the author on the back. I guess I know people are gay because they say they are. Or female because the name sounds female. I think it would work the other way around. Get more diversity in our players and GM’s and more diversity will exist in the writing. Someone could make a list of diverse authors and their games, but that could also make them targets. Tough question.
So, as many have said, many different aspects of games appeal to us when considering where to spend our money. Games are not like books. There is no picture of the author on the back. I guess I know people are gay because they say they are. Or female because the name sounds female. I think it would work the other way around. Get more diversity in our players and GM’s and more diversity will exist in the writing. Someone could make a list of diverse authors and their games, but that could also make them targets. Tough question.
Jim Crocker Fair enough; I’m willing to be shown my error here, but maybe some other time/place.
Jim Crocker Fair enough; I’m willing to be shown my error here, but maybe some other time/place.
I’m a terrible consumer in this regard because a prerequisite for me buying a game is being able to envision myself running it, and I’m happy to run games that let players represent themselves and all their diversity in play without being a toxic PoS, but I do not run games primarily targeted at representing the experiences of marginalized people because I do not feel adequate to the task. I can exist at the borders of these experiences but I simply am not in a subject position to really deeply understand them. I am happy to play in these games under the guidance of a GM or facilitator who does but that means the author is much less likely to get a purchase from me…
So I guess the actionable thing here is to encourage players to buy the games they play and not just the games they run or plan to run.
I’m a terrible consumer in this regard because a prerequisite for me buying a game is being able to envision myself running it, and I’m happy to run games that let players represent themselves and all their diversity in play without being a toxic PoS, but I do not run games primarily targeted at representing the experiences of marginalized people because I do not feel adequate to the task. I can exist at the borders of these experiences but I simply am not in a subject position to really deeply understand them. I am happy to play in these games under the guidance of a GM or facilitator who does but that means the author is much less likely to get a purchase from me…
So I guess the actionable thing here is to encourage players to buy the games they play and not just the games they run or plan to run.
What gets me interested in a game first is its premise/setting/system being different. Sure there are designers whose work I respect and their names will catch my interest but a good setting and system even from an unknown is going to attract my attention. After that, word of mouth on it from podcasts like The Gauntlet and other sources seal the deal. I’ve found loads of great games just from a brief discussion on the podcast (eg. Meg Baker’s Psi*Run, Royal Blood, Lady Blackbird).
What gets me interested in a game first is its premise/setting/system being different. Sure there are designers whose work I respect and their names will catch my interest but a good setting and system even from an unknown is going to attract my attention. After that, word of mouth on it from podcasts like The Gauntlet and other sources seal the deal. I’ve found loads of great games just from a brief discussion on the podcast (eg. Meg Baker’s Psi*Run, Royal Blood, Lady Blackbird).
Those same five guys all have high production Twitch streams, go guest star on popular web series, get interviewed in WIRED, and self promote on Twitter and such all day. They get back what they put in, but still if you ask the average D&D player who Jeremy Crawford is, they probably don’t know.
I bet most people who play Apocalypse World know who Vincent Baker is, though.
More people know who Jeremy is than Vincent, by raw numbers, but maybe it’s better in some ways to be known by all the people who play your game, instead of by just some.
Also right now, I’m not sure there really is a “same 5 guys” in tabletop RPGs. Maybe a “sort of decently well known 30” or something. Which is probably the same 30 people who do it as their full time job.
Those same five guys all have high production Twitch streams, go guest star on popular web series, get interviewed in WIRED, and self promote on Twitter and such all day. They get back what they put in, but still if you ask the average D&D player who Jeremy Crawford is, they probably don’t know.
I bet most people who play Apocalypse World know who Vincent Baker is, though.
More people know who Jeremy is than Vincent, by raw numbers, but maybe it’s better in some ways to be known by all the people who play your game, instead of by just some.
Also right now, I’m not sure there really is a “same 5 guys” in tabletop RPGs. Maybe a “sort of decently well known 30” or something. Which is probably the same 30 people who do it as their full time job.
Tabletop RPGs have about 20 people who work on tabletop RPGs as their full time job. Maybe 30. The same 5 guys are only marginally better known than the other 20 guys who spend all day promoting their games. They deserve to get more publicity for having the guts to quit their day job and support the hobby full time. The rest of us do it as a side hustle. We tweet at lunch and stuff. It’s nice to elevate small creators, but let’s not forget those #same5guys get more attention because they work real hard for it, and in… most… cases deserve it.
Tabletop RPGs have about 20 people who work on tabletop RPGs as their full time job. Maybe 30. The same 5 guys are only marginally better known than the other 20 guys who spend all day promoting their games. They deserve to get more publicity for having the guts to quit their day job and support the hobby full time. The rest of us do it as a side hustle. We tweet at lunch and stuff. It’s nice to elevate small creators, but let’s not forget those #same5guys get more attention because they work real hard for it, and in… most… cases deserve it.
Jon Lemich Feel free to DM me if you’d like to talk about this elsewhere, but with all due respect, in this space, it’s kind of rude to resurrect a thread nobody has posted to for a couple days just to say “I’m not going to answer your question, but instead tell you that you’re wrong to ask it.”
Jon Lemich Feel free to DM me if you’d like to talk about this elsewhere, but with all due respect, in this space, it’s kind of rude to resurrect a thread nobody has posted to for a couple days just to say “I’m not going to answer your question, but instead tell you that you’re wrong to ask it.”
Jon Lemich Well, just fuck this conversation, I guess. Smaller creators and creators from more marginalized communities simply don’t deserve it as much. Case closed.
Jon Lemich Well, just fuck this conversation, I guess. Smaller creators and creators from more marginalized communities simply don’t deserve it as much. Case closed.
Apologies for that. I meant to offer an insight into why the same group seems to get all the attention and maybe why most people don’t mind. And apologies for not answering the question. I should have connected what I wrote to the question better make an actually useful response. My bad.
What’s missing is promotion. The people who do this full time are promoting almost as much as they’re creating. It’s hard to promote ten plus hours a week like Matt Mercer or even Adam Koebel. That’s why I don’t see them at least.
Less known folks just can’t compete with that because they have day jobs. Some do a decent job of it. There’s just no way we can promote a small creator enough to match that, long term. But maybe if a community like this, or a small group of four or five people with a little time individually, promoted a small creator for a week or two, producing actual play videos and podcasts, blog posts, reviews, interviews, fan art, social media, etc. it would make a big short lived splash.
And that might get the small creator a thousand new Twitter followers or a con guest invite or an interview on a higher profile podcast. That sort of thing.
Apologies for that. I meant to offer an insight into why the same group seems to get all the attention and maybe why most people don’t mind. And apologies for not answering the question. I should have connected what I wrote to the question better make an actually useful response. My bad.
What’s missing is promotion. The people who do this full time are promoting almost as much as they’re creating. It’s hard to promote ten plus hours a week like Matt Mercer or even Adam Koebel. That’s why I don’t see them at least.
Less known folks just can’t compete with that because they have day jobs. Some do a decent job of it. There’s just no way we can promote a small creator enough to match that, long term. But maybe if a community like this, or a small group of four or five people with a little time individually, promoted a small creator for a week or two, producing actual play videos and podcasts, blog posts, reviews, interviews, fan art, social media, etc. it would make a big short lived splash.
And that might get the small creator a thousand new Twitter followers or a con guest invite or an interview on a higher profile podcast. That sort of thing.
Promoting is not a reason to respect someone. It’s a neutral element except when it’s evil (which I’m not saying occurs in promotion in our hobby.) The same five guys are recognized for reasons partially unrelated to quality.
Promoting is not a reason to respect someone. It’s a neutral element except when it’s evil (which I’m not saying occurs in promotion in our hobby.) The same five guys are recognized for reasons partially unrelated to quality.
Michael Bacon Absolutely right.
It’s like comparing Matt Mercer and Austin Walker. D&D isn’t exactly innovative and fresh, but Matt isn’t trying to do that. He’s trying to get a huge audience the brings new people into RPGs (and women – IMHO Critical Role is doing more to bring women into RPGs than anything I’ve seen in years). But Austin Walker is showcasing dozens of indie RPGs to existing RPG fans and raising their visibility.
Hmm. Actual Play podcasts are like the “Top Gear” of our hobby, taking hot new games around the track to show us what they can do and making us salivate to get behind the wheel. Only, Scum and Villainy (the current game on FatT that I’m giddy over) is a lot cheaper than a Bugatti.
Michael Bacon Absolutely right.
It’s like comparing Matt Mercer and Austin Walker. D&D isn’t exactly innovative and fresh, but Matt isn’t trying to do that. He’s trying to get a huge audience the brings new people into RPGs (and women – IMHO Critical Role is doing more to bring women into RPGs than anything I’ve seen in years). But Austin Walker is showcasing dozens of indie RPGs to existing RPG fans and raising their visibility.
Hmm. Actual Play podcasts are like the “Top Gear” of our hobby, taking hot new games around the track to show us what they can do and making us salivate to get behind the wheel. Only, Scum and Villainy (the current game on FatT that I’m giddy over) is a lot cheaper than a Bugatti.