I think one of the difficulties in the RPG world is that early on the names were “microprinted” on the covers, still true today. Add to this the fact that the major publishers are somewhat “mills” in their rapid production and when the “brand” I am buying is Wizards or Green Ronin the author is less important. Imagine if consumers bought “Del Rey” fantasy novels instead of David Gemmell. Much of the gaming industry is achieving this.

It’s like when I was young and I first read a Michael Moorcock novel (the DAW edition). At first I bought every DAW fantasy book, but then I realized some DAW books were aweful and that those with Michael Whelan covers were good. Then I started noticing that Michael Moorcock was the author.

Gaming, by its nature, is about the games. So people by Wizards D&D products, regardless of author. Add to this that the quality remains high with a long list of authors and “star status” becomes more difficult.

Games are kind of where comics were in the 60s. Most people bought for the title. It wasn’t until later that people began to recognize artist names. Then artist control of the industry took over and books specialized and sales dropped. Sure Jim Lee on a book increases sales, but he increases sales in a depressed market which became “art” all the time and has IMHO become less about simple entertainment. It’s a difficult balance, the quality is much higher now, but less “broad” in appeal.

Naturally, gaming is still in a developing stage. Which I think is the crux of the issue. TRPGs have had to deal with challenges in the marketplace at a rate faster than the development of their own industry.

I think one of the difficulties in the RPG world is that early on the names were “microprinted” on the covers, still true today. Add to this the fact that the major publishers are somewhat “mills” in their rapid production and when the “brand” I am buying is Wizards or Green Ronin the author is less important. Imagine if consumers bought “Del Rey” fantasy novels instead of David Gemmell. Much of the gaming industry is achieving this.

It’s like when I was young and I first read a Michael Moorcock novel (the DAW edition). At first I bought every DAW fantasy book, but then I realized some DAW books were aweful and that those with Michael Whelan covers were good. Then I started noticing that Michael Moorcock was the author.

Gaming, by its nature, is about the games. So people by Wizards D&D products, regardless of author. Add to this that the quality remains high with a long list of authors and “star status” becomes more difficult.

Games are kind of where comics were in the 60s. Most people bought for the title. It wasn’t until later that people began to recognize artist names. Then artist control of the industry took over and books specialized and sales dropped. Sure Jim Lee on a book increases sales, but he increases sales in a depressed market which became “art” all the time and has IMHO become less about simple entertainment. It’s a difficult balance, the quality is much higher now, but less “broad” in appeal.

Naturally, gaming is still in a developing stage. Which I think is the crux of the issue. TRPGs have had to deal with challenges in the marketplace at a rate faster than the development of their own industry.

Of course some of us can go overboard with that. 🙂

Of course some of us can go overboard with that. 🙂

And, yes, the bloated ego is certainly part and parcel of the creative universe.

And, yes, the bloated ego is certainly part and parcel of the creative universe.

Good point, Jeff, about the nature of RPGs helping foil rock-star designers. Some core-book creators seem to be able to get around this by emphatically being there on the ground floor of a setting. Supplement writers, though, rarely get the same kind of respect.

As James pointed out, though, it’s not just RPGs that suffer from this. Few outside the industry could name a board game designer much less a collectible card game designer.

Perhaps it’s the difference between mechanics and stories that causes the disconnect. The two often become intertwined in games, but never to the extent that you see in a narrative tale. Hm. More food for thought.

Good point, Jeff, about the nature of RPGs helping foil rock-star designers. Some core-book creators seem to be able to get around this by emphatically being there on the ground floor of a setting. Supplement writers, though, rarely get the same kind of respect.

As James pointed out, though, it’s not just RPGs that suffer from this. Few outside the industry could name a board game designer much less a collectible card game designer.

Perhaps it’s the difference between mechanics and stories that causes the disconnect. The two often become intertwined in games, but never to the extent that you see in a narrative tale. Hm. More food for thought.