Getting into RPG publishing has involved quite a steep learning curve – from the basics of how to write a game (you just write a game) through to the intricacies of publishing that final product. Taking the dive right in approach I decided early on that I wanted to aim for a better layout than I could reasonably achieve with just a text document so I started to teach myself. Thanks to training in how to format academic posters I already had an understanding of the basics but dug deeper into the theory, guided by the The Non‑Designer’s Design Book.
Simultaneously I also dived into the software side in the form of Scribus, a free and open source desktop publishing program. While not as powerful or as intuitive (or as functional) as InDesign as a newbie doing this as a hobby it provided everything I needed and more. The difference between Channel Surfing, my first release using Scribus through to The Synth Convergence are a testament to the value of incremental improvements.
Last month though I made the switch from Scribus to Affinity Publisher, a vastly more powerful program and decided to go back to basics from the get go – everything from templates and style guides to page organisation and image assets. The difference was, once again, rather immediate even though I had yet to add anything beyond placeholder content.
This week though, after spending a number of hours just on setup and planning I made a rather hard decision. To start again. Why? Not because the template wasn’t working or because I’d abandoned the project but because of the slim possibility that I might want to submit these files for Print on Demand at some point in the future. It’s not the only thing I’ve thrown out this week – I’ve restarted a Sprawl mission draft three times because it wasn’t working. It’s only a small amount of text but it simply wasn’t working.
That willingness to throw material away, or even admit something wasn’t working has been a hard lesson to learn. A little over month into 2020 and happily going backwards. It’s not the position I’d planned to be in at this point but hopefully the extra work will pay off in the long run.
Alongside actually playing games one of my aims for this year was to step up my efforts as a publisher. It sounds weird to be calling myself a publisher but it is true. I’m a small scale, indie, party of one publisher but still a publisher.
Going into 2019 I had multiple projects on my radar. First off was completing the release of the Demon Hunters Slice of Life mission starters. It took me until July to release Trick of the Light while I only released Talentless Hacks this month, right before the end of the year. With those two starters out in the wild I have one left to complete – Clean-Up Crew, which I thought would be simpler because I had decided to turn that into a Fiasco playset, which is essentially just a collection of tables.
Well it turns out that writing 144 entries that mesh together into a cohesive and compelling whole is harder than it looks so that has sort of stalled for now. Before I push on with it I to spend a bit more time reading through existing playsets, as clearly there is an art to writing them.
Once the Slice of Life releases are complete I can focus on some of the other adventure drafts I have for Demon Hunters. I’ve got a number that are based on old adventures I ran with the original edition of the game, plus I am hoping to run a campaign of it during 2020 to playtest some new ideas. The big one there is Rocket Demons of Antiquity, my dual modern/Victorian adventure featuring Mina Harker and her team. I doubt I’ll write that up by the end of the year but it would be good to get all the bits into place for it.
My second major focus was Ghosts of Iron, a stretch goal commission piece for the Crystal Heart kickstarter. Writing that was a really valuable experience and one that I learned a lot from. First off was designing an adventure that would fit the world. My pitch had originally been inspired by a stock image, drawn by J. E. Shields.
From there I had to craft an adventure that would fit with the Crystal Heart setting, showcase both setting and system and then fit it all into a limited word count using the established ‘One Sheet’ format of Savage Worlds. It was a challenge, but an enjoyable one, helped along by the thrill of getting to run playtests in an amazing (and at the time unpublished) world. One of my big takeaways from writing for Crystal Heart was the value of editing, while I was happy with my initial submission the final release is polished in a way that isn’t really possible without the input of a second person. Sadly, as a one man operation hiring an editor for my future projects isn’t really an option but it’s definitely something I will be more aware of going forward.
The final project was The Synth Convergence, a trilogy of missions for The Sprawl RPG that launched right at the end of November. Initially a collaboration with Chris / @HyveMynd I ended up taking it on largely solo after they had to step back from it. By the end the manuscript had grown to over 10,000 words which needed formatting, edited and laid out – primarily during lunch breaks at work.
I’d be lying if I said I wasn’t immensely proud of the final product. It looks great and I really feel like the trilogy came together as a whole that groups will enjoy. This product required learning a lot of new skills, especially in terms of layout and graphic design so I’ve spent large parts of the last year just trying to get to grips with new techniques in Inkscape, Gimp and Scribus. It helped immensely that there was an established mission structure for The Sprawl, as I could focus on the content of the missions rather than how to structure them.
In terms of sales The Synth Convergence has already beat my modest target of 10 sales (currently sitting at 15 direct sales) and (not surprisingly) is also my highest earner to date. I handed out a number of business cards with free download links during Dragonmeet but so far only one of those has been redeemed. I could look at that as a negative, but just having the cards to hand out provided a confidence boost when it came to talking to people. Also they look just awesome.
Alongside these three projects there are a host of others that have yet to reach completion or even get off the ground.
After shelving it for far too long Project Cassandra returned to active development, with two playtests and a series of rule revisions. The last playtest highlighted a big issue that needs to be resolved (what is it with Dragonmeet throwing spanners into the works?) but I already have a plan for dealing with that. The big focus going forward is writing – I’ll probably start from scratch using the existing material as a guide rather than a draft so it will be interesting to see how much changes in the process.
I’d also hoped to dip my toes into the DMs Guild this year, but the ideas I had for that have yet to move past initial notes. Part of the reason for that was burnout – running D&D 5e blunted my interest in developing for it far more than I’ve experienced with any other system. With the Immortals campaign now complete I’m hoping that I can revitalise my interest in those ideas as I think they each have merit, especially Tales from the Campfire.
Finally there’s The Dyson Eclipse, a vague idea for a space opera game using an adaptation of the Faith Corps system that powers Demon Hunters. Right now that project is little more than a collection of scribbled thoughts. I’m going to work on it over the coming year but with no expectation that it will be complete any time soon. The first hurdle is likely to be the biggest – what do you do? I’d rather avoid producing yet another scoundrels in space game, there are enough of those out there already. Similarly I don’t want dungeon crawling in space, which I realised I was leaning towards during my first crack at outlining the game.
So what does the big list for 2020 look like right now?
Dr Ahoudi’s Mutant Menagerie / Say Aaargh
Knights of the Dawn
Eat In or Stake Out
Motion in the Ocean
Rocket Demons of Antiquity
Tales from the Campfire
Untitled Eberron adventure
The Dyson Eclipse
The Sprawl mission starters
7I/2034 V1 incursion for Trophy Dark
Plus a couple of unannounced hacks/adventures where I need to contact a few people first
Welcome to the future hackers and runners, mercs and shadows. Welcome to The Synth Convergence from LunarShadow Designs.
It takes time and money to be a professional which means one thing – jobs. Off the book, spec-ops jobs run by deniable resources that work outside the Corporate system that runs the Sprawl and every other one just like it. The Synth Convergence provides teams with a trilogy of new missions built around synthetic lifeforms. Push the limits of technology with independent, autonomous artificial intelligences that require no sleep, no wages and no rights.
In The Tannhauser Investment (also available as free demo from drivethruRPG and itch.io) your team are brought in to negotiate the tricky process of a hostile Corporate takeover – all while evading the awareness of the synth consciousness built into the super-luxury hotel the target is holed up in.
The Infinitive Extraction takes the team to the beating heart of the entertainment districts as they seek to extract Infinitive Cascade, the hottest DJ on the circuits from an exploitative contract. But do your employers want them for their musical talents or the military codebase at the core of their personality matrix?
Finally in The Vanda-Weiss Demolition the past catches up with your operatives as they face off against The Evolved, a radical fringe group dedicated to wiping out synths and returning humanity to the true path before they are toppled by their own creations.
Get in, do the job, get out. It’s never that simple but if it was they wouldn’t have hired professionals like you.
The Synth Convergence is available to purchase now from driveThruRPG or itch.io. The Synth Convergence requires a copy of The Sprawl RPG to play. Purchase it from Ardens Ludere on driveThruRPG. Support the creators – buy the game.
Specification: Initiate contact with target at secure public location and negotiate transfer of controlling stake in Bora. Phy currently resident at secure, independent accommodation. Caution advised – significant intrusion countermeasures in place.
RV @ [DECRYPTING]] if interested.
Welcome to the future hackers and runners, mercs and shadows. Welcome to The Synth Convergence, a new trilogy of missions for The Sprawl RPG built around the thematic core of Synthetic Intelligence and the societal fallout that follows their emergence. The Synth Convergence offers teams a chance to push the boundaries of technological progress and answer the question of how far they will go to secure their lucrative Corporate payoffs.
Today we are releasing the first mission, The Tannhauser Investment, as a stand-alone preview while we complete the final editing and layout of the full collection. This asset acquisition contract will require your team to infiltrate a super-luxury hotel operated by a dedicated synthetic personality and secure the biometric signatures of their target. Why? To enact a decidedly hostile takover of a subsidary Corporate asset. All in a days job for a professional, in and out without collatoral damage.
The Synth Convergence reflects a new direction for LunarShadow Designs – It is my first publishing foray into the vibrant space of Powered by the Apocalypse games. It is also my first time working in collaboration with another designer, Chris Stone-Bush (@hyvemynd), who created the outlines for two of the three missions. Between design, writing, editing and layout the process has been one of continual development and I’ve learned numerous lessons that I’ll be putting to good use in the future.