#RPG – Open Art Call -Tales of Gor

7c35031a70c99ad5269df8f1194d061a.pngAn artist has had to pull out of illustrating the next Tales of Gor adventure/supplement, due to being overwhelmed by other commitments (and due to me being a soft touch as an employer!)

As such I am looking for an artist to pick up the slack so I can get the next book out.

You don’t need to know Gor, though it would be helpful. I need someone willing/able to handle mild adult content (nudity) and with an appreciation of the ‘swords-and-sandals’, ‘planetary romance’ and ‘science fantasy’ aesthetic. Your style doesn’t have to match, but an appreciation or enthusiasm of the medium will carry well.

The job is for four, B&W (pref line art) A5-A6 scale illustrations at 300-600 dpi. Offered payment is $200 USD, with a bonus if you can supply the work within a 7 day schedule. This is negotiable within reason.

gor_slavegirl_alphaPlease get in touch ASAP, as this is on a first come (and suitable), first served basis!

Contact: grim@postmort.demon.co.uk

Feel free to pass this on and post it around as I am ALWAYS looking for artists, even if people don’t get this job.

I will also be looking for more adventure writers in the future, familiarity with Gor and with the D6 System preferred for that.

#AprilTTRPGmaker Describe your work

freepngimagesThat’s a complicated question for any creative person, perhaps even more complicated in games where so many different things have to come together to make a game. Then you have the problem that whatever your intent and purpose with your work, people will ignore it and do what they want anyway. Plus they’ll always interpret and project things onto your work that you never even intended.

It might sound like a cop-out answer, but the goal is different with every piece of work. Sometimes something might be artsy or indie-oriented, another time conventional and old school. I have no huge or particular loyalty to any single way of doing things. I like diversity – in the proper meaning of the world – and try to design games synergistically so that setting and rules work together to support each other. If there’s a theme, I suppose it’s that. The right tool for the right job.

I’m interested in ideas, politics, freedom and every game is almost like a mini-experiment to see how people react and what they do with it.

I can’t point to any single, common thread but if there are any they include that synergistic, adaptive approach, working on several levels beyond the surface analysis, a casual writing style and a love of controversial topics and pushing buttons. Those things are interesting to me. Even ideas, beliefs and so on that I do not personally hold.

I also like to make fun of things, prick egos and to satirise pomposity – wherever it appears.

I’ve worked on conventional and indie games, horror, SF, fantasy, for big and small companies, on existing games and designing my own systems.

I suppose, most of all, overriding everything else, I just want games to be fun, but ‘fun’ can have many different definitions – even just for me.

Open Art Call: Young Adult/Children’s Illustration Style

People_Children_Young_artist_023259_This is a Chronicle City project, not a Postmortem Studios project. I just have the contacts and exposure here and the CC website isn’t quite ready yet.

When I made my previous open art call I got too many responses, to the point where it was impossible to respond to everyone. I realise that may have put a few noses out of joint and I apologise. If the response to this call is anything like as strong as the previous one I’m going to have the same problem. So I apologise in advance for not necessarily replying to people who aren’t successful in applying!



The Job

  • Colour cover (ensemble ‘cast’) digest format 300 dpi+
  • Up to 16 small, interior B&W (line art) illustrations (1/4 page, B&W).
  • Turnaround: ASAP.
  • Budget: $600-$700 USD (Some wiggle room). If you would charge more, give us your quote and blow us away


  • This is for a light, fun, indie-style role-playing game but the project may be suitable for people who wouldn’t normally work in this niche.
  • A familiarity with comic/cartoon/children’s/young adult illustration style would be helpful.
  • Please send examples or include a link to your portfolio.
  • The setting is modern day, Pacific Northwest American. ‘Modern day’ could refer to anything from the 1980s to today.
  • Character illustration is the most important aspect of the job. Fun characters with a sense of movement and expression are important.

Even if you’re not interested, please pass it on.

This could be a good learning experience for a talented art student are someone looking to gain experience or break into illustration. Even if you’re not interested, please pass it on across social media, groups, email lists, forums etc.

Contact address: grim AT postmort DOT demon DOT co DOT uk

Full Time RPG Writing: The Reality

buried-under-paperworkThere’s a lot of articles out there telling you how hard writing is, how difficult it is to get into writing or game design and how it’s not really worth it. I suspect some people just don’t want the competition and are trying to put you off. You have to ask yourself though, if it’s so damn difficult why are they still doing it?

I just want to give you a real perspective on what it’s like, but one balanced by giving you the reason why I still do it in spite of the difficulty.

Getting In

I consider myself to be a pretty good game designer and writer, despite getting bashful about it and denying it if anyone asks. It’s something I know how to do and something I’ve been doing a long time. I’ve put in ten years as a self-publisher with this as my only job. I’ve written… a lot. I’ve freelanced… a lot but despite all this I’m painfully aware of one big, blindingly obvious thing about the fact that I’m now employed, full time doing what I love.

I’ve had a lot of luck.

  • I have an incredibly patient wife who has been willing to support me.
  • I didn’t let any of a hundred different things stop me.
  • I’ve not ‘grown out’ of the thing I love.
  • I gained a ‘superfan’, a sponsor and patron without whom I may not have been able to continue.
  • I managed to struggle through mental illness.
  • I was lucky enough to inherit the house I now live in.
  • I was lucky enough to encounter and befriend people who were in a position to make this happen.

It’s not all luck. If you have talent and you have vision then hard work makes up a lot of the ground, but it’s not the only thing. It’s also more than possible to have vision and drive but not the necessary talent. A lot of people are weirdly impervious to their own lack of ability while, from what I’ve seen, most people who are really good at something are crippled with self doubt. It’s a weird dynamic.

The good side? Once you’re ‘in’ you’ll get a bit more respect (and jealousy). You can relax a bit and – if you’re lucky – you’ll form a bit of a legacy.

Doing the Work

Working in gaming is a fucking pig of a job. To justify what I’m paid, which isn’t a huge amount by any normal standards, I have to turn out around 3,000 words a day. There’s other things I can do, since I’m not just a staff writer, but just to justify my existence I need to try and aim for that amount.

This is a punishing amount of work.

RPG writing doesn’t directly correlate to prose writing, some parts of each are more difficult than the other, but to give you some idea an informal survey showed me that most professional writers in prose are turning out – perhaps – 1,000 to 2,000 words a day on average while games writers and designers are expected to turn out 3,000 words or more.

Quality suffers when you have to write that much but the economics of the situation mean that this is unlikely to really change that much unless you can become a real name with some independent market value all of your own. There aren’t that many Monte Cooks.

That’s just the words you put out at the end. There’s a lot of ‘shadow work’ around that which you also have to take into account. In-progress editing, research, cross-checking, correcting errors, checking consistency, reading and so on. That’s just if you’re writing/designing. If you’re doing other stuff it can take some of the pressure off but it’s still going to eat into your writing time.

You just can’t plan around inspiration and creative energy. It’s too unpredictable, even if you give yourself ‘work hours’ there’s no guarantee your output is going to match the time you put in.

This is part of the reason I’ve found it a bit unfair in the past that Mongoose and other mid-tier companies were criticised for the quality of the writing or using a more formulaic approach to making games. The writers had to turn out a mass of material and of course quality was going to suffer. That a lot of the material we get at the end of process is usable or inspiring at all is a bit of a miracle.

Reaping the Rewards

Money isn’t going to be your reward (unless you stumble on the next D&D or Munchkin – and have more contact sense than we did). Give that up right now. If you’re looking to make a lot of money and sleep in a bed of gold coins you’re in the wrong business.

You absolutely have to do this for love, first and foremost.

Gamers are a subculture, for all that D&D is known. Fame isn’t going to be yours either but you may become known and appreciated within our subculture. You may get invited to conventions as a guest if you do well. You will get fan mail (delete the hate mail, keep the good criticism). People will want books signed.

You will find videos and podcasts and blogs by people who are playing your games and enjoying themselves. That’s the reward. It sounds cheesy but knowing you’re making people happy, that you’re providing a way for hundreds of people to be creative and spend some time together. There’s nothing quite like it. It’s not quite as good as sex, but it’s up there with the bit just after sex where your partner tells you how good it was.

I’m not going to tell you not to do it.

Do it. Make games. Tell stories. Help others create their own legends. Just do it because you love it.