I'm somewhere between delighted that they are doing it, and really annoyed that no one asked me. Ah well, Bruce Cordell is one of the authors, so I know it has a good pedigree. I'm curious to see how much he picks up from the 2nd Edition version.
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Comments
I don't know why they don't throw you some work, you're helping the brand with the Wrath project...
Which is flattering and good, and hey, they own all rights to the Dungeon material.
As for the work, they no longer hire freelancer for single projectss, they lock them into exclusive contracts, sort of freelancer slavery. Which means that I could not continue with Open Design and KQ if they hired me. Which means I won't be working for them anytime soon.
Sounds like those abusive record contracts from the 50s and 60s.
Damn. Is this unprecedented in the industry?
I mean, it's great if you really love 4e and want to be guaranteed work and all . . . do the contracts at least pay well?
The contracts pay very well for RPG material. Most of the people who have told me about it say something about "golden handcuffs" and can't quite meet my eyes. I feel vaguely embarrassed for them, but they gotta pay the rent.
It is unprecedented in the industry, and does smack of the studio system contracts.
Which is why Empire went bigger and better than Kingdom. But I can't help but think the ENnie nomination for Empire might have convinced them to do Kingdom as one of their big epic finale adventures.
Bruce's co-author is the head of the RPGA, Chris Tuach (sp?). Bruce is an old friend of mine, and I am certain I will be credited appropriately, no worries there.
brc
'Nuff said
Empire eats its challengers' hearts raw while the life still dims in their eyes, then makes a drinking stein from the polished skull and plays yahtzee with dice made out of their knuckles as it sells their relatives into terrible slavery.
Empire is all of one label shy of being a setting, and that's a rough act to follow.
-Ben.
-g-
I am glad you don't like the lucrative S&M wolfgang.
As to good vs. bad
Pro: guaranteeing designers work, which as I look around is a good thing, how do you focus on designing if you’re worried about your next job and how to put food on the table next month.
Con: the designer is narrowing their opportunities and pigeonholes them to one system, it also limits their income, as they could supplement it if the market changes.
Con: it is bad for fans, because those who do not play a specific system will not get the joys of a specific designer’s work.
Con: The growing number of fans whose loyalty lies with a individual designer rather than a brand like D&D.
Pro: for WotC an exclusive deal keeps a valued creator from working for the “competition” or creating competition with thier own d20 company as a number of former folks did, even if he or she is not working at all and collecting a paycheck.
Pro or Con?: I cannot decide if this is a benefit for fans; Favored designer working on their favorite system if they love 4e and love say Bruce. But Bruce would probably have done it anyway, without the exclusive contract.
To me though its none of my business. Freelancers have to do what is best for them and their career. Its all the race in the comic book industry why not Rpgs.
But I take your larger point. Wouldn't it be nice if the market for tabletop design supported both large corporate stables of steady work, and smaller, nimbler venues where the money is secondary?
Actually, I think it does. I could wish for more mobility and all, but people need to both pay the rent and feel they are doing something worthwhile creatively. It's always tough to balance the two.