Gaming/RPG Fiction Should Make A Comeback

I may disagree. I love the FR novels, for instance, but I cannot run or play in an FR game because the novels killed my view of the world as a place for adventure. Why adventure in a place that has so many epic heroes.
Thats a really good point. I dont like Star Wars becasue to me its the Saga with all its iconic characters. I know there is a whole universe there, but I just dont care about it. Id rather play in Traveller where I have more a hand in deciding how things are. Also, I can play an average Joe who might live up to great things, or might get eaten by a Chalmax. That seems super anti-climatic in a saga told universe.
Also, tie-in novels are awful for income. The authors are treated badly, barely get paid, and their tie-in fame rarely translates to sales of their own books.

I just saw where a famous Star Trek tie-in author is destitute. Why? The work for hire novels paid poorly and even they either get no royalties or get defrauded out of them.

One of my favorite authors, Michael Stackpole, barely writes because the audience for his Star Wars or Battletech novels did not follow his own works.

So the tie-in tends to be a dead end for a writer who is forced to write on grueling deadline for truly awful pay.
Damn.
 

log in or register to remove this ad

I may disagree. I love the FR novels, for instance, but I cannot run or play in an FR game because the novels killed my view of the world as a place for adventure. Why adventure in a place that has so many epic heroes.

Also, tie-in novels are awful for income. The authors are treated badly, barely get paid, and their tie-in fame rarely translates to sales of their own books.

I just saw where a famous Star Trek tie-in author is destitute. Why? The work for hire novels paid poorly and even they either get no royalties or get defrauded out of them.

One of my favorite authors, Michael Stackpole, barely writes because the audience for his Star Wars or Battletech novels did not follow his own works.

So the tie-in tends to be a dead end for a writer who is forced to write on grueling deadline for truly awful pay.
Work for hire is what it is and a choice lots of writers make to be able to put food on the table via writing (and artists and musicians etc etc). Companies certainly take advantage of this, but it usually isn't a hidden fact.
 


Work for hire is what it is and a choice lots of writers make to be able to put food on the table via writing (and artists and musicians etc etc). Companies certainly take advantage of this, but it usually isn't a hidden fact.
Maybe not at the time, but look at Alan Dean Foster’s lawsuit against Disney refusing to pay royalties after the Lucasfilm sale etc.

A tie-in pays far less. I just watched a analysis on this recently where they compared tie-ins to Amazon self-publishing and self-publishing pays more even for new authors.

Companies have competition now for these authors and they need to improve pay and working conditions for tie-ins.
 

In the 1990s, many RPGs had strong fiction lines, from Forogtten Realms to Shadowrun to World of Darkness and beyond. These days it looks like the only line to really have a strong fiction presence is Warhammer (mostly 40K).

I wish game tie in fiction would have a second renaissance along with TTRPGs. There are so many cool worlds in the TTRPG space and I feel like many would make good settings for fiction. Plus, a lot of young and hungry authors get their start in tie in fiction.

What game tie-in fiction did you like "back in the day"? What modern games would make a good basis for new tie-in fiction?

This is cheating a little bit, but I would like a series of Fallout novels. Also, I'd love for Star*Drive to make a come back both in TTRPGs and tie-in fiction.
I think the trouble is that most of it was really bad and really tame, and audiences today are less tolerant of both.

The 1980s and and 1990s was the era of "extruded fantasy product", where a lot of incredibly bad or deeply mid fantasy stuff sold simply because it was all there was for "new" fantasy, and for whatever reasons, those audiences were very undiscerning and brand-loyal in a way modern audiences are less so.

Now, please don't misinterpret me as saying modern fantasy is all better or something, but there's so much of it now that it's weirdly a lot easier to find pretty good to great fantasy, or at least stuff which supports specific vibes or, lets be real, fetishes.

So I think the market is a lot tougher for merchandised fiction. That even applies to Star Wars and so on - for example, they're ending their High Republic series of novels, and I don't think they'd be doing that if they'd been stellar successes (having read some they're far from terrible, but they just didn't stand out in a crowded marketplace of SF/F), which in the 1990s, they almost certainly would have been.

Further, I think WotC and others are actually trying to get into this market, and even trying to get talented authors for it (as are others, increasingly - Black Library - i.e. Warhammer - convinced/bribed Adrian Tchaikovsky to write a short novel for them, for example!). I think the reason it isn't really happening is just how dense and tough the SF/F market is today.

Re: specific fiction, I didn't like most of the the tie-in stuff, the only major exceptions that I can think of were:

1) The Alias stuff. I dunno why I vibed with it so much but it's probably something complicated and worthy a therapy session or two!

2) An Ultima tie-in novel I read once, which I think I read at exactly the right age and reading level, and which really "got" the virtues from Ultima, profoundly understood them.

3) The "Secrets of Power" Shadowrun trilogy, which were bad, but fascinatingly so because they at least got the Shadowrun universe right.

I read a lot of other merchandised stuff, because I read like, multiple books per week back then. Tons of Forgotten Realms stuff (most of it drivel), tons of Dragonlance (eventually it got too weak to read though I think some of the non-core stuff is stronger than the core stuff, even when Hickman/Weis are writing), quite a few Battletech novels (rubbish, sorry, I know some people love them, but utter tosh and not even fun tosh), a lot of Star Trek novels (meh for the most part, but there was the odd banger, kind of like an inversion of the shows) and so on.

What could work now? DARK SUN.

But WotC are complete cowards about literally the only setting they have that gets more relevant and more powerful every single day (at an incredibly rapid rate right now!). I totally get that some people want settings which are "cozy" or "comfy" or "pure escapism", and that's fine, but other people have always wanted settings which were edgy or challenging or relevant or cathartic or all of those things, and WotC refuses to provide any of the latter.
 


Maybe not at the time, but look at Alan Dean Foster’s lawsuit against Disney refusing to pay royalties after the Lucasfilm sale etc.

A tie-in pays far less. I just watched a analysis on this recently where they compared tie-ins to Amazon self-publishing and self-publishing pays more even for new authors.
I, as someone who as self published on Amazon, seriously doubt this. Are there epople who do well? Sure. But the VAST majority of indie self published Amazon authors lose money. You would have to cherry pick our data extremely carefully to prove the average Amazon author makes any money at all.
 

If those two things were true, would Brandon Sanderson have a career?
Noooooo! The ultimate counter-argument! Arrrgghhhh! < melts like the Wicked Witch >

I mean, yeah, point. Touché!

I think Sanderson is very interesting because his success is in large part because he writes lore that people want to consume for the sake of consuming lore, and I don't think most of '80s/'90s fantasy authors did that, with Wheel of Time as the main exception and guess what? Sanderson got involved with that!

Also he at least is good at writing fight scenes. Which some '90s authors weren't even. But ooof those bland, implausible characters, that hilarious PG (not even PG13) attitude to human sexuality, and so on.

But you can't really do the "CONSUME MY LORE!" approach with merchandised stuff, or rather, you need to get all the lore you're offering for consumption approved, so it's potentially a lot trickier. Because lore-vampires only want to suck the finest virgin blood canon lore. Non-canon lore is like have a crucifix and garlic and silver and holy water shoved in their face, all at once!
 

I think the trouble is that most of it was really bad and really tame, and audiences today are less tolerant of both.

The 1980s and and 1990s was the era of "extruded fantasy product", where a lot of incredibly bad or deeply mid fantasy stuff sold simply because it was all there was for "new" fantasy, and for whatever reasons, those audiences were very undiscerning and brand-loyal in a way modern audiences are less so.
I read a ton of RPG-based fiction back when I was a kid. I've re-read a lot of it as an adult, and yeah, it's mostly bad-to-mid. A lot of it I have profound nostalgia for, but still.

Now, please don't misinterpret me as saying modern fantasy is all better or something, but there's so much of it now that it's weirdly a lot easier to find pretty good to great fantasy, or at least stuff which supports specific vibes or, lets be real, fetishes.
I think brand recognition back then was even more important than it is today. There are so many amazing books from the 80s and 90s that I never knew even existed at the time, because I was limited to finding out by word of mouth or a review (probably in Dragon magazine). Either that or a book having a cool enough cover that I might give it a chance. I didn't know about, say, The Wizard of Pigeons or Hardwired. But I knew that D&D or Shadowrun fiction would be set in a world that was familiar to me at the very least.
 

I think brand recognition back then was even more important than it is today. There are so many amazing books from the 80s and 90s that I never knew even existed at the time, because I was limited to finding out by word of mouth or a review (probably in Dragon magazine).
Yeah this made merchandised stuff a lot more successful than it is now. You can look up reviews of a book in seconds, and more likely now you're going by internet reviews/recommends, and/or just going through a list of whats out this month or the like, and merchandised stuff, even if it gets reviewed or makes the lists (which it often doesn't), is usually not very good, and that quickly shows up.
 

Trending content

Remove ads

Top