I will be starting an artist's residency at a university here in Vancouver next month. Focus is indigenous roleplaying and art.
No more teaching juggling work & family then squeezing in time for games. Producing the full version of NUNA and art for it will be my focus for 6 months. As well as building community and learning the trade.
I am so happy.
Thanks for coming along for the ride.
Exciting things are coming.
In the meanwhile, here is a great video on writing and producing an RPG.
Video is HERE.
When we were young, we used to dream of doing gamemaster as a job. For the past year, I have run paid sessions of NUNA and Coyote & Crow at a big game store here in Vancouver. I was slated to run Stormbringer 1E today, but not enough people signed up.
So instead, I thought I'd share my experiences of being paid to run a roleplaying game.
First thing you need to know is...
Unless you have a corporate retreat or team building gig, you won't support yourself GMing for cash. My hourly rate is just above minimum wage and less than half of what I make teaching. Even if you could get a higher rate, it would be difficult to cobble together enough hours to support yourself. And like teaching or counselling, interacting with people at work is an exhausting experience because...
Paying customers bring LOTS of baggage to games. I have had players ask to get a free success after a few failed rolls, or to have me let them be the hero. Some have only played one system, and some have never played at all. Others have their beloved system and find it hard switching to another game. I've had people fake rolls, use the wrong dice, etc etc. That said, I have had a ton more positive experiences than negative. But still, these little hiccups are part and parcel of the experience, and something you will have to deal with calmly. Other important abilities you will need are...
As with friend gaming circles, preparation and improvisation are huge drains on time and energy. I prepare a situation, then let the players come in and trash it. I am not stuck on one solution to a problem, and both accept interesting player solutions while coaxing them away from useless or disruptive courses of action. I also minimize my preparation by streamlining NPC or monster stats, and having a guide to relative strengths so I can ad lib encounters. This lets me be very improvisational in ways that respond to player choices and which guide the adventure to a satisfying conclusion in the 3.5 hour session time limit. I think response to my style has been positive, but even still...
I was supposed to run Stormbringer 1E today, but only a few people signed up. I offered the session 2 weeks ago, which is a bit short, and with the end of summer people are probably preferring to spend time at home before work and school starts up again. So between the season, popularity of a game, and personal preferences, there are a lot of reasons a game might be cancelled. My NUNA and Coyote & Crow filled up super quick, so I see my games as more of a way of...
It has been VERY nice to meet players interested in indigenous gaming, and people who bring their best performance to the table. I think this shows also what games or styles are likely to get more people to sign up here in Vancouver. Stormbringer is just too niche and Eurocentric, probably. But in general, I regard paid GMing as...
Paid gamemaster is like being a video game tester. Someone needs to go to the corner of level 3 and jump 25 times to see if there is a bug, so let's pay an intern to do it until they get sick and quit. (I know a game designer how did this and it sounds terrible indeed) Paid GM is not that bad, but it is not a cakewalk either.
I think there are 2 markets where you have a good chance of getting steady work. The first is naturally running D&D 5E. I don't know what the game itself is like, but it is a marketing juggernaut that many have been programmed to believe represents the hobby. I see lots of stores and programs looking for DMs, so if that is your bag and you have the interest and ability, you should look into it if you live in an urban center that has stores or spaces that support such an activity.
The other would be running new, indie, or community oriented (ie LGBTQ) games for a cult audience. I think you would enjoy yourself more and meet a gamut of interesting folks, so the money would just be gravy.
Anyway, paid GM is no longer fantasy, so contact your FLGS or put up flyers and best of luck!
With school and work impending, I don't think I'll run more than a game a season. I am slowly getting Giri-Ninjou ready for (hopefully) Kickstarter in November, so definitely run that in a store if I can. Lots of Asians and weebs here in Vancouver, so wish me all the luck I wish you.
The title of this post comes from the last instalment in the Cornelius Quartet. As a lad, I started Moorcock by reading Elric (naturally), but finding the Jerry Cornelius books in university blew my mind and set me on the path to an MA in English.
If you haven't read them, you should. I need to order and reread them myself.
The fourth book (which won the 1977 Guardian fiction prize) follows Jerry through a shattered and surreal London as he searches for his sister/lover Catherine. The book is a trippy exploration of identity, and Jerry takes on a Harlequin persona to forward his plans. It reminds me a lot of Thomas Pynchon's work, unsurprising as Moorcock published Pynchon's early work, the story 'Entropy' (ahem), in New Worlds. Both authors share a tendency to question authority, a fascination with breakdown, and a subversion of non-literary genres into post-modern works of great depth.
Little did I know at the time, but Moorcock was actually referencing Walter Pater's 1873 opus The Renaissance, and its assertion that 'all art aspires to the condition of music.' To Pater, music was the ideal art form because it annihilated the divide between object & form, collapsed narrative for pure abstraction, and directly pushed listener's emotional buttons. Oscar Wilde was inspired by Pater, and Schopenhauer agreed that music is purer due to it being non-representational.
Of course, later critics have noted that this kind of ranking of arts has lots of issues.
So how are we to parse Moorcock's modification of the question?
First, the metaphor of art as music implies that it trends upwards to a pure form. Pure art, pure emotion as one sits listening in a salon, theatre, or sitting room. This, Pater argues, is both what the artist should aspire to, and the direction in which art naturally trends in the face of intensifying modernity.
By contrast, art as muzak implies a downward trend to a base, commodified form, good only for passing time in an elevator or NHS office. It makes me think of the Blue Harvest parody of Star Wars, where the elevator scene in the Death Star (TM) is extended and accompanied by an Imperial March that trades the militaristic drums and sinister brass for a syncopated, bouncy vibraphone bossa nova version, complete with bubble popping sounds.
So, what does this imply about Moorcock's work, and the forces of art in general?
First, Moorcock's oeuvres in fantasy have become 'muzak' versions of themselves, as evidenced in such derivative works as Game of Thrones and The Witcher, two series that I tried and failed to get interested in. The experience reminded me of when Dan Brown's simplistic DaVinci Code became all the rage, and I could only shake my head at how such a pale imitation of Eco's Foucault's Pendulum could eclipse the original. Ditto Harry Potter's fantasy slop eclipsing A Wizard of Earthsea and The Books of Magic (not to mention gaffing its name from Troll 2).
Second, all art now aspires to background status. Films are shorter and more bombastic, music lyrics have become simple and repetitive, and art is now mass produced prints. I saw this first in Japan, which is always ahead of the curve in social change, a cultural canary in the coal mine. When I arrived in the 90's, my fellow foreigners and I marvelled at how Japanese friends would put on a movie then walk around cooking, doing laundry, and talking on the phone as it played. Meanwhile, we outsiders all sat enraptured.
Now I see the same change here in Canada. When I went to see The Backrooms recently, I was also privy to an endless drama from the cellphone of the patron sitting beside me.
In a word, art is aspiring to entropy. This is only increasing as AI replaces creativity with endless pastiche, social media whittles our attention spans down from hours to minutes, and platforms for books and music push only the safest, anodyne works.
However, all is not lost.
There are spaces where amazing Indie books like This Is How You Lose The Time War and music like The Mountain Goats are trumpeted. More and more, it is not the art or artists themselves who are choosing the baser forms, but instead the corporate platforms that decide what the popular works are based on their algorithm.
But there is a resistance. Sierra Ferrell is singlehandedly reinvigorating American music with her Heavy Petal tour and moving country music back to Hank Williams levels of poetry after decades of cold beer and MAGA petulance.
(Yes I respect country music. Moorcock lives in Texas, REH did as well. Don't come for me.)
Hell, I remember when Moorcock was in every Chapters I visited, now they are rare finds.
We see this in rpgs with the how the marketing wizards for the supposed World's Most Popular RPG has helped it eclipse other games, becoming a synonym for TRPGs to the media and newcomers. But there are greater games out there, Bluebeard's Wife and Mork Borg and Mothership and Coyote & Crow and an endless embarrassment of indie or small press riches that go largely unnoticed on itch.io and Drive Thru RPG.
They are all waiting for you to find them.
With NUNA and Giri-Ninjou, I will aspire to the condition of music.
Thanks for all the support. NUNA is now 3/5 of the way to Bronze.
Sleep beckons...
Happy to report that the NUNA Quickstart has made it halfway to the 50 sales needed for a Bronze medal on DriveThru RPG. If you haven't gotten a copy yet, the link to the Quickstart and free player characters preview (which has more than enough downloads for Bronze but is free so doesn't count) are below.
Player Characters Preview (FREE)
https://legacy.drivethrurpg.com/product/575125/NUNA-Rpg-Player-Characters-Free-Preview
60 page Quickstart ($1.99)
https://legacy.drivethrurpg.com/product/575172/NUNA-Rpg-Quickstart
As I've stated here, my next project is Giri-Ninjou, a radically different game from NUNA.
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| 1794 woodblock print of a kabuki moneylender character, which I am using in a non-RPG project and I put here for a thumbnail. |
Giri means Duty while Ninjou means Humanity. From my 22 years living in Japan and becoming a published Japan Studies researcher there, I am always disappointed by the misrepresentation of Japan by outsiders. Films with Japanese characters always talk about 'honour', but this is largely an Orientalist trope and Japanese are more likely to base their actions on Giri and Ninjou.
Here is my concept for Giri-Ninjou:
Rules light
GMless
Narrative
Ruthlessly faithful to Japanese society & culture, NOT D&D in funny hats
On Kickstarter by year's end
Atelihai!
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| Labrador Inuit, 1880, Rigolet (McCord collection) |
NUNA is officially LIVE today, but with the timezone difference it was open for purchase or download a few hours yesterday. In that short time we are already 20% of the way to Bronze in the DriveThruRPG ranking!
Thanks to all who bought a copy and pushed us further toward the goal! Keep spreading the good word.
Here are the links:
PC Preview
https://legacy.drivethrurpg.com/product/575125/NUNA-Rpg-Player-Characters-Free-Preview
$1.99 Quickstart
https://legacy.drivethrurpg.com/product/575172/NUNA-Rpg-Quickstart
During the playtests for Nuna, people were very curious about the Shaman Whisperers. Why not just have a powerful Shaman, some asked.
Three reasons.
First, the shaman (angakkuq) of Labrador were essentially wiped out by the arrival of the Moravian missionaries in the late 1700's. In my childhood, everyone around me was either United Church or RC. But at night my lovely nan, the Inuit painter Phyllis Pritchard, would tell me spine-tingling stories of the shaman, who would help you, but at a terrible price. Like Inuit kids all across Canada, my nan told us not to whistle at night, and certainly not when the Northern Lights were visible. Fastforward 30 years and when I began researching the shamanism of Inuit in Purvirnituq (Povungnituk), I encountered many stories of shamans cutting off their own limbs and reattaching them, and other horrific magics. Purvirnituq created the first Inuit artistic collective in Canada, and kept the old stories alive in their soapstone paintings. In the interviews I read from people there, some felt it was better off the shaman were gone, and that they were also angry at being cast aside. This was my inspiration for the NUNA conception of shaman as angry dead trying to control the chosen people they whispered to, and thereby find their way back into the land of the living.
Second, Nuna is a gritty game base but with gonzo powers added on through the presence of New Scientists and Shaman Whisperers. Those powers come with a terrible price - unpredictability and alien source for the New Scientists, and the rancor of the dead Shamans and loss of control to them for the Shaman whisperers. This is a feature of NUNA, and I don't want to replicate the old fantasy game trope of quadratically scaling magic users with (boring) fire & forget magic. I want something horrific yet entrancing, and that is what I have created with NUNA magics.
Last, the RPG image of a power fulshaman using nature magic is a colonial trope that is often used as a foil against the heroic western wizard and his magical tomes. I didn't want to replicate that dynamic, but instead lean into the depiction of power, whether scientific or magical, as also risky and fraught with danger, much like the US army colonial outposts in Labrador, which left DDT polluted dumps and radioactive material that affected Labradorians' health for generations.
Hi all! NUNA goes live tomorrow so I want to tell you a few things about it.
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| A scene from the adventure The Silver Machine. |
First, if you're new to NUNA and want to read the backstory, there are tons of fiction and descriptions on the Kickstarter I ran back in 2024 after winning the Chaosium RPG design contest. We didn't fund due to my lack of familiarity with the platform, but it was worth it to make community and connections, and gain experience.
TLDR Nuna is a BRP system game set in a post-apocalyptic Labrador where the Land has healed from resource exploitation and the Inuit are back as its stewards. Various Outsiders have also survived as Riggers out on the oil platforms and they all have to work together to build Community against the threat from magic and mythic monsters that have also returned.
Kickstarter link is HERE.
Link to my interview on the World of RPGs podcast episode about indigenous roleplaying HERE.
Indigenous roleplaying is, due to the history of colonialism, inherently political. Look at Coyote & Crow, which avoids the historical reality of Columbus and his start of the indigenous apocalypse by replacing it with a natural phenomenon. But like all good RPGs, it also echoes real world politics. There is the stigma of slave ownership of the Keetoowagi Federation, and the imperialist aggression of the Ezcan Empire, the North Korean cognate of their world. This inclusion of politics makes the gameworld all the more compelling.
Being a NunatuKavut (Labrador Inuit) is inherently political. What do I mean?
As a youth in Labrador I was Inuit, full stop, and enjoyed the strong family ties and casual discrimination that comes with it. No Inuit organizations existed before 1971, the year of my birth, and the first, entitled the now unacceptable Brotherhood of Eskimo, started that year. The Brotherhood changed its name several times until it called itself the Inuit Tapirisi Kanatami (ITK) in the 2000s.
The ITK slowly consolidated its power eastward until it covered Inuit Nunagat, or the 4 Inuit Homelands of Nunavut (central), Inuvialuit (west), Nunavik (French), and Nunatsiavut (Labrador).
The ITK has never fully accepted Labradorians. Unlike in the other 3 regions, where the Inuit were isolated from colonists and intermarriage was rare and started later, Labrador is on the Atlantic Coast and so settlers came and married Inuit from the very start. The Labradormuit were displaced from the north two times, first by Moravian missionairies in the 1700's, then again in the 1950's after Labrador was given to Newfoundland and joined Canada as one province, so we have lost much of our language and culture.
The Labrador Inuit long faced neglect from the UK and Canada, and rejection from other Canadian Inuit organizations due to their mixed composition. In the 80's and 90's Labrador Inuit started two groups, the Nunatsiavut (originally Labrador Inuit Association) and the NunatuKavut (Labrador Metis Association). Now, the Nunatsiavut and ITK have attacked NunatuKavut as not being Inuit enough, accusing them of changing the name of their organization (despite the fact that all 3 organizations having changed names), of not having blood ties (my mother is Nunatsiavut, as are many family members), and of hoarding tens of millions of government funds (although the Nunatsiavut gets 3 to 5 times as much).
(I have to add that individual Canadian Inuit response to my game has been mostly positive, with only one negative response. I see the dislocation between Canada's Inuit peoples as a political problem, one that says very little about the kindness of individual Inuk or their communities.)
It is important to note here that NunatuKavut members were victims of Canadian residential schools and recognized by the Canadian government in 2018. If we are Inuit enough to be victims recognized by the colonial state, we are no different from other Labrador Inuit.
The insane part is, in my family, my mother and her generation are all Nunatsiavut, and my generation are NunatuKavut. So this political distinction is in reality a result of the Indian Act and its policy of reducing indigenous populations by instituting a racial cutoff or blood quantum on the matriarchal line, and is useful to the ITK to access Labrador's mineral resources and Canadian government funding. This exclusion of indigenous people from their identity is a big problem in Canada, and has resulted in pretendian witch hunts, and I admire America in this respect, where percentage of blood does not count, and all indigenous are invited to reconnect to their roots and the land they grew up in.
So NUNA, my game, is a fantasy where Inuit of the North and South Labrador are brothers again, and their land is all they know. The Inuit are large and in charge, and lead the other peoples of Labrador in reconnecting to The Land and building healthy Communities there.
(But there is still resources to be salvaged and monsters to be defeated, have no fear!)
I have consciously set the price of the NUNA Quickstart at $1.99 for several reasons.
First, I see lots of Quickstart PDFs for $15 to $20 dollars on Drive Thru RPG. I think this is scandalous. I'd agree to paying that for a full game PDF, but not a Quickstart. NUNA Quickstart has the full actions, skills, and combat engine, some cool PCs, a mind-blowing psychedelic first adventure scenario, and lots of history about the world. But it is missing the Community building and Status rules, as well as a bestiary and full gazeteer.
Second, my goal with the Quickstart is to build buzz by getting as high as possible a medal for sales on Drive Thru RPG. So every sale pushes us higher on the DriveThru ranking system as the price exceeds the minimum needed to earn medals.
Whatever is earned on the Quickstart will be seed money for the Corebook, and a nice dinner with my son.
If you want NUNA, the following links will be live July 15th.
For the FREE preview (7 player characters), click HERE.
The link for the 66 page Quickstart rules, written and illustrated by me, is HERE.
Thank you for supporting NUNA, and spread the word!
Nekkumek!
Hello friends,
Below is the announcement of the NUNA Quickstart launch I've posted on my gaming profiles.
TLDR Free preview (players characters) and 65 page Quickstart drop the 15th.
Please spread the word and watch here for updates.
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Atelihai (Hello)!
I'm Tedankhamen, I'm a Labrador NunatuKavut Inuit and I won the 2024 Chaosium RPG Design contest for my Inuit RPG, NUNA. I've always disliked the depiction of the Arctic as 'savage wasteland' in games and fiction so NUNA presents the Inuit as masters of a living north who have awe inspiring Cultural ablities. I am also saddened by infighting by Canada's Inuit groups, so this game is a love letter to Labrador and a wish for peace between the NunatuKavut and Nunatsiavut, the two groups of Inuit created by colonial policies of Canada.
The 65 page Quickstart rules will be available at DriveThru RPG on July 15th, so please spread the word and pick up a copy. There is also a free preview of the Player Characters, which include an Inuit Hunter and a Shaman Whisperer. The Quickstart has combat rules and the scenario The Silver Machine. I intend to publish the full Corebook, which includes Cultural abilities and rules for supporting Communities, by year end.
I have run playtests at Rain City Games here in Vancouver, and am talks to do a promotional event and distribute physical copies there.
Also, on my roleplaying blog I've been writing a review of Coyote & Crow that has gotten thousands of reads, so check it out (https://tomboftedankhamen.blogspot.com/) if you want to see what is great about decolonial gaming in general and Coyote & Crow specifically.
Nekumek!
I’m pretty much entirely centred on finishing off the NUNA Quickstart right now, so time for a mental (procrastination) break to think of something larger.
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| New NUNA art! |
So the titular question, are role-playing games art? Here are my thoughts.
They are definitely spaces for art. From their inception, they supported writers and world builders, and gave a discernible boost to fantasy fiction. I won’t get into the downside, which is the D&Difucation of the fantasy genre, and how fantasy without any dungeon exploring tropes is now hard to come by. Just look at the history of D&D novels and current domination of works like Dungeon Crawler Carl and Frieren. Role-playing games have definitely contributed much to the continuance of the publishing industry during the digital age, both in the form of novels and gamebooks. And there are many role-playing games that are equally important as pieces of art than as playable games, from Stormbringer to the art books of Tales From the Loop and Alien.
In return, role-playing games have also given a huge boost to visual artists. In Japan especially, the master of fantasy art, Yoshitaka Amano, cut his teeth on art he did for the Japanese edition of Stormbringer, as well as the original Sword World RPG and the CRPG Final Fantasy. Frank Brunner's Stormbringer cover is equally iconic, and I will fight anyone who says its deeply atmospheric depiction of Elric isn't art.
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| Russel's shadowing and mastery of form here is breathtaking |
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| Amano did both the game and novel translations, and adds a dreamlike quality |
If you are a gamesmaster, then you’ve served as both script, writer and director for your own narratives. Josh Whedon reportedly based Firefly on a college Traveller campaign, which could explain his career success in those roles.
Similarly, players are also actors, and the role-playing table is a space that allows people to polish their acting chops without fear of sanction. The professional actors I know have all had to deal with a high level of criticism for pursuing their art, whereas playing in an RPG is decidedly nonjudgmental. Go look at Audrey Plaza's performance in the Harmonquest series, and you can see what heights an unfettered actor at a gaming table can aspire to.
With all these examples, it is pretty clear that rpgs are an integral and modern inspiration for many artists, from a variety of art forms. They may not have the cachet of exclusive high art, but that is an elitist domain and thus not a great loss.
But I think asking the question Are role-playing games art is actually an example of looking in the wrong direction, barking up the wrong tree.
Instead, if we see role-play games as essential incubation spaces for various genres of art, then we can see both their social and artistic relevance. And at this moment of history, rpgs are also an important canary in the coal mine in the conflict between AI and human art. The debate over AI art in games, the rise of AI GMs who will run your game for you, both point out the danger of not defending art - that we will be cut off from others and turned into captive individual audiences for corporate AI products.
And that would be the end of art, of games, and of our humanity, which is rooted in interaction with others.
I'm currently in crunch time at the end of the schoolyear.
I'll probably stop posting here a week or two.
I hope to get NUNA quickstart done by month's end.
Do a few weeks of publicity then let it out into the world & RELAX before starting my next project.
The NUNA QuickStart stands at just under 50 pages.
For a game that melds arctic survival, adventure, super science, and the weird, lots had to go.
Here are the things that broke my heart to leave out but will shine in the complete Corebook.
1 Community rules - To me, this is the beating heart of Nuna. Why go on an adventure? Because your community needs medicine, or weapons, or more people to sustain it. And the more you give your community, the more it gives back to you. There are hints at this with the Player Character descriptions, but no time to stop and smell the roses.
2 Arctic transport - I used to care for the late great Tony Williamson, arctic expert, and the stories he told of travelling the arctic were the stuff of legend. I try to incorporate that in my game design, and so from massive Soviet ice ships, to super science land ships, to Inuit dogsleds, I have created systems of travel that allow people to traverse the land in all conditions. And choosing the right transport can be a question of life or death on Nuna.
3 Cultural powers - In Nuna, all characters have powers that seem supernatural to people from other cultures. Inuit can see far on tundra and are never surprised, while Whalers can swim in frozen waters. This type of superior ability is not unique to the Arctic. The Kalenjin of Kenya are marathon superpowers, and routinely win marathons the world over against professional full-time trained athletes. The Bajau Sea Nomads of Asia can hold their breath as long as world record divers. Culture is a superpower, and Nuna brings this to the fore.
4 Shaman magic & gonzo super science - Shamanism died out under colonization in Canada, but Nuna conceives this dead mystic art as a potent force trying to find its way back into the land of the living. Ditto super science, which is ancient knowledge unlocked with the Fall. Both can unlock immense power for wielders, but at great cost.
So when you hold the Nuna QuickStart in your grubby hands, remember that this is just the tip of the glacier.
S
OK, so I am teaching a career studies class at the HS where I work, and I decided to use my experience the past years of producing an RPG to help students figure out their future career.
STEP ONE - Imagine your future self.
I used AI to make this picture of me (the hands are mutante gigantic)
STEP TWO - Get a plan for success
Once again, I asked AI. Lots of good advice for anyone looking to produce an RPG here.
Heck yes—nice momentum. A novel out and an RPG design contest win is already a legit foundation. You’re not starting from zero; you’re starting from “early pro.”
Below is a practical, industry-facing roadmap focused on visibility, credibility, and relationships (the three currencies that matter most).
Phase 1 – Turn your past wins into public proof
1. Build a single “home base” identity
This becomes the link you drop everywhere.
2. Package your achievements properly
Award-winning RPG designer
That phrasing matters more than you’d think.
3. Collect social proof
Phase 2 – Enter the professional RPG + publishing ecosystem
4. Join the right platforms (seriously important)
For RPGs:
For fiction:
5. Become visible without being annoying
Post about:
You’re signaling: peer, not fan.
Phase 3 – Strategic networking (the non-gross way)
6. Make a target list
Create 3 columns:
Aim for 20–30 names.
7. Warm networking > cold pitching
Before pitching:
After 1–2 months, you’re no longer a stranger.
8. Go where deals actually happen
If possible:
At cons:
Your goal is not selling.
It’s:
“I design RPGs and write fiction. What are you working on?”
That’s it.
Phase 4 – Position yourself as “bestselling-capable”
9. Collaborate
Fastest reputation builder:
Shared audiences = growth multiplier.
10. Get on podcasts & panels
Pitch yourself as:
Award-winning RPG designer and novelist working at the intersection of narrative and game design.
Niche + credibility = bookings.
11. Engineer a “breakout” product
Plan one project designed to:
Example:
Virality comes from clarity, not size.
Phase 5 – Publisher & agent path (optional but powerful)
12. Query with leverage
Your pitch becomes:
Previously published novelist and award-winning RPG designer seeking representation…
That line opens doors.
13. Attend pitch events
You’re already closer than most people who dream about this stuff. The next step is just making the industry aware you exist.
STEP THREE - Reflect on the plan and your performance
REFLECTIONS
Initial comments
I feel very encouraged to learn I am a starting pro and not starting at zero. Still, lots of work to be done while juggling family and the day job.
Phase 1 – I have done so so with this and need to turn this into a routine, as well as organize my presence better.
Phase 2 – Some great ideas here, such as what I learned from mistakes. Doing alright here, have to restart X even though I hate Elon Musk.
Phase 3 – I just started making connections so have to keep momentum up. Just did a live session at a game shop in Vancouver, but need to go to events. Still, I will avoid the USA for now.
Phase 4 – I’ve been on podcasts, need to package myself better.
Phase 5 – I’ve made some connections with industry, but seems hard to get into. I plan to publish independently first, but would be up for working for a game design company after that.
Overall, the advice is a solid A. My performance is B+, so I need to catch up!
