My Books of M Author’s Shelf Thus Far and Sticks

Scribe of the Ages

This past summer, a reader asked if I had thrown together a shelf of what I’ve worked on. I hadn’t! I did think the suggestion was a great idea, and I’ve managed to pull together some of my publications. This isn’t everything and it doesn’t include any digital-only releases, but it’s a way of highlighting what I’ve done in the past ten years. Anything pre-2005 has been lost, minus precious few of my academic works that, quite frankly, are so terrible I’d rather not show them to the world for a few reasons. There’s a definitive difference between intelligence or IQ, emotional intelligence, and social intelligence. I only had one of the three the first time around, and my incredible ignorance showed in my work.

This exercise helped me do two things: one, have a visual reminder of what I’ve done. Two, help remind me that in order for this shelf to grow, I have to write more. For me, the depth and breadth of my personal value as a writer is measured by what I do next. I can point to each and every publication on this list and tell you how I feel about it–good, bad, or indifferent. Some stories and games I’m immensely proud of; others I’m not. Too, much of this shelf I’ve gotten paid via “work-for-hire”, so the inventory of original stories I own is smaller than the works I’ve done for other properties. That means, if I want to remain viable I need to keep writing and seeking publication.

Some Books and Games by Monica Valentinelli

I mentioned before I have a business plan, and my metric for measuring progress does factor into that somewhat. But, more importantly, the “measuring stick” is something I hadn’t given a name to before. My friend, Shlock Mercenary‘s Howard Tayler, had mentioned that bit of insight to me recently. Basically, if you’re an artist you have a stick or some means of measuring your progress. There are 1,000 unknowns which contributes to the need for a stick in the first place, but what that stick represents is unique to different people. Some examples of this include: how many followers you have on social media, being associated with other high status individuals, how many readers you have, what awards you are nominated for/earn, how vocal your fanbase is, how many reviews you have, how many copies you sell, if your work is studied in academia, how much money you make, how many conventions you’re seen and mingle at, how much of your work is original vs. work-for-hire, etc.

Some artists measure others by their “stick”–a thing I did early on and am incredibly ashamed to admit I did. I used to think no one cares about the book you wrote ten years ago, but for some authors? That’s enough. That’s their path. They wrote their story, and they are happy with the outcome. Good for them. Not, “this isn’t valuable because it’s not what I would have done.” And, I’ve since learned that measuring others by what I feel is important can be incredibly short-sighted and downright harmful. Just because someone hasn’t published their novel recently, doesn’t mean they aren’t still writing, that there’s other things going on in their life, or they aren’t valued as a writer and human being.

Having a career as an author is becoming more challenging every day. So, sometimes measuring your own progress against what you’ve done in the past doesn’t work, either, because it doesn’t account for all the things that can and will go wrong just by having a life. Outside of that, too, are the financial considerations and sacrifices necessary to write in the first place. Sometimes, those pieces line up. Other times, they don’t. When they don’t? That’s when bitterness can set in. That’s the danger of a stick. Identifying what that metric is, however, is a neat way of navigating those emotions and I appreciate Howard’s insight so, so much.

For now, I’m going to focus on the positive aspects of my own stick. I need to. If I want to be hopeful about certain possibilities, I must do the work. I haven’t felt that emotion–hope–in a long, long time. It feels great to fall in love with my work, and I know in my heart I cannot control the outcome or its reception. While that keeps me grounded, for the first time in years I am daring to dream. Writing more the only thing I can control, and when all else fails? Putting words into a blank page is the surest way to move forward. Without that, without doing the work, I am not whole.

Anyway, whether you’re just starting out as a writer or you’ve already been established, I definitely recommend having a shelf of your stuff. It’s made a positive impact on me, and I hope it’ll do the same for you.

Mood: Slightly off of center, but on the right path.
Caffeinated Beverages Consumed: I admit NOTHING!
Work-Out Minutes Logged Yesterday: More step.s
In My Ears: Judge Dredd soundtrack
Game Last Played: Pokémon Go
Book Last Read: Loads for work.
Movie/TV Show Last Viewed: Victor Frankenstein
Latest Artistic Project: Make Art Not War 2017 Challenge and Rules
Latest Releases: Over the Edge for Dungeons & Dragons 5th Edition, Dagger of Spiragos for Scarred Lands.
Current State of Projects: Read my latest project update. New project update coming when I get time.

My Books of M Author’s Shelf Thus Far and Sticks was originally published on Monica Valentinelli


A Long Overdue Update and a New D&D Thing

Cthulhu Scribe by Drew Pocza

Hey folks, it’s been a couple of months. Three conventions and multiple continents later, and I’m back at my desk. We went to Helsinki, Finland for RopeCon, and had two weeks or so to scramble before the 50th Anniversary of Gen Con. Following that? We came home for Geek*Kon, too. I have a lot I want to talk about here on the blog, work to revive my Make Art Not War 2017 Challenge, and deadlines climbing all over my face. Yes, deadlines may be spiders–far creepier if I let them pass by!

I’ve spent quite a bit of time getting centered again, in part because waiting on certain projects/contracts really affected my productivity. I’ve got a few pieces to nail down in September, but most of my work is fully caught up. Now, it’s just a matter of focusing on milestone deadlines, and I’m good. Thankfully, my travel schedule is slowing down this Fall intentionally; I have a lot of art I want to do and unfortunately blogging plus conventions plus deadlines plus having a life got to be too much.

I’m hoping to announce some of the major bits soon enough. Yes, they include fiction! Non-fiction! And games! My business plan’s goals are definitely congealing, but I’ve learned a key thing that I didn’t account for: traditional publishing is slower than I expected it to be. That means, at least for the time being, I’ll continue to work in games and find other venues to publish in. I can always hope for the best while planning for the worst. Accommodating for growth has been a learning curve, because contracts can be either feast or famine. The key, for me, is to have a schedule that’s well-balanced, and that can be hard when factoring in money, family, health. Too bad Siri doesn’t manage that, too.

Speaking of “the absolute worst”, the news is dim, grim, and I’m so sorry to hear how many of you are affected by flooding, fires, etc. Many of my peers and co-workers are impacted by what’s happening, and that’s affecting their families, friends, deadlines, and travel. I don’t know what will happen long-term, especially if we continue to stick our heads in the sand that the climate is changing, but I have faith that we will continue to pitch in and help each other out. To that end, the first comic I wrote is included in a digital bundle of comics to benefit Hurricane Harvey victims. Proceeds from the Feeding America Hurricane Bundle will go to Feeding America, one of many disaster relief organizations partners with.

And last but not least, I’m woefully behind on updating my publications and ensuring those materials are up-to-date. This week, a new adventure for Dungeons & Dragons Fifth Edition went live on Over the Edge, which I co-authored with Shawn Merwin, is now available. This adventure is part of the Adventurer’s League and represents the most recent season. It is jam-packed with the possibility for adventure, and each section plays in about an hour–more if you’re like me and enjoy some great storytelling!

I will have more to talk about next week, and will start critiquing Iron Fist. For now, hang in there.

Mood: It’s fall. There’s pumpkin spice everything.
Caffeinated Beverages Consumed: Uh, I had more water than caffeine. This is my ashamed face.
Work-Out Minutes Logged Yesterday: Lots of steps.
In My Ears: Coffee house music. It’s very soothing. Zzzzzzzzzz…
Game Last Played: Pokémon Go
Book Last Read: Loads for work.
Movie/TV Show Last Viewed: League of Extraordinary Gentlemen
Latest Artistic Project: Make Art Not War 2017 Challenge and Rules
Latest Releases: Over the Edge for Dungeons & Dragons 5th Edition, Dagger of Spiragos for Scarred Lands.
Current State of Projects: Read my latest
project update. New project update coming when I get time.

A Long Overdue Update and a New D&D Thing was originally published on Monica Valentinelli

Hello Readers, I’m Uncomfortable…

Sephiroth Avatar

Hello readers, I’m uncomfortable.

I’ve had a massive story in my head, languishing in the background, that I couldn’t bring myself to finish for ten years. Reading history inspired me and learning about genocide horrified me in more ways I could imagine. My fear became tangible, as I realized the story needed to be the one I wanted and could tell, that not every tale is mine. I am the vehicle for the stories that filter through this mind and heart, and my identity and experiences shape them in unique ways.

The closer I get to telling my story, though, the more uncomfortable I get. Not because I worry who will read it, who will like it, who will think it’s “good.” Not because I worry about the money that may or may not come from trying to sell it, either. Not because I spent almost a decade worldbuilding, researching, and working on various drafts and outlines.

I have made my peace with all the things I can’t control, and built several insurance policies in place should I fail. If this story doesn’t work out, then I’ll have another one. Dozens of them. Releasing properties and games and commentary and programs, until something does resonate.

I am uncomfortable because I don’t want to write this story. Not because I don’t care, but because I worry about it that much. I’m terrified I’ll get the details wrong or that I’m sending the wrong message in the story that leads up to the main, epic plotline. Vanity project? Waste of time? No, I’m not worried about that. Everything I do, even the publications that have come out are associated with my name, my brand. It’s the getting it wrong bit that makes me very uncomfortable, it’s telling the hardest parts that are more painful than I expected, and I’m doing it — I’m writing these stories — anyway.

You’ll find out more in October.

Mood: Monday mania
Caffeinated Beverages Consumed: Oh crap, I lost count.
Work-Out Minutes Logged Yesterday: Writing!
In My Ears: Air conditioner
Game Last Played: Pokémon Go
Book Last Read: Epic Fantasy anthology
Movie/TV Show Last Viewed: The Originals Season 4. You ended it too sooooooooon!
Latest Artistic Project: Make Art Not War 2017 Challenge and Rules
Latest Releases: In Volo’s Wake for Dungeons & Dragons 5th Edition, Unknown Armies Books 1-3, and Kobold Guide to Gamemastering.
Current State of Projects: Read my latest project update. New project update coming when I get time.

Hello Readers, I’m Uncomfortable… was originally published on Monica Valentinelli

Dark Eras II Kickstarter Now Live!

Chronicles of Darkness: Dark Eras 2

Chronicles of Darkness: Dark Eras 2 starts out presenting a chapter for each of six historical eras; each of which features two Chronicles of Darkness game lines which include Vampire: The Requiem, Mage: The Awakening, Hunter: The Vigil, Changeling: The Lost, and more! The rules in this book are compatible with second edition Chronicles of Darkness.

Each terrifying time period and location is examined through the supernatural creatures that dwell there. This supplement follows on the heels of Dark Eras and the Dark Eras Companion. I’ll share more about my role on this project in the weeks to come. For updates and progress, check out the Dark Eras II Kickstarter now!

Dark Eras II Kickstarter Now Live! was originally published on Monica Valentinelli

On Expectations, Failure, and Removing Heart-Splinters

Kodama Avatar

This post is for a fantastic, super-passionate writer of AllTheGamesTM Jason L. Blair, who told me it was necessary. The idea for this came out of a discussion with Tex Thompson, and I wasn’t sure if this was the type of post that anybody would want to read. So Jason? Here you go, my friend.

Defining Failure and Success

First, some context on how I view this subject before I talk about myself. What is failure? It’s a word that carries a lot of negative (almost moral) weight, and I find this is problematic for so many reasons. Try telling someone what you’ve lost, what you’ve been through, what you used to have. They don’t know what to say. Maybe they want to make you feel better. Maybe your story makes them feel better about themselves. Maybe they pity you. The ones who do either have been through something similar, and can provide empathy or directions forward, or they haven’t and their pity is a form of judgement because they think that failure can be avoided altogether if only you “did these things”.

Usually, in my experience other people’s reactions toward failure are a combination of the above. It’s also the reason why a lot of folks don’t talk about it, for fear of being judged or ostracized. It’s the Law of Attraction, the fantasy that if you were to only hang out with successful people that you would get some of that wealth/power/fame/sex/etc. too. And sometimes, due to the nature of human beings, that does indeed happen because successful people have more of the thing we want to have. Sometimes, success breeds success and being in a higher class or prominent position does help–but not always. Some absolutely pay it forward and share it, while others hoard it or push new people down. Either way, the successful artist is often who we want to be–so most artists are drawn to them for multiple reasons. In a field with so many uncertainties, there had to be a magical solution, a sweetheart success story, some tangible reason they made “it” whatever “it” happens to be.

Making “it” is also toxic, however, because if you’re in this business you typically don’t stop making art when one project hits and your career doesn’t halt. You certainly can and you might? But, for so many of us, we cannot afford to stop. Too, you might create something that earns you well-deserved acclaim, but all the things that come from that–fame, adoring fans, new opportunities, etc–are a result of the thing you made not necessarily the cause. And, if you’re an artist who’s been in the business a long time, then you know full well there is no “it”. Our careers are like giant, tangled balls of yarn as opposed to ladders–but that is the reality, rather than this very damaging perception there’s a path to making “it” and there’s room for precious few. Because what happens (and I’ve seen this over and over and over again) when an artist is perceived as no longer making “it”, then they get dropped by some and ostracized until they’re in the spotlight once again.

Success… Failure… The idea that artists (or any other human being for that matter), are on a linear path, that visibility/quality of the work you’re doing eclipses the money made (e.g. selling out instead of earning what you deserve), that the path to publication is a pyramid you use to “level up”, these ideas are incredibly unhealthy and damaging for the simple fact that the “pyramid scheme” assume all artists have the same chances and opportunities as everyone else. Newsflash: we don’t. Why? Well, every vertical I’ve been in, while they have their own quirks and whatnot, are comprised of people who work in systems that are functional and dysfunctional to varying degrees. People who make decisions, who befriend or dismiss you, who claim they can make or break your career, who influence, who get hired and fired all the time, who have their own biases and desires, who possess reasons why they want to make their own version of “it”, who include the amazing, the good, the bad, and the trash fires.

What you consider to be failures, someone else might believe are your successes. Worse? There’s this idea of “earning” both, because of what you “deserve” based on any number of factors: time you put in, your identity, your personality, etc. You “earn” success, even though first time scriptwriters or nascent artists get big opportunities all the damn time, while other veterans languish in obscurity, or successful artists simply “got lucky”. Conversely, you “earn” failure. You must have done something wrong, right? You deserved that, too. Even if you didn’t, a book that doesn’t sell, a gig that falls through, a door that gets slammed is still your fault.

Failure and success are both incredibly subjective. How do you quantify it? With money? If that’s the benchmark, then why are artists sell-outs? Due to the ostracization that often results from these discussions, failure has become a taboo subject for many people. And, in some Western circles, often what you have and how you present yourself is a measure of your intrinsic value. That, as well, is wholly problematic, because if you lose all your physical possessions you’re still “you”. House or apartment, car or bus, Gucci or generic, are trappings. It’s your actions that define you.

Assumptions Fueled My Darkest Spots

Looking back, I now understand that the differences between what I value versus what others do have affected many of my earlier failures. (By personal failure, I mean: “this project fell apart/didn’t do well and I had a hand in it.” Not: “shit happened outside of my control.”) When you Go Through Some ShitTM, you stop caring about petty competitions and minutia. You cease worrying about how green your grass is or whether or not some rando will snap pics of you wearing tennis shoes with a fancy dress, because you’re happy to be alive. Safe. Able to do what you love. Be with those you love.

When I start writing professionally, I had already studied at uni–and that entire experience was a fight. Everything I wanted, I fought very hard for and afterwards I was exhausted. So, for me, I was ecstatic when my partner not only had my back, but recognized that while I have tried to be everything else–I am an artist and performer in every sense of the word. Then, I got hired. Someone wanted to read my work! Wa-hoo! And yet, I was operating under many assumptions, if only because my time at uni often pissed on genre.

In my head, everyone outside of high-falutin’ literature was this BIG HUGE HAPPY FAMILY OF MISFITS and it’s cool if you write/design for games or comics or media/tie-in or whatever and people pay it forward because this is how happy misfits work. This is me talking. Who has never known what it was like to have a healthy, supportive family until I actively built one of my own. I believed that such beautiful creations had to be made by such amazing people! And it wasn’t possible for amazing art to be made by shitty people! Mind you: I didn’t know what fandom was, either, even though I was a fan myself, and was far removed from understanding the history, the various communities, and how SF&F came to be. I was new, in every sense of the word. I was starry-eyed because I had a place to put my love and (of course) I assumed it would be very loving in return–thus fueling my work.

Spoiler alert: this dream shattered me. I discovered that the people I dealt with initially did not respond well to “givers”, because they’re wondered what you want, what you’re trying to sell, what you assume you’ll get out of it. “Just don’t”. I was told, on so many occasions. “Wait until you’ve made it”. “Be selfish. It’s expected.” To some extent I can see the logic, for there are some people who just take and take and take regardless of success, and they look down on people like me who haven’t made “it” in their eyes. The takers sometimes hurt the givers, and I’m not sure they always realize that. (Which is hilarious, because in some venues I have made “it”, but I haven’t in others.) But, again, going back to what I value… I don’t give to complete strangers because I expect something. That’s a recipe for disastrous feelings and expectations.

In the beginning of my career, however, I gave because that’s what I thought was normal; I assumed that’s what everyone else did, too. In gaming, for example? We often help each other, because there’s a strong collaborative component to the production process. Then, when I realized I needed to make better decisions about who I was giving to, I felt like an alien. I felt as if I was doing something wrong, because I was perceived by some as selfless instead of self-assured. Here’s the truth: I gave indiscriminately, because I didn’t know when I’d lose the opportunity to give back, being so grateful for finally being in a place where I could make and sell my work. To me, having been around so much loss, I felt as if it was better to do what you can, when you can, as opposed to sitting around waiting for a day that might never come. I still believe this, but I’m more selective and give by degrees.

After a while, I encountered other people’s bitterness, the kind that comes from not making “it”, and the extraordinary lengths others go to try to make “it” by: campaigning for awards, engineering friendships with famous people, working on the “right” projects, connecting with the “right” people–and that’s all on the vanilla side, things that aren’t guaranteed to work. From this, and the resulting back chatter, I internalized there was a culture where you could make a great many missteps, and that terrified me. Here was an entire subset of society that wasn’t the idyllic collection of people I hoped to meet. Here were judgments about what you did, what you had, who your friends were, where you published, what art you made. And, supporting this feeling, were the comments I’ve received over the years. I’m too old. Too smart. Too terrifying. Too “much”. Too opinionated. Too blunt. Even, too female or too feminist or too caring or too experienced or too inexperienced or too serious or too pretty. Too, too, too often accompanied by a slew of “nots”. I’m not a good artist, I’m not living in the right place, I’m not bubbly enough, I’m not smiling enough, I’m not pretty/skinny/young enough, I’m not connecting with the right people or working on the right project. I’m just “not”.

That, right there, is what caused the vast majority of what I consider my personal failures as an artist. Because at that moment, when I believe this bullshit–and hoo have I ever–that’s when I “look up”. And, I wonder… Am I doing this art thing right? If I just kept my mouth shut and dealt with that toxic person, would my career be any further along? If I went back to that dude’s hotel room, would that have flung the door to Hollywood wide open? If I was a little bolder, shouldn’t I start asking my famouser-than-me friends for favors? If I just… If I had… If I did… Over and over and over again wondering if, by doing the things that allow me to sleep at night, by remaining true to the person I know I am, did I sabotage any chance of making “it”?

I didn’t know then. And, I still don’t, even though I don’t believe in “it”. I have no f-bombing clue what’s going to happen, and that’s why all these crazy ass behaviors happen and stupid opinions are dropped. And yet, I can point to every project I know I didn’t do my best work, and show you how this bullshit informed it and my interactions with others on those projects. I failed, because I forgot to protect my work from this bullshit, and wound up hurting myself. I was too busy “looking up”, reacting to perceptions and biases, to fill another blank page. All other times? So much shit happened outside of my control, that I don’t consider those failures. Why should I punish myself for shit I didn’t do? But, in my head, I had to know the difference to navigate my losses, and that’s something you learn over time.

Tweezers and Heart-Splinters

My tweezers to remove said heart-splinters come in many forms. Sometimes, I rely on the fundamentals of business. Though being an artist is my identity, I think of my work as a job. If I don’t do my job, I don’t get paid. I cannot sell the story/game/etc. I haven’t written yet. Blank pages are the mind-killer. If I don’t get paid, I become a burden. If I become a burden, that’s when I will lose myself and the people around me. Mind you, that line of logic comes from my situation, and that is not the same as yours. I make the choices that I can within the means that I have, and that is true of every artist. What fueled someone’s success 20 years ago, isn’t applicable now.

Other times, I rely on the answers to questions I already know. “Do I trust myself?” The answer is: Yes. I do. I have experienced failure, I know what caused those missteps, and I know what to do next. Failure is now relative. I’ve done enough work, that I understand there’s a scale and levers to push and pull to get back to the work. “Do I forgive myself?” The answer is: sometimes. “Do I forgive other people?” The answer is: sometimes. “Am I bitter?” The answer is… Sometimes, yes. That too. That changes, but it only evolves as I continue to do the work.

And, lastly, I think about the small things I can do to give back. To support my fellow artists–provided that doesn’t become an obligation, where it is expected of me as opposed to being my choice. I regard other artists’ successes as my inspiration, as opposed to a threat or a sign that I haven’t succeeded enough/I’ve failed. Do I get jealous? Yep, I’m no saint. But, I actively work on ensuring I have those moments with less and less frequency, to protect myself and my art.

To get there, to reach the next bend in the road where I do experience success, I have to put more time in and do more work. Doing the work the only thing you can control, and the times I fail? Those are the times I don’t do the work for whatever reason. Sometimes, it’s for totally and expected reasons, like the emotional fallout I experienced from harassment. Other times, and most often, because I “looked up”.

Recovering from Loss

Over time, I’ve learned there are only two things I need to do to recover from failure. First, accept that failure will happen. It is inevitable as a sunrise. That, I feel, is the easy part. The solution, however, is infinitely harder and more complex. In order to move on from failure, to keep putting yourself out there time and time again, you need to remove all of the baggage attached with failure. Fear. Rejection. Insecurity. Isolation. Sometimes, even triggers that tap into being self-conscious about your identity.

The way that I’ve learned how to do this, is by talking to other artists and hearing their stories. Some never recover. Some do really quickly. Over the years, I have heard many stories from so many creatives in differing stages of their careers. Hundreds. The one constant, the one certainty in common with all of their sordid tales has been: keep making art. It may take you longer, it may even be harder, but don’t stop. You can leave the WorkTM, but the Work will never abandon you. It is the only thing that never will.

I shared more about myself today in the hopes that other professionals will be encouraged to talk about their failures and the emotional fallout from those. Loss is taboo and it shouldn’t be, because it happens. Sometimes, failure is necessary to grow as well. Sometimes, as it has been in my case, after a loss you wind up reminding myself why you make art. It may be a solitary act in many cases, but people make decisions every day with respect to the work. Each piece I make is the best way for me to give both to myself and to those who appreciate my art. It is everything. That allows me to protect my work, as best I can, from whatever may come.

Even when I fail.

Mood: ocean deep
Caffeinated Beverages Consumed: A paltry three.
Work-Out Minutes Logged Yesterday: Nada
In My Ears: the fridge
Game Last Played: Pokémon Go
Book Last Read: Epic Fantasy anthology
Movie/TV Show Last Viewed: The Originals Season 4
Latest Artistic Project: Make Art Not War 2017 Challenge and Rules
Latest Releases: In Volo’s Wake for Dungeons & Dragons 5th Edition, Unknown Armies Books 1-3, and Kobold Guide to Gamemastering.
Current State of Projects: Read my latest project update. New project update coming when I get time.

On Expectations, Failure, and Removing Heart-Splinters was originally published on Monica Valentinelli

Preview of Interstitional Fiction for Mortal Remains

Hunter: The Vigil Mortal Remains

One of the interesting things about worldbuilding, is all the wonderful artifacts and in-universe bits that you can create. While it’s not, and shouldn’t be a substitution for getting your story, comic, or game over the finish line, I find that interstitial fiction is a lovely way to flesh out the setting and think more deeply about characterization. A menu, for example, can identify holes in your world because it requires you to think about which ingredients are in your recipes, where they’re available to buy/grow, and how that food is processed. That covers a lot of interesting aspects of a setting!

I really enjoy creating interstitial fiction, because as a writer creating those artifacts are not only fun, they speak to what I love about the possibility of story. Often, that includes writing art notes to breathe life into how that bit is laid out. Mortal Remains, which is a supplement for Hunter: the Vigil first edition, is an example of my work in this area. I thought I’d share a couple of pages so you can see what the final result turned out to be! Due to the size of the images, I am presenting them in a reduced size. You can click on an image to see a bigger version.

Mortal Remains | Hunter The Vigil | Autopsy Report Part 1

Mortal Remains | Hunter The Vigil | Autopsy Report Part 2

Mortal Remains | Hunter the Vigil | Interview with a Changeling

Mortal Remains | Hunter the Vigil | Spell to Summon the Fae

Preview of Interstitional Fiction for Mortal Remains was originally published on Monica Valentinelli

An Immeasurable Loss of a Gaming Giant

Celtic Wheel

I don’t know how to talk about the sudden and staggering loss of Stewart Wieck, if only because we started working together after he founded Nocturnal Media on Prince Valiant and Scarred Lands1. Of all the people in the industry, he has been a gentle bug in my ear, continually prompting me to put out my own game. Stew was incredibly kind and thoughtful, the type of person you wanted to work with. I will remember Stew for being enthusiastic about games and, more importantly, the people in it.

You’ll forgive me if I cut this post short, but I feel that whatever else I might say would be insufficient compared to those who knew him longer and better than I did. To better understand this tragedy, Rich Thomas from Onyx Path Publishing has put together a post called Goodbye, My Friend about Stew and their time together at White Wolf and beyond.

1. If you’ve come to this post seeking news about Scarred Lands, please know that this is a difficult time filled with grieving and decisions that have to be made by the family. The parties involved will make additional announcements as soon as they are able to. For my part, I am finishing up the development for Ring of Spiragos as planned, to round out the three adventures.

Mood: Indescribable. We’ve lost far too many in the RPG industry these past few years, and Stew was far too young.
Caffeinated Beverages Consumed: Enough that I had a caffeine withdrawal today.
Work-Out Minutes Logged Yesterday: Hunting Pokemon
In My Ears: Harry Potter marathon
Game Last Played: Pokemon Go
Book Last Read: Epic Fantasy anthology
Movie/TV Show Last Viewed: Hunger Games.
Latest Artistic Project: Make Art Not War 2017 Challenge and Rules
Latest Releases: In Volo’s Wake for Dungeons & Dragons 5th Edition, Unknown Armies Books 1-3, and Kobold Guide to Gamemastering.
Current State of Projects: Read my latest project update. New project update coming when I get time.

An Immeasurable Loss of a Gaming Giant was originally published on Monica Valentinelli

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