Ecology of the Pathfinder Product, Part 6: Move 6d6 Tons, and what do you get?

Tuesday, October 27, 2009

Illustration by Crystal Frasier

Cave raptors are sated; it's time to blog!

So far, we've uncovered the shocking details of raising an innocent idea into a rebellious roleplaying product, but if your beloved book never moves out of the house, then it will never really make anything of itself. Now is the time when a PDF, so self-important, must go out into the world by itself. And sure, it may come back wrinkled or torn, or even upside down, but without that life experience, it will never truly be its own book. It's time to talk about the physical, blue-collar side of game design: printing, warehousing, and distribution.

For all intents and purposes, Dwarves is ready to pack up and head off to college. Out of sight of its overprotective developers and even its best friend, the art director, it will grow into a bearded adult of glossy pages and the comforting scent of ink. Then it comes home, where its loving parents criticize its dress, notices it's gained weight, and implies that it should cut its hair because it looks like a hippy. Then it leaves again.

Printing of RPG products is arranged through horrible, arcane methods, often via deals with unseen and unknowable supernatural powers. Paizo prefers to deal through the fey, who are both adept at weaving physical products from ideas and accept readily available sandwiches as payment (in truth, lead developer Jason Buhlman's most important contribution to the company is his astounding egg salad, which pleases the fey queen Titania and ensures a lasting business relationship and a minimum of ironic curses). Once the electronic layout of a book is finished, it is transferred through a series of tubes to the distant faerie courts. The attending pixies immediately spin it into gold, and then press the gold itself into physical books and arrange for its return. Total elapsed time to print a Paizo product: 14 minutes. Sadly, due to the unstable chronological connection between the First World and our own mortal realm, upwards of two months may pass in our world during that 14 minutes.

Eventually, sprite couriers, glamered as UPS drivers, drop off multiple tons of product at the Paizo warehouse. This fabulous structure, adjacent to the production offices, is the realm of warehouse manager and 10th-level monk Jeff Strand. The warehouse stores not only Paizo's catalog of products, but also much of the stock for the online store, and so organization is vital. Inhuman physical strength is also important, as every pallet of products can weigh up to an Imperial ton (which is to say, it weighs as much as 2,000 pounds worth of emperors). Jeff and his able-bodied assistants work tirelessly to ship orders out as soon new product arrives, focusing first on Paizo's thousands of loyal subscribers. During these rushes, Paizo CEO Lisa Stevens and Vice President Jeff Alvarez can even be found braving the warehouse's icy trenches and lurking glabrezu in order to send books far and wide.

The enormity of Paizo's distribution efforts is staggering, especially to a little goblin. In addition to sending out literally tons of product at a time to subscribers and fans, pallets of each and every product to come through the door immediately goes back out to retail distributors like Alliance and Diamond. Like NBA scouts, these distributors then ship our MVPs all across the U.S. of A. and beyond, across the ocean to Europe and even north into the fabled Canada. And this volume doesn't even include our licensees who translate Paizo products for non-English-speaking fans.

Printing and distribution are vital to the lifecycle of a gaming product. Without that final kick out of the nest, to plummet or soar, pages would be doomed to constant revision. Roleplaying is built on a spine of pulp and glue, and losing the physical quality of the game book means losing an important piece of our heritage. Without that healthy respect for the past, the next generation will grow up cold and mechanical, controlled as they are by the fluoride in their computer screens. By the end, we'll bow before our PDF overlords, and soylent green will be people!

Plus, if you drop your latest Pathfinder in the bathtub, you can fix it with a hairdryer—try doing that with an e-reader!

This wraps up our quick review of the Paizo publishing process; you now understand as much about creating new products as I do. Starting next week, we'll take a look at existing Paizo products with our new feature, Sci-Fried.

Crystal Frasier
Production Assistant

Ecology of the Pathfinder Product, Part 5: Layabout

Tuesday, October 20, 2009

Illustration by Crystal Frasier

Cave raptors are sated; it's time to blog!

There comes a time in every game product's life when a developer has to learn to let go; to let his sweet, innocent babe go out, make mistakes, and grow into a book. A game product needs to stay out late, crash the car, and hang out with the wrong crowd. And that wrong crowd is the art director, in Paizo's case the amazing Sarah Robinson and the undefeated James Davis.

Welcome to the jungle we call layout.

When last we saw Dwarves of Golarion's's art director, she was a childhood friend helping to tutor the infant sourcebook in good grooming and healthy posture. But now that editorial puberty has hit, the art director becomes a corruptive influence. She'll introduce the book to page composition, gateway fonts, and the pagan ways of design. While the developer cares about making a good text, the art director (or humble-yet-beautiful production goblin) is only concerned with tarting the book up.

Once development and editing are finished, layout is everything else. It means making an attractive page that doesn't remind the reader of a junior-high science textbook. It means making sure the words, the art, and all the stat blocks don't trip over each other. It also means constantly harassing the developers and editors to cut or add words and send material to work with in a timely fashion. The process is arduous, often checking a work line by line for tight spacing or dangling widows (who hang around poorly laid-out products to get their kicks; during last month's move we uncovered no fewer than thirty-eight widows cleverly concealing themselves in the recycling bin). For any given product, the process may take hours, days, or even weeks, depending on how recently the art director has been fed.

In ye olden times, layout was performed by hand, using glue and a layout churn to mock up a page and send it away to the printer by horseless carriage. These days, much of the hard work of layout is performed by computer, where all the trimming and gluing are handled digitally. The common computer terms "Cut," "Paste," and "Churn" actually hail from these pre-computer layout processes.

This is the basic workspace, with the guides for page and column sizes. Boring enough.

Our text needs to live somewhere fancy, so first we design an attractive page.

We drop in the formatted text from the developer next.

Now we switch everything to a dwarfier font and adjust the text spacing a little.

Add some frames and titles, so we all know what we're looking at.

Now we drop in our artwork, wrap the text around it, and make sure everything fits.

And that's a finished spread!

Like a fancy show octopus with a mastery of sign language, a well laid-out product is a joy to look upon and easy to understand. While the prose might make a book beloved, its layout makes it popular, and often the only difference between a bestseller and a discount special is how well each page presents itself. Without good layout, even well-written books would languish in exile, their hideous countenances creating a wall between themselves and the general populace. Resentment would set in, and as their numbers grew alongside their discontent, murmurs of revolution would spread. Cries of "Viva la Composicion!" would echo through the winding streets, followed by bloody, horrific riots. Heads of editors and writers alike would roll as the dispossessed texts yearned for justice, but settled for vengeance.

To dodge that bloodshed, make sure to follow up your writing and editing with a loving layout. The bourgeoisie will thank you for your effort.

And now our baby manuscript has grown up into a finished book! Or has it? Still nothing more than a digital file and a pile of black-and-white printouts, Dwarves won't be it's own book until it has returned with a diploma from one of several prestigious printers. Next week, we'll examine what goes on once the book is out of Paizo's hands.

Crystal Frasier
Production Assistant

Ecology of the Pathfinder Product, Part 4: The Editor's Compositional Fitness Challenge

Wednesday, October 14, 2009

Illustration by Crystal Frasier

Cave raptors are sated; it's time to blog!

Yes, editing: the sport of grammatically minded kings. So far we've examined the natural growth of Dwarves of Golarion, as well as its invaluable hours of education, and yet we've ignored physical fitness. Without a steady regimen of editing, our little manuscript could turn into a clumsy butterball, drawing ridicule and cruelty from other game products.

To keep a product trim, healthy, and happy, it's going to need editors to run it through its paces.

According to Paizo's editorial tag-team of Christopher Carey and James Sutter, an editor's job involves neither crushing the dreams of authors nor blindly hacking away at text, but instead is a carefully crafted routine to burn off flabby text and improve narrative posture. Like a cephalopod, any quality Paizo product needs to hit the gym regularly to keep it healthy. Just like any fitness-obsessed octopus will hit both the free-weights and the treadmill, Paizo products will rotate their editing to catch problems with grammar, spelling, word choice, continuity, voice, and even the occasional rewrite to adjust the word count. Even the greatest authors will occasionally dip into the candy-coated bacon of purple prose or forget to tie their punctuation, so a good editor can help make sure every product can fit into its cover before the big class reunion.

The amount of editing any given product needs is easily determined with the formula n+1, where n is the amount of time you actually have to edit the book. Because of this conundrum, it's important for editors to make the most of the time they do have. At Paizo, the ideal grammatical specimen sees four editorial passes: two from each of Paizo's own hard-nosed prose-wranglers. A 'pass' is a single read-through. Obsessive-compulsive as any wild pack rat, these editors greedily gobble up any mistakes they sniff out, trading it for proper spellings or active voice. And because anyone, even editors, can make mistakes, multiple passes and different editors help to ensure that no errors go unexamined.

For Paizo products especially, the editors also serve the dual role of security. They stand constant vigil over continuity of Golarion, ensuring that dead NPCs don't crop back up, that cities don't spontaneously shift location, and that worst of enemies aren't running around as BFF. The editors have the blessing and curse to read every product Paizo releases, from thrilling Planet Stories to mysterious modules, and serve as living repositories of the universe.

And yet they stay so svelte, just like the products they care for.

Editing is necessary for the health and longevity of a product. Without it, mistakes, typos, and plain, old dead wood can slip through into the final product, clogging intakes eventually leading to frustration overheating in readers. The heat released by frustrated readers contributes to the inconvenient truth of global warming, melting the polar ice caps, flooding coastal regions, and causing alligator populations to explode. Ultimately, mankind devolves into primitive tribes of swamp dwellers, hiding in terror from the maurading ultra-gators that have made this marshy, dystopian Earth their own!

So to keep your writing trim and healthy, and to ensure the survival of the human race, edit!

Now that our product is happy, healthy, and knows where its going in life, next week we're ready for that special time in every product's life when it truly becomes a book. Next week, we examine layout!

Crystal Frasier
Production Assistant

Ecology of the Pathfinder Product, Part 3: An Outbreak of Art

Tuesday, October 5, 2009

Illustration by Crystal Frasier

Cave raptors are sated; It's time to blog!

As it stands, Dwarves of Golarion is now written and assembled by its loving developer. Though awkward and gangly, we can see what it will finally grow up into. But at this point, this happy child is nothing more than a text document in the daycare that is a documents folder, happy rolling in the mud and receiving bowl cuts from mom. But there's an ugly truth for gaming products that this little production goblin's learned at her junior prom: you can be creative and brilliant, but if you don't look good, nobody'll pick you up.

Enter the art order, the good grooming of game design.

The majestic octopus mates for life, and hopes to find a sensitive and intellectually compatible lover that shares its appreciation of American Gothic poetry, but it will make its initial judgments based on appearance and health. Similarly, good art can make a product seem interesting and romantic before the first words are even read. It can make the difference between a product you don't tell your friends about, and one you take home to mom. But like an attractive octopus, a quality illustration must be carefully cared for if it is to be worthwhile.

The art order begins once the text for a product has begun development. By now, the developer knows how everything will shake down, even if the specifics remain a mystery. The developer will sit down with the decorator crab that is the art director, and with careful attention to the budget, they decide how much art the book can stand and what compelling elements to call out in pictorial form. With that list completed, the task is kicked back to the developer and his editorial cronies, who write up brief descriptions of all the illustrations they'll need to get their product a seat at the popular table during lunch.

By now, the art director is already comfortable in its den, combing through the preferred artists list and thinking about what to assign to whom. Just like writers and tutors, different artists' styles lend themselves better to different moods and fit different products*. A happy, bubbly, or wacky artist would be a terrible fit for Dwarves of Golarion's "quiet and cool" attitude, and would be better suited for its goofy sidekick, Gnomes of Golarion. Once the art orders are written, the art director mails them along to the illustrators of choice, together with the promise of great riches.

The first thing received from the artists are those embarrassing family photos we like to call 'sketches.' These are passed out among the editorial and art staff, who make crippling judgments about cowlicks, large ears, and crooked teeth that will haunt the product well into adulthood. They also make note of any changes the artist needs to make.

Finally, the finished images are received from the artists who, like the octopus, die shortly afterwards. This cruel cycle of nature provides the few glimpse of a grown-up, mature product that needs to be home by ten because tonight is a school night.

Illustrations by Jeremy McHugh

The art order is vital in a product's life cycle because it prevents the normally docile artists from breaking free of their enclosures and wandering the streets, mauling and tagging innocent civilians at random. It also serves as the cranial implant that prevents the art directors from seizing the reigns of power and assuming their rightful places as god-kings, directing the entirety of a company's funding into a single, penultimate illustration that makes children weep and grown men fall to their knees in prayer. Very important if you are a company looking to put out more than one product.

By now in the life cycle, our game product has begun to grow up and go through some awkward changes. Suitors have come calling, and its started wearing makeup. Tune in next week when we'll examine how to cope with your precious first draft's frustrating period of editing!

Crystal Frasier
Production Assistant

*Except for Wayne Reynolds, whose art is universal and can bring peace to warring nations.

Ecology of the Pathfinder Product, Part 2: The Awkward Development Years

Tuesday, September 29, 2009

Illustration by Crystal Frasier

Cave Raptors are sated; It's time to blog!

When last we left Dwarves of Golarion, it was a mere egg of an outline, being fussed over by attentive parents and waiting to hatch. But now it is time for that blessed moment when an idea emerges into the world as written words! It is time for… the development phase!

Development is the process of growing a book from an idea and a few rough notes into written text, rearing the infant outline into a rebellious and hateful teenager who will keep you up at nights, drinking your secret stash of scotch and praying to god it turns out alright. Much like the rearing of the noble octopus, a game product requires two separate parties: the designer and the developer. Designers are the writers and artists (more on those wily and attractive artists next week), while the developers are the core who tie everything together. Where developers are comparable to an overprotective parent, designers are more akin to teachers: chosen carefully by the developer to impart information and direction to their snot-nosed offspring.

Of course, this is not an insult. Both octopi and game developers are widely known for their post-nasal drip.

Choosing a writer is a careful task. Like parents, developers want someone who will make their job easier. These choices are made by means of an arcane formula that takes into account past products, punctuality, and relative position of the stars. Managing Editor Wes Schneider admits that Paizo relies on a small, incestuous lot of authors to rear our products. Putting new designers through their paces requires time and branding irons, both of which Paizo has in painfully limited quantities*.

For roleplaying products, the ideal designer can fill three vital roles for the juvenile product: author, game mechanic, and artisan. Telling a good story and having a firm grasp of the mechanics are important, but just as vital and oft overlooked is the role of player-friendly artifacts in a young game's life. Like a sweater vest, legible maps and gripping player handouts are those little touches that decide if a product rides along on the bus or resides at the cool table at lunch.

The developers' job is just as challenging and vital to give their books the best chance at happiness. They need to organize everything those precious bundles have absorbed from their designers and make sure they play nice with the other products. A developer needs to tweak the mechanics to balance with the system at large, rewrite some fluff to keep the narrative canon, and embarrass the product in front of its friends. Even the best writing needs at least a week or two in development, says Schneider, because "folks aren't here every day, and they don't know exactly what we need."

Dwarves of Golarion and similar anthology products are like troubled foster kids: they get bounced between several authors and other corrupting influences. A firm and loving eyeball is needed to guide them through this troubled time. The twitterpated Sean Reynolds, developer in charge of this problem child, has had his hands full. Every line written by its savage gang of authors needs to be reviewed for balance and continuity, and he must occasionally search its room for illicit substances and pop culture references.

Without proper development, a game product suffers. Its already-overworked Paizo parents stretch themselves too thin trying to write thousands of words a day while maintaining their backbreaking day jobs in the grammar mines. Neglected and uneducated, the books would fall back into dull narrative habits and eventually turn to crime to make ends meet. Crime rates skyrocket, property values plummet, and we are all left unprepared for the forthcoming invasion of the reptimen from the Earth's core!

So, for a happy and contributing addition to the RPG landscape, make sure you follow the example of the methodical octopus. Keep a close group of talent to help raise your products, but don't give away your own parental responsibilities!

Tune in next week, when we examine the art of art, and stretch the octopus metaphor to it's breaking point!

Crystal Frasier
Production Assistant

*Wes also mentions that if you're a newcomer who'd like to write for Paizo and has a high pain threshold, you should still write and submit. Both the Pathfinder Society Open Call and RPG Superstar are Paizo's favorite tools for reviewing new blood in an organized setting. Publishing your own material online through a blog or website is a good icebreaker as well (check out Paizo's Community Use Policy for more details). Being on productive and nonviolent terms with other publishers also helps, as the RPG industry is made up of a mere 73 people, all of whom know each other personally and frequently gather for the imbibing of caustic organic solvents.

Ecology of the Pathfinder Product, Part 1: Hatching an Outline

Tuesday, September 22, 2009

Illustration by Crystal Frasier

Cave raptors are sated, so now it is time for blogging!

Few things spring into the world fully formed, and game products are no exception. And if you aren't involved in the publishing industry, you might expect the life cycle of a supplement as unknowable as that of an octopus.

And it is.

As a neophyte nanny in the Paizo maternity ward, my elbows-deep, on-the-job training has been a real eye-opener. And if I have to suffer through that experience, then there's no reason not to share the pain. Over the next few weeks, we'll take a look at the stages of development of a young sourcebook, show off embarrassing baby pictures, and generally demystify the miracle of life as we follow Dwarves of Golarion from Outline, to Development, through Art Orders, Editing, Layout, Extra Editing, and finally Printing and Shipping.

The octopus knows it is time to reproduce when the seasons are right. Similarly, Paizo Publisher par excellence, Erik Mona, explains that a product first emerges when the various carriers demand a season's previews for their catalogs. At this point, the development team enters a furious ritual to determine whose memes are passed on to the next generation of Pathfinder canon.

Once the product ideas are agreed upon, each one goes on to outlining.

As a book egg, the outline doesn't tell us much, except that the book is healthy and to start preparing the office for its blessed arrival. We know who the proud papas are, and the outline hints if the book will grow into a fluffy nerd or crunchy jock, but nothing is set in stone just yet. Developers dig out warm nests in a hard drive to house the outline, lining it with file folders and sticky notes until writers can be assigned to help the book hatch and develop. A title (and adorable nickname) is decided upon, the chapters are parsed out, words counts are decided, and a handful of notes give developers and contributors an idea what the baby book will look like all grown up.

Unlike the noble octopus, the developer does not hover over the outline, constantly blowing salt water over it. Sean Reynolds occasionally spills latte on his, but more in a crude ritual to beg the gaming gods for the product's continued health.

Some things are immutable: Companions and Modules are Small sized (32pages), while Chronicles and APs will grow to Medium size (64 and 96 pages). Much like octopi, the largest, healthiest writers get first claim to the larger, healthier books, though until the outline hatches into development, even it's parentage can change.

Dwarves of Golarion Outline

As we can see from these adorable Dwarves of Golarion baby photos, the prenatal book doesn't resemble the adult product except in title. As the final draft of the outline, it's already showing the beginning signs of development: Exact words counts for each chapter have been decided and writers have been assigned to sit on the project until it hatches. We can also see in the bottom, left-hand corner that a goblin has chewed on this outline: an obvious indicator of superior product!

Without the outline, development would grow higgledy-piggledy, with chapters repeating each other, growing like tumors until they stretched the page count to breaking. Writers would run free, uncontrolled and burning things they shouldn't burn. Chaos would spill into the streets, and civilization as we know it would crumble.

So remember kids, be like the mighty octopus: plan your books carefully before getting started and save us all unneeded anarchy.

Crystal Frasier
Production Assistant

They appreciate my mastery of fire...

Tuesday, September 15, 2009

Illustration by Crystal Frasier

Greetings from the new Paizo caverns! As the newest addition to the war party, it falls on me to write today's blog. I am Crystal, and yes, I am named after a shiny rock. We can all thank my grandfather and his love of all things shiny.

When I first met the very talented Sarah Robinson in a hotel restroom and asked her about layout and design, I never expected that to turn into a real internship, let alone a job. My own experience in production work has been limited, but my enthusiasm, wit, and mastery of fire have impressed the Paizo staff enough to bring me into the fold.

It's hardly surprising, of course. Much of my life has been spent gaming or burning down peasant villages, the two skills the gaming industry demands.

My first experiences with roleplaying come from junior high, where I was none-too-politely barred from joining the gaming club for 1) being a girl, 2) never having played before, and 3) mauling the faculty advisor (see issue #1 and #2). My first play experience came in high school, thanks to Palladium Books' Teenage Mutant Ninja Turtles and Other Strangeness. As a poor country goblin, I didn't even have my own fancy dice; instead I used paper lunch sacks. I filled them with numbered chits, and just drew my results instead of rolling for them. Some days I miss my "b20." Since then, games have filled my life, even to the point of writing and developing a few projects for small companies. Some of the stellar games I obsess over include Green Ronin's Mutants and Masterminds, Wizards of the Coast's d20 Modern and Ghostwalk, Hijinks (created by Paizo for Polyhedron #158), and Margaret Weiss's Serenity RPG, as well as the obscure and unheard-of Pathfinder RPG.

My mastery of fire is a meandering, unlikely tale and will need to wait for another day.

Working with the Paizo crew is exciting; these are some of the best writers, developers, and designers in the industry, and they work hard at jobs they love. Never have I seen such dedication in any career that did not include the words "chocolate factory" or "brewery." The offices themselves are delightfully non-Euclidean, and I've learned the hard way to keep my distance from the impossible corners and ignore the whispers.

As a production assistant, I help fill in the cracks and manage the grunt work for Paizo's savage art directors, James Davis and Sarah Robinson. This usually means managing the digital archives, making changes the editors want, and topping off the coffee. The harder I work, the easier it is for James and Sarah to weave their arcane rituals, transforming the mad, gibbering scrawls the editors create into those glorious Pathfinder and Gamemastery products we all know and love. Also, twice a week I descend into the sub-basement and feed the cave-raptors, lest their terrible hungers overwhelm them and they rampage through the offices, making books late.

And none of this would be possible if I hadn't worked up the nerve to talk to Sarah about learning the layout arts. So remember, if you really want to work for Paizo Publishing, the secret is propositioning someone in the bathroom!*

Crystal Frasier
Production Assistant

* The secret is not really bathroom propositions. Neither the author, nor Paizo Publishing, LLC endorse this course of action. Paizo will not be held liable for resulting criminal charges or civil lawsuits that may result. Offer not valid in Minnesota. Side effects include nasal discharge, headaches, and dice bags under the eyes.

A little history for Falling: The Goblin Edition

Tuesday, May 20, 2008

Sometimes it truly amazes me how things work in real life. Most of the time, there's a strategy behind our product releases. Many months of scheming and preparation go into each Paizo product. Sometimes, though, there's a project like Falling that... falls into our laps.

A few months ago we were sitting around the conference table brainstorming new products for the Titanic Games line. Somebody, I think it was Mike Selinker, said "What about Falling?" That was all it took!

"Let's set it in Golarion!"

"Let's use goblins!"

"Yeah, goblins falling from the sky!"

"Goblins falling from the sky and fighting! We can make another goblin song!"

That turned out to be a perfect fit! A re-envisioning of one of James Ernest's most popular card games, now out of print for many years, was suddenly slated to be our next release.

Coming up with the idea is sometimes the easiest step in producing a great product. Really, it's the quality of the writing or the style of the art that makes or breaks a game. In this case we knew that it was crucial that the art style spoke to the fun and silly aspects of the game while keeping true to the world we were building in Pathfinder. Fortunately for us, we had just the guy to stay true to our vision. Our own in-house Drew Pocza did a tremendous job on our Christmas card last year and we knew his cartoonish style would work perfectly for our version of Falling. Drew jumped at the chance, and the rest just fell together.

Here are another couple of cards from Falling: The Goblin Edition. We hope you like them!

Jeff Alvarez
Titanic Games Brand Manager

Last Gobby Down, Wins

Friday, April 18, 2008

We are still working on it, but we wanted to give you a look at a couple of cards from Titanic Games' upcoming remake of the popular card game, Falling. Falling was an incredibly fun game and, unfortunately, isn't in print anymore. We thought it'd be fun to re-imagine it and, once again, enjoy the downright frenetic game play. So, we set the Golems to work! Here is a taste of the juice from the fruits of their labors. Do you have what it takes to be the last to kiss the ground?

Jacob Burgess
Online Retail Coordinator

The Birth of Bugbears

Wednesday, April 2, 2008

What horrors and fearsome bogeymen await in Classic Monsters Revisited? Among the creatures presented in that savage-filled volume are the cunning and fear-mongering bugbears. And what spawned these foul creatures? Read on, gentle readers, and quake in fear!

"Bugbears are the loners of goblinkind. One creation myth claims the first bugbears were born to goblin parents, but emerged from the womb covered in shaggy fur. They soon proved far different from their kin, delighting in terrorizing other children and eventually murdering several members of the tribe, until they were cast out to wander aimlessly forever alone. Some skulked in the shadows surrounding their parents' communities and preyed on their own, savoring the fear. On occasion, adventurers discover goblinoid settlements reduced to ghost towns. Some whisper that such places are laid to waste when a family in the tribe birthed a bugbear and it hunted them to the last."
—Classic Monsters Revisited

Mike McArtor
Editor

Sneak Peek: Classic Monsters Revisited

Friday, March 14, 2008

Get a quick glimpse of Paizo's reimagining of some of your favorite monsters featured in Classic Monsters Revisited. Goblins and trolls and ogres, oh my!

Carolyn Mull
Pazio Sales & Marketing Assistant

Happy Holidays from Paizo

Tuesday, December 25, 2007

Here at Paizo we are pleased to bring some joy, with a little ditty that was on our Holiday Card. Seasons Greetings!

(Sung to the tune of Jingle Bells)

Sneaking through your yard,
Going through your stuff,
Hope you didn't like your dog; we got a little rough!
Tied him to a stump.
Lit the stump on fire.
Maybe you'll wake up in time to put out puppy's pyre!

Now we're in your house,
It's fancied up so nice!
With shiny things set all about, there's lots to break and slice!
Here's a stocking full,
And there's a gift-wrapped toy,
For a bit we stand agog—there's so much to destroy!

OHHHHHHHHHHHHHHHH!!

In a pile, Goblin style!
What could be more fun?
Breaking toys for girls and boys
Until we're finally done!

When you wake, hearts will break;
Because we've had our way!
This is great! Let's celebrate!
A Goblin Holiday!

Rise of the Item Card Contest, Part 1

Friday, November 2, 2007

With the Rise of the Runelords Adventure Path well underway in the pages of Pathfinder, and a special Item Card deck tied specifically to those adventures soon to be released, we here at Paizo Publishing have decided to give you a chance to score one of these great accessories.

One question about Pathfinder will be presented each week. Answer it correctly and get entered into a drawing to win a free deck of Rise of the Runelords Item Cards, shipped to you when the set releases. Just send an email with your answer, your name, and your paizo.com screen name to contest@paizo.com. Make sure to put the phrase "Runelords #1" in the subject line of the email.

This week we're going to take a look at some of the items your PCs might encounter in part 1 of the Rise of the Runelords Adventure Path, "Burnt Offerings." While many of these are wielded by pesky goblins, a number of them might end up in the hands of your adventurers.

Question #1: How many creatures in all of Thistletop can speak the goblin tongue?

All answers for Question #1 are due by 12:01 PM Pacific Standard Time on Thursday, November 8th. Good Luck!

Jason Bulmahn
GameMastery Brand Manager

Kyle's Magnificent Menagerie

Wednesday, September 5, 2007

Some of you may have already noticed a striking stylistic similarity between the fun cartoon goblin illustrating Pathfinder #1's introduction and those strange little monsters that used to appear in Dungeon to illustrate the Dungeoncraft column and the table of contents. That's because both series are done by one of our favorite artists and creative minds, Downer creator Kyle Stanley Hunter.

Much as he did in Dungeon, each month Kyle will be giving us his unique take on a key monster found in that month's volume of Pathfinder. For "The Skinsaw Murders," for instance, he's produced a fearsome ghoul, and future adventures will bring ogres, giants, and more.

We're all super-excited to have Kyle onboard for this and some other super-exciting secret projects a bit farther down the road, and for those of you unfamiliar with his work, I highly recommend checking out Downer: Wandering Monster or his personal website at www.superunicorn.com/kyle/, both of which contain galleries featuring dozens more of his trademark "mini monsters."

James Sutter
Assistant Editor, Pathfinder

Monsters Are to Pathfinder What Icing Is to Cake

Monday, April 23, 2007

I've made no secret of my obsession for new monsters. I love them. I can never get enough of them. Will I ever use all the monsters I've collected through my decades of RPG enthusiasm? Absolutely not. But I wouldn't give up any of them.

Unlike magic items or spells, new monsters are things that a GM can introduce into a game without fear that they'll disrupt a campaign. If they prove too lame (as was the case of my home campaign's flying, slavering eradu—a sort of warthog-shark intended to be the "new bulette," but who ended up being glass-jawed, one-hit loser), it's easy enough to never use them again. But once your PCs get your hands on things like new spells and new magic items, it's much harder to back them out of the campaign without a lot of tears and thrown dice.

With Pathfinder, we're embracing the new monster completely. Every volume will feature a bestiary that spotlights roughly six new monsters. Some of them will have roles in that month's adventure while others might just be there to add flavor to our new campaign setting. A few might even be previews of an Adventure Path years down the road. Some will be drawn from real-world myth, some from cryptozoological reports, and some wholly from the minds of our authors. Hopefully we'll all have some new favorite monsters in the months to come!

But talking about monsters isn't enough. We don't have art in yet for the six new monsters that are going to be in the first volume of Pathfinder to support the first adventure, "Burnt Offerings," but we do have descriptions of them. And while names of these monsters are placeholders in many cases, their descriptions are locked in. Check them out! (Warning: as with most of these blogs, spoilers below!)

Attic Whisperer

This undead thing resembles a child's skeleton with the paws and grinning skull of a fox. It is gray and covered with cobwebs, and dust falls endlessly from its mouth. It holds a ragged stuffed child's toy, its eyes pierced by pins, in its skeletal, fox-like hands. The creature is dressed in a small sleeping gown that looks like it was partially burned in a fire, as if it were the remains of a child who had died in bed.

Giant Gecko

There are two breeds of giant gecko in Varisia. The first is the size of a small horse or pony, maybe 8 feet long from head to tail. His eyes are bright blue and his body brightly colored. His open mouth holds hundreds of fangs, and his feet have large flat toes.

The second breed is much larger and more muscular, running about 14 feet long from snout to tail tip. This gecko has horns and a ridge of spines running down its back. Its eyes are bright red, and green smoking drool drips from its mouth, indication of its venomous bite.

Goblin Dog

While goblins ride worgs, wolves, and giant geckos when they can get them, most goblins are stuck with these disturbing mounts. Shaped like a limber greyhound but with a feral, ratlike face and tail, goblin dogs share their masters' hatred of real dogs. Their front two paws are tiny, black, ratlike hands, and their attitudes are all snarls and froth.

Goblin Snake

This strange snakelike monster is about 6 feet long and coiled around the roots of a tree that hang down from the roof of a cave. The snake has a black body with a thin racing stripe down its flank. Its back is a ridge of tiny horns. Its head is actually that of a goblin, but with a forked tongue and no ears. It has wide white snake eyes and a large mouth with two large viper fangs in the front. Some sages hold that goblin snakes are atrophied, deformed nagas, while most goblins believe that they're reincarnated heroes sent back to this world to punish goblin enemies.

Runespawn

Humanoid but deformed, the runespawn is an emaciated horror with unnaturally long arms and legs. Its hands each have two talon-tipped fingers and a thumb, and their legs bend like those of a dog. It's dressed in tatters and rags that expose much of its skin; veins bulge all over their bodies, forming dark blue or red patterns that look like twisted runes. Their flesh is pale and hairless. The runespawn's heads are curiously elongated. They have only a pair of slits for a nose, and their eyes are bulging and red, with no visible eyebrows. Yet for all this horror, their mouths are the most disturbing, for their lower jaw splits in half at the chin into pedipalps that end in tiny three-fingered hands that writhe about, eager to feed delicious morsels into an open gullet with a lolling tongue.

Sandpoint Devil

This critter is heavily inspired by the northeastern U.S. legend of the Jersey Devil. The Sandpoint version of this monster is a horrible horse-like creature with a fang-filled mouth, large bat wings, and a reptilian tail. Rumored to have been birthed by a woman cursed by Lamashtu, goddess of monsters and madness, the Sandpoint Devil is one of the most famous local legends. Despite long-standing rewards for its capture, it has never been caught. But when hunters and travelers go missing, chances are you'll hear tell that the Sandpoint Devil got them.

James Jacobs
Pathfinder Editor-in-Chief

Cover illustration for volume 1. Click to enlarge.

Reinventing The Wheel

Friday, April 20, 2007

Originally, the main menace in "Burnt Offerings," the first Rise of the Runelords adventure, was going to be a tribe of kobolds, because let's face it—everyone loves kobolds. So much so, in fact, that they ended up being the bad guys for the first GameMastery Module, which hits the shelves two months before "Burnt Offerings." Which is cool for Crown of the Kobold King, but left "Burnt Offerings" without a pint-sized menace.

Enter Wayne Reynolds.

The decision to have Wayne paint the first dozen covers for Pathfinder had the exciting side effect of making Wayne the one to design the look for our goblins. "Make our goblins look almost as cute as they are scary," we told him, and he more than accomplished that goal with a swarm of flat-headed, toothy, red-eyed monsters wielding crazy jagged swords (which Editor-in-Chief James Jacobs immediately named "dog-slicers" because, as you'll see below, goblins hate dogs!). Based entirely on their look, Jacobs—who's also the author of "Burnt Offerings"—was able to come up with all manner of weird goblin affectations (the current staff favorite being the song they sing while marauding). Based on what Wayne did with goblins, we're all understandably excited to see his designs for our stone giants, ogres, and dragons... which you'll of course find sneak previews of right here.

Ten Fun Facts About Goblins

1: Horse Hate: Goblins excel at riding animals, but they don't quite get horses. In fact, their hatred of all things horse is matched only by their fear of horses, who tend to step on goblins who get too close.

2: Dog Hate: Although goblins raise horrible rat-faced doglike creatures to use as mounts (and ride wolves or worgs if they can get them—goblins are quick to explain that wolves are NOT dogs), their hatred of ordinary dogs nearly matches their hatred of horses. The feeling is mutual, so if your dog's barking at the woodpile for no reason, chances are good he smells a frightened goblin hiding in there somewhere.

3: Goblins Raid Junkyards: Garbage pits, gutters, sewers… anywhere there's garbage, you can bet goblins are nearby. They're weirdly adept at crafting weapons and armor from refuse, and are fond of killing people with what they throw away.

4: Goblins Love to Sing: Unfortunately, as catchy as their lyrics can be, goblin songs tend to be a bit too creepy and disturbing to catch on in mainstream society.

5: They're Sneaky: An excited or angry goblin is a noisy, chattering, toothy menace, but even then, they can drop into an unsettling silence in a heartbeat. This, matched with their diminutive size, makes them unnervingly adept at hiding in places you'd never expect… stacks of firewood, rain barrels, under logs, under chicken coops, in ovens, etc.

6: They're A Little Crazy: The fact that goblins think of things like ovens as good hiding places reveals much about their inability to think plans through to the most likely outcome. That, and they tend to be easily distracted, particularly by shiny things and animals smaller than them that might make good eating.

7: They're Voracious: Given enough supplies, a goblin generally takes nearly a dozen meals a day. Most goblin tribes don't have enough supplies to accommodate such ravenous appetites, which is why the little menaces are so prone to going on raids.

8: They Like Fire: Burning things is one of the great goblin pastimes, although they're generally pretty careful about lighting fires in their own lairs, especially since goblins tend to live in large tangled thistle patches and sleep in beds of dried leaves and grass. But give a goblin a torch and someone else's home and you've got trouble.

9: They Get Stuck Easily: Goblins have wiry frames but wide heads, and live in cramped warrens. Sometimes too cramped.

10: Goblins Believe Paintings and Writing Steal Your Soul: The walls of goblin lairs and ruins of towns goblins have raided are littered with pictures of their enemies. They never draw pictures of goblins, though—that's mean. Writing steals words out of your head. You can't get them back.

The Goblin Song

Goblins chew and goblins bite,
Goblins cut and goblins fight,
Stab the dog and cut the horse,
Goblins eat and take by force!

Goblins race and goblins jump,
Goblins slash and goblins bump,
Burn the skin and mash the head,
Goblins here and you be dead!

Chase the baby, catch the pup,
Bonk the head to shut it up!
Bones be cracked, flesh be stewed,
We the goblins—you the food!

-The Pathfinder Staff