Rick S Hershey used to own Fat Goblin Games but recently sold the RPG publishing company.
The change of ownership explains why the website currently asks, “Pardon our dust“. It’s the new owners settling in (and you can still buy Fat Goblin goodies from DriveThruRPG.)
It’s good news. The tabletop gaming community isn’t losing Rick, as he’s moving on to a new project and a new company called Kids in the Attic.
It begs the question… why?
Rick has been kind enough to chat with Geek Native, and ‘why?’ was the very first question.
What was running Fat Goblin Games like… and why did you decide to sell it?
Running Fat Goblin Games was an incredibly rewarding experience, though it demanded a significant amount of hard work and continuous learning. We launched the company in 2011 and decided to sell it in 2024 after producing hundreds of games for dozens of systems. Our team, which we affectionately called the “Goblin Hoarde,” consisted of a talented pool of freelancers who helped bring our visions to life.
From the outset, we had to learn everything on our own. We applied the knowledge we had gained from freelancing since 2000 to the intricacies of game design, publishing, marketing, and advertising. The journey was fun, but it also required an immense amount of effort, especially for a small team or even a single person at times.
In the early days, like many in the industry, we focused on supporting major systems such as 5th Edition and Pathfinder. However, as time went on and we grew older, our interests began to shift towards creating smaller, indie games. While this transition was creatively fulfilling, we recognized that it wasn’t entirely fair to our audience, who still had a strong passion for those larger systems. So, we felt it was the right moment to pass the torch to someone with the same enthusiasm for those big systems that we once had.
Can you please introduce your next projects, Kids in the Attic and Lucus Palosaari, to readers? What will you be doing?
Lucus Palosaari has been an integral part of my journey at Fat Goblin Games, serving as the project manager for most of the company’s existence. He was the one who managed our freelancers, helped develop many of our flagship properties, and contributed significantly as a writer. Quite frankly, without Lucus, a lot of what we accomplished at Fat Goblin Games wouldn’t have been possible.
For years, Lucus and I discussed the idea of starting a smaller company together, focusing on more niche projects. We had actually begun laying the groundwork for this new venture even before the sale of Fat Goblin Games. So, when the sale finally went through, it felt like a natural progression to transition into our new company, Kids in the Attic.
Kids in the Attic is where we’re putting our energy now, and it’s all about creating smaller, niche games that often have a nostalgic feel—something we seem to gravitate towards naturally. As part of this transition, we took two properties from Fat Goblin Games with us: “US Marshals,” a western-themed game, and “vs. Ghosts,” our first real indie game designed for the “vs. M” engine. We’re excited to explore these and other projects in a more focused and intimate setting, staying true to the creative freedom that comes with indie game development.
Why did you partner up for Kids in the Attic?
We decided to partner up for Kids in the Attic because we’ve developed a strong working relationship over the years. We complement each other well—Lucus is an excellent writer and researcher, and he has an intuitive understanding of my shorthand thought process. This allows me to focus on the art, design, and visuals, which is something I really enjoy.
Our partnership also gives us the flexibility to explore projects with other creators, including friends and freelancers we’ve worked with before. The dynamic between us is relaxed and mutually beneficial, which makes the creative process more enjoyable and productive. It’s a natural extension of the teamwork we’ve honed over the years at Fat Goblin Games, but now we can focus on projects that truly excite us.
Your first game will be the folk horror “Sleepy Hollow“. Why pick that rather than a more traditional fantasy or sci-fi TTRPG?
Our first major game with Kids in the Attic will be the folk horror setting “Sleepy Hollow.” While this is our first crowdfunded project, we’ve already released a small game called “Myceleum Soup” and a collection of adventure scenarios for DMDave‘s Horror RPG using the Year Zero Engine called “The Cabin.”
The choice to focus on Sleepy Hollow, rather than a more traditional fantasy or sci-fi TTRPG, comes from our deep roots in horror. We’ve always done a lot of horror work, and it’s a genre we’re both comfortable with and passionate about. Folk horror, in particular, fascinates us, and we’ve noticed that American folk horror hasn’t been explored as much as it could be.
When we started brainstorming, we were drawn to Sleepy Hollow because, while the story is iconic, it’s often just retold in the same way. We saw an opportunity to dig deeper and create something unique and memorable as a setting, rather than just another retelling. We want to give players a rich and immersive experience that captures the essence of folk horror in an American context and Sleepy Hollow provides a base that almost everyone is familiar with to some extent.
What defines folk horror for you?
For me, folk horror is deeply rooted in the landscapes and traditions that feel both ancient and mysterious. Growing up rural and poor, I’ve always been aware of how eerie certain places can be—the New England woods in autumn, the loneliness of the Appalachian mountains at night, or the haunting songs of the southern swamps. These are the places where good stories live, where legends are born, and where people cling to beliefs and customs long past when they might be expected to let them go.
Folk horror thrives on the tension between the known and the unknown. Customs and traditions can seem strange, even unsettling, especially to outsiders. Horror in this genre often emerges from something as simple as encountering the unfamiliar or the primitive, where the “old ways” still linger in remote areas, just beyond the reach of modern life. It’s about the unease that comes from realizing that there are places and practices that time hasn’t quite touched, existing right outside the cities and neighborhoods we think we know.
Will Sleepy Hollow be a typical game for Kids in the Attic? Will you have a typical style or theme?
For this type of setting and game, Sleepy Hollow will likely be pretty typical of what you can expect from Kids in the Attic. It’s a small and intimate setting, packed with possibilities for storytelling and exploration. Our goal was to provide everything you need in one package, without expanding into endless supplements. We wanted to create a self-contained experience that feels complete on its own, and I think this approach is a solid model for similar projects we plan to release.
That said, I can’t guarantee that all our releases will follow this exact format, but for projects in a similar vein, you can expect them to have the same focused, self-contained nature. We want to ensure that each game we produce offers a full experience, with plenty of depth, without requiring endless content to feel complete.
What else might we expect from you?
We’ve got several exciting projects in the works at different stages of development. Lucas is currently writing and working on an updated version of “vs. Ghosts,” which we plan to crowdfund soon. “US Marshals” is also on our radar, and we’re eager to dive into that when the time is right.
In addition to all our other projects, I’m also working on the art for a game called “Warlords of the 5th Dimension,” which is being written by Alan Bahr for us. This project is another exciting collaboration that we’re looking forward to sharing with everyone.
We’re also developing a solo journaling game with a really strong premise that we think will resonate with a lot of players. However, that project is likely to roll out next year. In the meantime, we’re almost finished with a free game that will be available on our website soon. So, there’s a lot to look forward to from Kids in the Attic, with a mix of different styles and formats that reflect our diverse interests and passions in game design.
How do you think the tabletop roleplaying game is evolving?
The tabletop roleplaying game scene is currently experiencing a vibrant evolution, particularly in the small press and indie sectors. We’re seeing some of the most innovative and exciting game designs emerging from these spaces—ideas and concepts that are often unexpected and imaginative. This is where a lot of the real innovation is happening, and it’s a shame that more gamers aren’t exploring these emerging trends.
The diversity in games is truly remarkable, ranging from small zines to expansive tomes and massive rule systems, and even projects supported by multi-million dollar crowdfunding campaigns. This range showcases the creativity and breadth of what’s possible in tabletop gaming.
However, it seems that advertisement and marketing are playing an increasingly significant role in determining which games gain mainstream attention. While innovation is crucial, it often takes a backseat to the ability to market and advertise effectively, which can be a challenge for many great games trying to reach a broader audience and I think in the end we might see again a bottle neck in what systems gain popularity.
Quick Links
- Kids in the Attic website and web store.
- Sleepy Hollow info
