A separate concept which colludes with these two enemies is the element of accessibility. For whom is this universe created? At heart, the world reflects those who write about it and those who experience it. This is true upon earth and its historians and is true between the game-masters and players. Who reads it, then, evolves over time along with the organic nature of the content. Yet one thing remains consistent despite that fact. The author intends to preserve a high measure of quality in writing and lore conception. There is a myth which exists regarding a “wider audience” which might take interest in a product. Companies, most notably Games Workshop in recent years, have endeavored to attrach a larger consumer base by fundamentally altering their product’s tone and content. The dilemma is that diluting the essence of a literary product weakens the factors that made it popular among its original audience. Warhammer, for example, is meant to be a grimdark universe of constant warfare and sorrow. By distancing themselves from this point of origin, Games Workshop is making the product more like similar, more family friendly products on the market. In effect, the vibrant colors and richness of the lore’s literary texture is reduced to grey sludge as to be more palatable. This is an infringement against the art on the worst terms. Everything which made the art interesting and unqiue is sacrificed for the sake of drawing in individuals who were previously uninterested in the product. The problem is that those who were once disinterested will never become as invested as those who loved the product when it was authentic to itself. In short, it is an appeal to deaf ears. Meanwhile, the original audience who involved themselves heart and soul in the growth of the product find themselves “homeless” in a sense. The universe which they loved has disappeared and been replaced with a strange body double. It looks somewhat recognizable, but the character and purity of the work is compromised. Work with the Zolrassal will vigorously reject this fallacy which decimates the quality of literary work. The fabled “wider audience” is never worth the destruction of art. Moreover, the most engaged members of the project are those who enjoy it for its reality. They understand it and want to see the Zolrassal and games grow. One individual in that audience is worth a dozen others who seek to change the Zolrassal for their own purposes and reduce the universe into a grey mass of mediocrity and stereotypes. Further exploring the deficiencies of audience- consider people. We love; we have those we love; we love to be loved. However, humans often find themselves inadequate in practice. A grandparent is ignored where there should be attention, parents are left behind as the pace of life increases, and lovers are taken for granted. This isn’t a universal truth, but common enough for shared experience. Why might an artist then expect to receive the desired love from innumerable strangers for years of time? Like all love, the love of art is fleeting and does end. For examples, Game of Thrones exploded into the popular consciousness around 2012 and remained there until around 2017- which is a fair measure of time, before the popularity died down among all but the most dedicated fans. Lord of the Rings was the same way, exploding in popularity with the early 2000s movies before diminishing again except among the dedicated fans. The point to takeaway is that an audience is ephemeral, it comes and goes with interest. Your product might capture their imagination for a time, perhaps weeks or months, but then something else arises which steals them away. Do not be angry with them. It is natural. Enjoy any attention while it lasts and know that people will always return to a quality product, no matter how much times passes. With time, then, audience attention will return to your corner of the world once again. An artist must learn to love his or her art more than any other, for the artist lives with it longest.