As they describe themselves:
"Pagan Publishing was started in the fall of 1990 by John Tynes, then a sophomore at the University of Missouri-Columbia. He was 19 years old and wanted to do something with his time besides go to class and goof off. So, he produced the first issue of a zine known as The Unspeakable Oath. TUO was pubished in support of a horror roleplaying game known as Call of Cthulhu, published by Chaosium, Inc. and based on the writings of jazz-era author H.P. Lovecraft. The first issue was picked up by gaming distributors and distributed internationally. In short order, Pagan did more issues of the magazine, t-shirts, scenario books, and miscellanous other stuff. Today, we have a staff of three people*, all of whom work part-time on a volunteer basis in the wonderful city of Seattle, Washington. We are:
We produce books and a magazine under license for the Call of Cthulhu roleplaying game. We also operate a Cthulhu Mythos mail-order catalog known as The Outsider. We also produce non-gaming fiction and non-fiction through our Armitage House imprint. We do other stuff, too, including t-shirts and posters, but you can read about all that elsewhere.
So: why are we iconoclastic? Our principal business is in the roleplaying game field. The way we produce stuff for our roleplaying game line is different from the way most people do it. First and foremost, we take a lot of time. Some of our projects have been in development for more than three years. We go over our projects again and again, working on them and re-appraising them frequently to make them the best they can be. We believe that we shouldn't publish anything that a typical game master could whip up in a weekend or so; everything we do is of an order of magnitude more thorough, more researched, more original, and better-prepared than anyone else could just slap together in a short span of time. If you're going to shell out the bucks for a roleplaying product, it should provide you with a dramatic cost/benefit ratio: you receive the efforts of hundreds of hours of work for just a few dollars. Of course, this means that we don't make a lot of money--but we do this stuff because it's fun, and because it needs to be done.
Second, we break the rules. Our scenarios are not your typical roleplaying fare, ranging from globe-trotting thrills (Walker in the Wastes) to existential modern horror (Delta Green) to thoughtful occult intrigue (The Golden Dawn). Our sourcebooks are jam-packed with carefully-researched information--which is often the result of original scholarship that you won't find anyplace else.
Third, our creators own what they create. The majority of companies in the roleplaying games field practice work-for-hire: if you write or draw something for them, they own it and all rights to it. If your sourcebook is turned into a movie, you get nothing. If your artwork is reprinted in another book or in a portfolio, you get nothing. Your work is gone forever. We believe that creator ownership is an important principle: you should own what you make. We also believe that it makes good business sense: people work harder on things they have a real stake in. This is a cornerstone of our business practices.
Our goal is to forge relationships between creative people and those interested in what they have to say. We believe that there are a lot of talented folks out there with something to say, and a lot of people willing to support those forms of expression. We see our role as mediators, uniting artist with audience in a two-way flow of ideas. In the end, we believe that everyone benefits: artists receive recognition and income, the audience receives new ideas and value for their money, and we take in rewards both concrete and insubstantial. It's a good life to be living."
- Currently their staff consists solely of Adam Scott Glancy.