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addedToday my new PC game, Dead Horizon, releases. It's very different from Boon Hill, which was odd... I am sitting here, unable to sleep, because I have to figure out some way to convince everyone out there on the collective “internet” to play it... or my effort over the past six months has been wasted. I don't know how to do that. So, I'm going to try something. Something that I've always been told is the absolute worst thing you can do. I'm going to be 100% honest. I'm going to be completely open about how afraid I am. How afraid I am of YOU specifically, and what you might think of my game. Well, let's begin. How do I get you to care? Steven Martin would say “Be so good they can't ignore you”, Which is such an easy thing to tell people when you're already successful. Not that I'm not successful. You see, I write video games for a living. Millions of people have played games I've worked on. I've written words for franchises like The Walking Dead and Galaxy On Fire. I mostly work freelance, which means I get to set my own hours and show up to board rooms as the “out of town guest”, talk story for 20 minutes, then walk out before the boring part of the meeting hits. But I don't get to tell my own stories. I get to help other people craft and perfect theirs. I get to work on machines already in motion. I tune the engine or rebuild the carburetor mid-race or whatever other metaphors I can use that prove I'm not a car guy. I don't get to do that most terrifying and wonderful thing. I don't get to connect with people. Not through my art. At least not the art I get paid to make in my day job. So, I burn the candle at both ends. I get up and I start dealing with my clients. I take the notes, I write the drafts, I beat out the stories. Heroes save the day, cats fall out of trees and dogs learn the meaning of friendship. Around sixteen hours after I wake up I finish the last of what I should be doing that day. Then I yawn. Drink an energy drink, and start working on one of my own projects. I have about four hours before sleep will demand I stop. I write, plot, craft, build, beg, and talk to the team of people I've put together to work on my own stories and my own games. Games like Dead Horizon. It's not one of the Triple A games I write for. It was made on a shoestring budget, paid for out of pocket by me. This is because as someone who has worked on the other end, I'll never ask someone to work for free if I can avoid it. Dead Horizon is a “retro” indie game. That means pixel art and chiptune music. But it's not just for style, it's there because it's very evocative of a time and place in which the emotions I'm dealing with in the writing for this game are from. A lot of the game is about my relationship with my grandfather, my feelings about gender and masculinity, and my emotional attachment to the western genre. And that... ooooh boy. That is the scary part. This game isn't like the Triple A games I write for. It's me. It's me splattered across thousands of pixels for anyone to
Welcome to Boon Hill changes
addedToday my new PC game, Dead Horizon, releases. It's very different from Boon Hill, which was odd... I am sitting here, unable to sleep, because I have to figure out some way to convince everyone out there on the collective “internet” to play it... or my effort over the past six months has been wasted. I don't know how to do that. So, I'm going to try something. Something that I've always been told is the absolute worst thing you can do. I'm going to be 100% honest. I'm going to be completely open about how afraid I am. How afraid I am of YOU specifically, and what you might think of my game. Well, let's begin. How do I get you to care? Steven Martin would say “Be so good they can't ignore you”, Which is such an easy thing to tell people when you're already successful. Not that I'm not successful. You see, I write video games for a living. Millions of people have played games I've worked on. I've written words for franchises like The Walking Dead and Galaxy On Fire. I mostly work freelance, which means I get to set my own hours and show up to board rooms as the “out of town guest”, talk story for 20 minutes, then walk out before the boring part of the meeting hits. But I don't get to tell my own stories. I get to help other people craft and perfect theirs. I get to work on machines already in motion. I tune the engine or rebuild the carburetor mid-race or whatever other metaphors I can use that prove I'm not a car guy. I don't get to do that most terrifying and wonderful thing. I don't get to connect with people. Not through my art. At least not the art I get paid to make in my day job. So, I burn the candle at both ends. I get up and I start dealing with my clients. I take the notes, I write the drafts, I beat out the stories. Heroes save the day, cats fall out of trees and dogs learn the meaning of friendship. Around sixteen hours after I wake up I finish the last of what I should be doing that day. Then I yawn. Drink an energy drink, and start working on one of my own projects. I have about four hours before sleep will demand I stop. I write, plot, craft, build, beg, and talk to the team of people I've put together to work on my own stories and my own games. Games like Dead Horizon. It's not one of the Triple A games I write for. It was made on a shoestring budget, paid for out of pocket by me. This is because as someone who has worked on the other end, I'll never ask someone to work for free if I can avoid it. Dead Horizon is a “retro” indie game. That means pixel art and chiptune music. But it's not just for style, it's there because it's very evocative of a time and place in which the emotions I'm dealing with in the writing for this game are from. A lot of the game is about my relationship with my grandfather, my feelings about gender and masculinity, and my emotional attachment to the western genre. And that... ooooh boy. That is the scary part. This game isn't like the Triple A games I write for. It's me. It's me splattered across thousands of pixels for anyone to
Today my new PC game, Dead Horizon, releases. It's very different from Boon Hill, which was odd... I am sitting here, unable to sleep, because I have to figure out some way to convince everyone out there on the collective “internet” to play it... or my effort over the past six months has been wasted. I don't know how to do that. So, I'm going to try something. Something that I've always been told is the absolute worst thing you can do. I'm going to be 100% honest. I'm going to be completely open about how afraid I am. How afraid I am of YOU specifically, and what you might think of my game. Well, let's begin. How do I get you to care? Steven Martin would say “Be so good they can't ignore you”, Which is such an easy thing to tell people when you're already successful. Not that I'm not successful. You see, I write video games for a living. Millions of people have played games I've worked on. I've written words for franchises like The Walking Dead and Galaxy On Fire. I mostly work freelance, which means I get to set my own hours and show up to board rooms as the “out of town guest”, talk story for 20 minutes, then walk out before the boring part of the meeting hits. But I don't get to tell my own stories. I get to help other people craft and perfect theirs. I get to work on machines already in motion. I tune the engine or rebuild the carburetor mid-race or whatever other metaphors I can use that prove I'm not a car guy. I don't get to do that most terrifying and wonderful thing. I don't get to connect with people. Not through my art. At least not the art I get paid to make in my day job. So, I burn the candle at both ends. I get up and I start dealing with my clients. I take the notes, I write the drafts, I beat out the stories. Heroes save the day, cats fall out of trees and dogs learn the meaning of friendship. Around sixteen hours after I wake up I finish the last of what I should be doing that day. Then I yawn. Drink an energy drink, and start working on one of my own projects. I have about four hours before sleep will demand I stop. I write, plot, craft, build, beg, and talk to the team of people I've put together to work on my own stories and my own games. Games like Dead Horizon. It's not one of the Triple A games I write for. It was made on a shoestring budget, paid for out of pocket by me. This is because as someone who has worked on the other end, I'll never ask someone to work for free if I can avoid it. Dead Horizon is a “retro” indie game. That means pixel art and chiptune music. But it's not just for style, it's there because it's very evocative of a time and place in which the emotions I'm dealing with in the writing for this game are from. A lot of the game is about my relationship with my grandfather, my feelings about gender and masculinity, and my emotional attachment to the western genre. And that... ooooh boy. That is the scary part. This game isn't like the Triple A games I write for. It's me. It's me splattered across thousands of pixels for anyone to
