Beyond the Gate: Jason Compton On the Making of "The Broken Hourglass"
The "Indie RPG" (Roleplaying Game) is a category of computer game that, by all rights, shouldn't exist. Mainstream developers and publishers tend to shy away from RPGs because they are - short of anything "massively multiplayer" - among the most costly and difficult of games to produce. Only a handful of development houses are capable of pulling it off, and satisfying the often conflicting tastes of very demanding fans. The idea that a handful of indie developers, volunteering part-time effort with a budget that wouldn't even cover a week's operating expenses at a mainstream studio, should tackle this genre, to march where mainstream publishers fear to tread, defies any kind of conventional wisdom in the industry.

Interestingly enough, our story today begins with Baldur's Gate, a mainstream RPG which also defied conventional wisdom. During the mid-90's, conventional wisdom in the videogame industry held that RPGs were dead, and that the market was no longer interested in what was once a staple genre. Baldur's Gate was produced by the fairly new developer Bioware, which had a single action game (Shattered Steel) to its credit. Following hot on the heels of Diablo, Fallout, and Might and Magic VI (not to mention console RPGs like Final Fantasy VII) which topped the game charts in 1997 and 1998, Baldur's Gate was the title that seemed to finally put to rest the cries of the naysayers.

One great feature of Baldur's Gate was that it was relatively friendly to external modifications (or mods), allowing fans to create their own content. This inspired a new generation of amateur game developers, who learned the ropes of CRPG (Computer RPG) design by changing, enhancing, and extending existing games with brand-new content. Several members of one of the more prolific and successful modding groups, the Pocket Plane Group, grew weary of simply extending someone else's game and finally took it upon themselves to produce a brand new RPG, "The Broken Hourglass."

Now, ordinarily I'm a little bit skeptical about a "new" indie developer talking about their yet-unfinished RPG in development. However, Planewalker Games has a track record of successful mods for several years, and their new, built-from-scratch "WeiNGINE" RPG engine is largely complete and functional. Last week I had the chance to enjoy a telephone interview with Jason Compton, the producer of The Broken Hourglass, and he was able to give me the skinny on what I feel confident will be a great indie RPG in the not-too-distant future.

This introduction has taken way too long already, so I'll let Jason do most of the talking from here. Enjoy!

- Rolling Up a Character: Background Information -

Rampant Coyote: First off, why don’t you go ahead and tell us a little bit about yourself. Your background, what got you into gaming, and … everything else.

Jason Compton: Okay. Well, I’m Jason Compton, the producer for The Broken Hourglass for Planewalker Games. My gaming background goes back quite a ways. I guess it would probably start with my dad. My dad wasa young father, and the arcade stuff of the late 70’s and the early 80’s grabbed his interest. So that was something that he was interested in, and he would take me to the arcade. I was born in ’77. So as I was old enough to start going to arcades – you know – five or six years old, that’s when you had that wave of the really great, early, big-time arcade games coming through. That was my first experience, that and being an Atari player at home.

My dad didn’t grow up with videogames, but caught that wave of arcade games coming through. So he got into it, so I got into it as well.



Rampant Coyote: I was growing up during that same era, so I know exactly what you are talking about. Any game in particular really catch your interest back in the day?

Jason: I had a really wide interest. I guess some of those that really stuck – Galaga, Xevious, some of those classic games. I guess I had a couple of favorites that were probably considered “B-Listers” as well. Elevator Action – that was a big one for me. Those are the ones I keep coming back to. I put a lot of quarters and tokens into a lot of different machines. Even ones I had no chance at, like Sinistar… things like that. Just can’t stay away from them.



Rampant Coyote: (My best Sinistar voice) “I Live”

Jason: Yup!



Rampant Coyote: Ok, fast forward a little... Were you ever into any roleplaying games on computer at the time? Did you have a computer at home, besides the Atari console?

Jason: Yeah! I had the Atari, and I got my first real computer – it was the Commodore 64 – in 1985. And I didn’t immediately start playing RPGs on there, but again, time-wise, that was when the first Bard’s Tale games were coming out, that would have been an early one for me. But some of my favorites again were kind of B-Listers, like SSI's Phantasie … I played quite a lot of Phantasie. And then as the "Gold Box" games came through I played them, and I was a D&D player as a kid as well.

The way I got into D&D was kind of funny. I guess it was around that same time, ’85 – ’86, I thought that I was interested in chess. The local public library had a chess club, and I went, and the young adult librarian ran the chess club. I wasn’t a terribly good chess player, and she must have seen that. She must have seen something else in me that suggested that I might be interested in roleplaying games, because she said, “Well, Jason, why don’t you come with me,” and in the room next to the room where the chess club was going on, were some kids – slightly older kids – who were playing a Dragonlance module. She introduced me to them, and that was my first “in” to the game.

So I never played chess again, and ended up playing D&D instead, which was kind of funny. I kind of accidentally got into D&D. That also crossed over into the computer.

But I actually didn’t play much in the way of RPGs throughout, really much of the 90’s, either pen and paper or computer based. There was this big, long gap. I’d go back and play old favorites – you know, I’d go back and play, like, Wasteland every six months, or a few other games. At the time I wasn’t into a lot of the games that were coming out. I think a big part of that, actually, was throughout a lot of the 90’s I was an Amiga user. So we didn’t get the latest and greatest games. We didn’t get the RPGs. So I sorta missed that wave as a primary customer, because I was busy using a different – dying - computer platform.



Rampant Coyote: That brings up one of the questions I was going to ask you was also about any dice & paper influences – did you any other RPGs other than D&D that you've played?

Jason: We primarily played D&D – we would experiment, every once in a while, play a one-off with some other system. We played a fair amount of the Marvel Super Heroes RPG as a break from D&D. I guess the one other game that I can think that I played more than one session of was, again a B-List, or even C-List – I’ve always been into a lot of obscure things- was a game called Cyberspace. It was an I.C.E. game. It wasn’t Cyberpunk 2020, it wasn’t Shadowrun, it was the C-grade version of the cyberpunk games, called Cyberspace.



Rampant Coyote: I have seen the books, but I never played it myself.

Jason: It wasn’t a great setup, but it was okay. I think we played maybe a half-dozen sessions. But we’d usually come back to D&D. Cyberspace was a percentile-based system, with traits and so forth. It didn’t hold together really well, but it was good enough for, you know, high school kids.


- Becoming an Indie Game Developer -

Rampant Coyote: Okay. Moving on to … transitioning from being a gamer to a game developer. Now I take it that creating an indie RPG is not your full-time gig...

Jason: It’s a terrible idea, I’ll tell you that! (Laughs) No it, unfortunately it’s not a full-time gig. I guess I could set aside even more money, and try to convince myself that I’m paying myself a salary. But, why fool around?

So no, sadly, there’s not the money in the Planewalker coffers to do that at this point.



Rampant Coyote: Hopefully AFTER the game’s released, there’ll be plenty!

Jason: That’s the dream, you know, that this is the first game, not the last game.



Rampant Coyote: Right!

Jason: But no, I am a freelance writer, primarily business technology. In fact, I’ve got a story that’s due… which, while I’m not doing interviews, I’ll be working on.



Rampant Coyote: Okay – well, hopefully it won’t take too long!

Jason: No, I appreciate spending the time talking about the game. But yeah, I’ve been successfully doing that for about a decade now. But this was something else I wanted to try, and if it doesn’t work out, I will still have my writing. All things considered, sure, I’d love to be able to do the game design full-time, and have it pay comparably, and be able to pay some of the other people I’m counting on for their collaborations comparably, as well. But we’re not there yet, and I’m not the kind of person to sell all my possessions and mortgage the house in order to do it. That makes a good story in the Sunday paper, but that’s not what I see myself doing, going on quite that much of a limb.



Rampant Coyote: It’s a little bit of an experiment. Especially as it seems you are experimenting with a lot of new ideas. You mentioned the other people, also, who are working with you. I understand many of your team come from the Baldur’s Gate mod community.

Jason: Right. These were people that I was comfortable with, and I knew that they knew at least as much as I did about game design in this vein, and figured I could count on to help out with content, and help me understand the engine that we were putting together. Or, of course, in the case of the engine, actually put it into play.

Wes Weimer kinda wrote, or re-wrote, I guess, the book on Baldur’s Gate modding when he came along. And some of the technologies we’re using in The Broken Hourglass are pretty unique. Not so much the visual technologies, but the under-the-hood stuff is very different.

So yeah, a lot of modders are involved with it, simply because I knew we’ve done good work. We’ve done work that had kept people involved with a game five plus years after its release date! So we must have been doing something right.



Rampant Coyote: So why create a new engine? Why not go with one of the engines that are already out there?

Jason: There’s not a whole lot out there that’s really ready to go. I did look into it. When we sat down and said, “If we do this game, what will it take?” [Wes] said, well, I could design an engine, or I could do X, Y, or Z. And I did a little looking around, but it’s not as simple as just going out and picking up somebody’s re-work of the Quake engine, or just picking up CrystalSpace, or whatever. There’s a lot of logic that goes into doing an RPG that you can’t just pick up from anywhere .

There are really few licensable RPG engines out there. We looked into them, and two out of the three were tied to the D20 ruleset,. Which you can’t use unless you are being published by Atari. I know in the case of the people doing The Witcher, they chose to rip out D20 and put in their own ruleset – they licensed Aurora. Took out D20, put in their own thing.

I didn’t think that would be a good option for us. Especially because Wes said, well, look, if you want to work with somebody else’s code, you’ll need to find somebody else to do that. So it was go with the programmer that I knew and felt comfortable with, and would make a commitment to me to be my business partner here, or … just find somebody random off the street, probably pay them a lot of money, and not necessarily know what I was going to get back on the other side, if I went with one of these engines that had to have D20 rules taken out of them.

That and they weren’t cheap. Its not like there’s Torque for RPGs, and you pay $500 and off you go. These things are specialized and there’s a lot to them, and so it’s big money to get a ready-to-go RPG engine like that. And things like RPG Maker, that’s just not what we were trying to accomplish, we were looking for something that would let us aim a little higher than that.



Rampant Coyote: Or tie you to a particular type of gameplay.

Jason: Right. And we wanted to aim a little higher than that.



Rampant Coyote: Another question about the engine. How long did it take you –specifically Wes, but the bunch of you – to create the engine? It sounds like it came whole cloth, and it sounds like its pretty much done now.

Jason: Yeah, it is pretty much done. We had an early morning phone call about some performance issues today. So there’s still some things where it’s like, “Oh, that shouldn’t be happening like that!” And that’s because of XYZ, and then it gets fixed.

I guess… let me think about this now… The very first version of the engine is over two years old now. The bulk of it was done during a frantic summer, maybe a five month period where Wes was between jobs. He’d finished his doctoral defense, and then became a faculty member. So there was that lay-off in the middle there where he was able to put a lot of time into the engine. And then since then, it’s been things coming in dribs and drabs, feature requests, or, you know, now that we’re plugging in this content in, things aren’t working they way they looked were when it was first getting coded up.

There is that. That’s the main part now. Because this is the first game being put together with this engine, there are the things that worked in the design document, or worked in his head, or the compiler said worked when we did it the first time. But when we pesky content designers come along and actually start putting twenty creatures in an area all trying to do this, this, and this, or put a door in that behaves in a certain way. And then it’s like, “Oh!!! That doesn’t work quite right.”

So that’s where the additional work, the ongoing work that goes into the engine now, comes in. The parts where the rubber meets the road, and the theory and the reality don’t mix.



Rampant Coyote: And here’s a question with respect to the mod community: I’ve heard it said of the mod communities – I’ve not really been involved in that myself, other than the Neverwinter Nights community for a while. But I’ve heard it said that in many of the mod communities that less than 10% of the community accomplish 90% of the work. Did you find that was true, and if so how did you work around that?

Jason: More than 90% of the work is done by less than 10% of the people? Yeah, there’s certainly are a few people who were pretty prolific.

I guess the projects that I chose to get involved in had more defined scope. So I worked on a lot of projects with one other person – Jesse Meyers – and he definitely did his part and then some. We didn't run into that much, because we - the Pocket Plane Group, the name of our site - we never really set out to do the crazy… We said we’re not going to try and do a whole game, because of all the issues that you run into trying to do a whole game, which we’ve now decided to take on in a different way.

No, we kept our goals in mind, and manageable. The stuff I was involved in, there really weren’t people dropping out, or not pulling their weight, because we saw what people who set their sights too high would end up with. Yeah, you’d end up with twenty people who would argue about what the credits should look like. You’d see what not to do, and say, “Well, okay, let’s not do this. Let’s define the scope, and let’s go after it.”

So, no. I mean, I never had any disappointment like that. It is true that a lot of the output you see does come out of the same people, over and over again, because you see that they are the ones who worked it out. They kind of got the technique down, and they go ahead and do it. But even now, six-and-a-half, seven years after Baldur’s Gate II came out, there’s still people that come along and pick up where guys like me left off, and are doing new things.

So certainly not in a negative sense would I say that most of the work is done by the same people over and over. I don’t have any negative feelings in that regard.


- On RPG Design -

Rampant Coyote: In your opinion, what makes a great RPG?

Jason: It depends! I think of the games that I’ve really enjoyed, there’s a single quality about them, I guess, but not a universal way that they achieve that quality. The quality is the immersiveness of it. Not necessarily that I believe I’m in that world, but I really believe that I’m controlling that world, and interacting with it. And I don’t want to leave it alone, because only I can save it, or only I can manipulate it in the way it needs to be manipulated, or whatever.

Different RPGs have done that in different ways. I mentioned Wasteland, and certainly Wasteland did it in a different way than I think Baldur’s Gate did it. Wasteland didn’t have really engaging characters with lots of dialog that really made you feel a part of that world. You know, Wasteland had a book of paragraphs you looked up. And I loved Alternate Reality but the first game in particular had no plot OR dialog to hook on, yet the sights, the sounds, the songs all made you feel like you really were plodding around this city trying not to get killed by Champions and Brown Mold.

There’s the sense of putting you in a situation where you matter in some way. Different games do it in different ways, but yeah, you have to make the player feel like they matter in the world. Whether that’s with a lot of different mysteries that have to get unraveled that only you can get to the bottom of, or different characters who come to you with problems that only you can solve, or that feel a certain way about you, and they’ll only ever feel that way about you, or your player character or whatever you want to call it. Or, an Alternate Reality, where you are so busy worrying about survival that nothing else matters and you get fixated on that goal.

That’s the quality, immersion, but there’s no single strategy for getting there.



Rampant Coyote: Okay, well, speaking of specific strategies… What was your principle focus with The Broken Hourglass? What did you set out to achieve when you embarked on this insane journey of yours?

Jason: We set out to make a game that hardly anybody else wants to make anymore … another game in a style in which we had become accustomed, but the market wasn’t coming up with. This character-focused, party-based RPG / Adventure where you would define a character, meet other characters that had an interesting personality that could interact with the one that you created for your character. And together you would go off and find big, important stuff to do.

So if there is a vision, it would be that we can create an engaging world full of intriguing characters and welcome players into it, and give them excuses to keep coming back to that world to learn more about it, or solve more of its problems, or screw around with the minds of more of its inhabitants.

There is this game format, and we're trying to breathe some new life into it. It had a lot of people’s attention at one time. It got pushed to the side. We said, “Yes, there’s more room to tell stories with these kinds of pieces.” The strong player character. The strong supporting cast, that are more than just a portrait and stats. They have personalities. They interact with the player character and with each other. And to that end, with those people, you go out and you experience a story.

I guess the ultimate goal being that we would create a game world where story and the characters in it were both important. I think of it like I think of successful television or movie series—you load up a good RPG day after day, week after week, year after year both because you want to see what happens plot-wise, and because you want to see how the characters deal with the plots. Even though I know Charlie Chan will reveal the murderer, I still like to see how he arrives at his conclusions. An engaging gameworld is the same way.



Rampant Coyote: In a lot of games, it feels like you are railroaded through a story, regardless of what you want to do with your character. How were you able to achieve that balance between story and player freedom?

Jason: Well, uh... (laughs) we’ll just have to see, in part. I know how we think we’re doing it. I’ve always been up front about saying that we are not a sandbox game. We do have a finite and limited and non-random number of things to do in the game. We are not procedural content people. So there’s only so much you can do, and a certain number of things you’ll have to do.

We hope that by making a lot of the decisions about what order to do things in, and to a some extent which path you’ll take to reach those goals open-ended, players won't feel like they're in a box. Not everything has to be solved in a specific way. It’s not just “obtain the sort of blah from the Foozle over here, and give it to this guy, and doing that unlocks the gate.” There are some other … some different strategies to reach the end of some of the major quests, and alternative strategies for many sidequests as well. If anything, from a design standpoint I worry sometimes that we don't have enough plots which just consist of "You meet Party A. They hate you, and conflict ensues!"

We’ll have to see! What I have in my head as enough freedom may not be enough freedom for some players. But I can’t know what we do wrong until people play the game.



Rampant Coyote: Are you planning multiple endings?

Jason: Not … well… “We’re discussing it,” I guess is the thing to say there. I know what the second ending will be if we do it.



Rampant Coyote: (Laughs) Okay.

Jason: I know what the main ending is, and there will be some variations on what that main ending depending on choices made during the game, including how fast they got to the end, what they did or did not do about some of the other things going on in the city while they were getting there.

For example, the game does all take place in this city under siege. It might be tempting to say, well, look, we’re only going to focus on the things we can identify as major, critical quest goals. Because those support the main plot, those support the impending threat against the city. So solving those fastest would be the optimum strategy. But in so doing, you might have overlooked something that, although minor or unnecessary to completing the game, would have actually been really nice if you’d have solved. Because not solving it means something else bad is going to happen in the long run. Or whatever.

So there’ll be some variations on that. As far as a completely different ending, like I said, I know what it would be. I think it’s a question of “can we tell it in a compelling and believable way?” We’ll have to see.



Rampant Coyote: And still make it a satisfying ending.

Jason: Yeah. I know what it looks like, but we’ll have to see how it plays.



Rampant Coyote: There are a few games with multiple endings that, you know, there’s only one ending that I felt was really the “true” ending. The other two were… lame.

Jason: There’s a problem with that, too. Right. Again, would it be better to do one thing really well, or try and do three different things and none of them are terribly interesting? Of course, if you do three different things and all of them are wonderful, everybody gets candy!



Rampant Coyote: Right. So the game, the gameplay of The Broken Hourglass, hopefully the first of a series, takes place almost entirely within one city?

Jason: Yes



Rampant Coyote: It sounds will be a fairly focused, intense experience, without the big world and globe-trotting stuff. Tell me about the city in the The Broken Hourglass!

Jason: Okay. Well, the city is Mal Nassrin. I made a comparison about it once, and I won’t do that again, because people got touchy about it. But it’s a second-class city in the nation that the game takes place in, the Tolmiran Empire. Basically, Mal Nassrin, is a city with a lot of history, in that it was a fairly early human settlement, and it was a city-state in its own right. And then the capital of a small nation in its own right. But early on, as the Tolmiran Empire was being formed, it was absorbed into it.

So a lot of its unique culture has been lost. It’s not really a ‘hot spot.’ Most of the mineral resources of Mal Nassrin and surroundings have been exploited by now. So there’s no booming economy in that sense. People live there; they work there; it’s not a hell-hole, but it’s not posh. It’s not a vacation destination. It’s not a hot spot – it’s not where a lot of things happen. It’s where people live, and there are some old buildings … Occasionally someone who’s a big history buff might come by, but its not a happening place.

So it’s not where you’d expect the world to potentially come to an end. But that’s kind of where the game starts. It’s, “Oh, And of all the places for it to happen, it would have to happen here!!"



Rampant Coyote: Sounds like you already have a lot detail on this game world. Where did Tolmira come from? Was that your idea, or Jesse’s, or one of the other designers?

Jason: We had a couple of world designers who put this together, and they were a couple of old collaborators of mine. Jesse Meyers was one of them, and Raleigh Grigsby. They co-designed the Tolmiran Empire over the course of a couple years. Actually it was originally… Jesse had some notions of using it for a game of his own design that he had tried to get together an Infinity-based project around. But since doing new games in that engine was really, really hard it didn’t really go very far.

But when we sat down and decided that maybe we could do something with some money, with a brand-new engine, I turned to that immediately. I am not a world-designer. It’s not something that I personally have talent for. I went to a couple of people who I knew had been working on something, and I could trust to get whipped into shape for the game’s purposes. You know, fleshing traditional things out, and giving some direction in terms of play mechanics in the rule set that we needed. So that was how that came to be.



Rampant Coyote: Besides the fact that it is for “Baldur’s Gate Fans,” if you had one or two “hooks” … you know, big marketing plugs there to say, “This is what makes The Broken Hourglass so freaking cool,” what would they be?


Jason: I… Right now we’re at the point of just saying, “Oh, we’ve worked so hard on it, buy our game!” But I know that’s not a realistic expectation.

I guess the thing I’d say the “hook” is that we are making a story for you, the player. There’s been a lot of emphasis lately… and I’m not saying it’s bad or negative or hurts people or whatever … but there’s been a lot of emphasis on building multiplayer worlds where a lot of the story or engagement is based around you and some people that you managed to hook up with and collaborate with. And you build the story around the programmed events in the game. And that’s fine.

And then there are games where the exploration is the story. They give you kind of a loose plot thread, and the story comes together in your head as you buy houses and play dress-up. And that’s fine, too, but… the way we’re doing it is: We are building a story – what we hope is a rich and engaging story – for you the player, with you in mind, for you to play on your own, to enjoy, to immerse yourself in. Certainly to discuss it with your friends and collaborate with on strategies or mods or whatever. But it is built as a single-player experience.

And that’s something that not everyone can say that they do right now. I think that there is still a need for that. The same as there is a need for group events, and there is a need for being able to go home and read a book. We are more the reading-a-book side of it.


- Coming Soon: The Broken Hourglass -

Rampant Coyote: Yeah, I’m right there with you! I’d love to see more of the good, quality single-player games. Especially those coming out of indies like yourselves, and several others. So I’m really looking forward to seeing The Broken Hourglass, whether it appears on store shelves, or downloadable. Actually, that’s another question – have you been able to cement any plans yet for how you are going to be distributing the game?

Jason: No changes there yet. We have had some conversations with publishers which were promising, but no commitments from anybody yet. If we end up doing everything direct, I have no problem with that. So one way or another, there will be boxed product and a downloadable version available. It’s just a question of who will handle it, and on whose terms.

But I am committed – if we have to produce our own, then we’ll produce our own. If somebody else wants to handle that side of it, and deal with retail distribution, then for the right consideration I am very happy to let them do that as well.

There's a new breed of "heavy" indie RPGs coming: our game, Age of Decadence, Eschalon, maybe even Depths of Peril in that department, and I think one way or another we will each find our audiences, and hopefully get to share them as well.



Rampant Coyote: The Indie Way: It’s gonna happen one way or another! You just don't wait for someone else to give you permission to make your game.

Jason: (Laughs) Because that’s what it comes down to. Nobody’s going to do it for me. Nobody’s going to beg me to put out the game. So yeah – we will. We’re doing our best, putting our best foot forward, with some of the publishers. And some have been impressively receptive, and saying that, yeah, RPGs are a priority for them. But if they’re not interested in what we have, or its not on terms that we think will work for us, then we are still getting it to players! There’s no turning back from that now!



Rampant Coyote: Okay, this is the dangerous question, and do not have to feel obligated to answer it but… If you were to look into a crystal ball and see about how soon you might be able to get it out to players…

Jason: (Laughing) Woah!!!



Rampant Coyote: …when would we be able to expect it?

Jason: (Sighs) It’s tricky. I really, really want people to be playing it this year. I so badly want it, and there are days where it looks like that will certainly happen, and then there are days where it looks like, “Oh, man, what are we doing?” But that’s where my energies are focused --- our getting the game out this year. And if it doesn’t happen, then it’ll be early next year.

That’s what I’m asking of myself, and hopefully will be able to get from everyone else involved, is getting it out this year.



Rampant Coyote: Well, I can’t wait. I sure hope so!

Jason: Yeah, me too! (Laughs) It has to end sometime!



Rampant Coyote: Yeah, that’s what I keep telling myself with my latest game, too. Hey, anything else you want to add about The Broken Hourglass, or Planewalker Games, or anything else?

Jason: No, we’re always grateful for the interest that those out there have shown in the game, consistently checking out what we’re doing, and covering the information that we have been metering out there. Every week, we put out something about the game, whether it’s something about the world, or about the engine itself, or a story in the game world, or whatever. The uptake on that has been pretty good. For coming from, kind of, nowhere, in some sense, its been reassuring, certainly, seeing that people are interested in what we’re putting together and how we’re putting it together.

We’re grateful for that, and grateful to you for taking the time with us! Certainly, I’ll keep an eye on the Rampant Games site. As people have additional questions or comments, I’ll do my best to answer anything else there.



Rampant Coyote: Well, hopefully we’ll be able to do a follow up with the game’s release some time this year and talk more about it! Hey, thank you very much for your time!

Jason: Thank you!


(Vaguely) Related Chats With Folks Who Know Their RPGs:
* Interview With Amanda Fitch, Indie RPG and Casual Game Designer
* Interview with Georgina Bensley, Creator of Cute Knight
* Scorpia's New Tale: An Interview With One of Gaming's Most Popular Columnists
* Indie RPG Roundtable
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Labels: Indie Evangelism, Interviews, Roleplaying Games

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