Maybe that title should have read: Storyteller; Life Traveler; Dreamer. Or maybe Modern Renaissance Man, but that sounds a little like putting on airs and also sort of the antithesis of the current world of extreme specialization.


For a moment, let’s skip past the high narrative and do a little nitty-gritty. I’ve got a half-dozen science fiction novels (unpublished) under my belt. Most of them have been used as practice for television pilots or screenplays. Many of them cross lanes into the military genre. A great example is the military science fiction novelette, Jovian Wolf. Jovian Wolf on Amazon. It follows the exploits of a small fire team of Immortals who spend the bodies of volunteers in the hunt for a terrorist. It’s even been adapted as a screenplay. Jovian Wolf Screenplay.

A little lighter fare that stays in the military science fiction lane? Mech Academy follows a set of gifted high-school-aged cadets who are drafted into military service in the defense of the Earth — with the help of an alien city. Mech Academy: Pilot Script

Original characters, check. But how nicely do I play with existing characters and IP? For the past few years, I’ve been drafting spec scripts for the big six in an attempt to break into TV writing. A frequent piece of feedback I get is: “You’re too old.” But we only live once, and there’s a lot to check off on my career goals sheet. One of which is to be a contributor in a writer’s room. So I draft TV specs. I’ll go the comedy route on this one, with a spec of Star Trek: Lower Decks. ST:LD Mustache Diplomacy Spec.

While not all game writing is a direct 1:1 with screenwriting, many of those techniques are leveraged heavily with filling in the cracks of a game. For instance, character voice and barks are an inseparable pair. One of my greatest joys in creating characters for the indie MOBA, Hero Bash, was writing player feedback responses that could convey a character in a handful of words. The game itself is cartoony and over the top and sadly never found an audience. Hero Bash Voice Lines.

About this time, you’re probably thinking: the resume lists paid work! And thank you for riding the adventure this far. A big break came in the way of being paid to write interactive fiction for Tales. My flagship title with them, The Ice Breathes, continues to make appearances on the top 20 list a couple of years after its completion. It’s been called a light RPG by some. As far as branching stories go, it stretches what the engine was possible of creating. Stealth action sequences that would fit right in with Splinter Cell or Metal Gear Solid play out in a choose-your-own-adventure style format. Branching dialogue abounds. I would have led off with this, but the barrier to entry by Tales’s app is very cumbersome, and I wanted to be sure you were sold before you jumped through a bunch of hurdles. The Ice Breathes on Tales

If you want more, I’ve written biographical novels such as The Last Lot with a View, a ton of TV Specs (just ask), novels of barbarians vs aliens, many dozens of short stories, a few produced TV commercials (local budgets, but still rad), a season of Improv (I don’t have the rights to post any), a set of sappy love songs that only my wife gets to hear, and another half-million or so words that are better off forgotten.

Also, way back before doing all this writing, I was a game developer. I know games through and through. And while, if locked in a room for a hundred years, I could put out a super awesome game on my own, I prefer to limit my focus to writing these days. ‘Cause you know, specialization.

Don’t be afraid to say hi. — Kristopher