February 28, 1989

Tomi may move to Paris to run Broderbund France. Her maybe-future colleagues, Dominique and Veronique (whom she calls “the puppies”) stopped by this morning and I gave them a demo of POP. They flipped. They love it. They want to sell it in France. I told them how valuable Tomi’s input has been on the game design (can’t hurt, if she’s going to be their boss).

In the afternoon, I demoed the game for Gary and Dianne Drosnes, who is in charge of acquisitions and licensing.

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March 3, 1989

Doug told Tomi that POP is the only product Broderbund has in the works that he thinks will be a hit. “It’s been four years since we had a hit,” he said.

Joe from Tech Support cornered me and talked for ten minutes about how my game is “setting a new standard.”

All I have to do is finish it.

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March 20, 1989

I called up Avril Harrison, highly recommended graphic artist, to ask if she could do a title screen for POP. She’ll come by tomorrow morning to see the game and show me her samples. She charges $30 an hour.

Last night I went to Tower Records and bought a bunch of the stuff George’s friend Erik recommended – Lloyd Cole, Grace Jones, Tom Waits. Blew $100 in thirty minutes.

Avril Harrison is a bargain.

Started working on the title and demo sequence for POP… double hi-res unpack routines… according to schedule. I’m a little nervous to be forging ahead like this, considering the millions of bugs I’m leaving behind (for now), but if I don’t plunge into it, it’ll never get done.

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March 21, 1989

Hired the lovely and talented Avril Harrison to do a IIGS title screen for POP. She’s Scottish. And married.

The title and demo sequence is taking shape. It’s a lot of logistical hassles with disk access and memory management. Robert lent me his double hi-res unpack routines. Another few days and all the major pieces will be in place.

I’m obsessed with this Tom Waits album (Big Time).

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March 23, 1989

Sophie K. is going to be my marketing manager. That sucks. I want it to be Latricia.

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March 24, 1989

All day alone at the office. The game now fits on a single two-sided disk and seems to be working pretty well. Now I’m home on my Mac, working on the story line and opening sequence.

The game is definitely entering a new phase. The serene, solitary part of it (two and a half years) is ending and all kinds of other people are getting into the act. My job now is not just trying to make a fun game, but getting people excited about it, and, to a degree, orchestrating their efforts, without stepping on their toes or impinging on their territory. The world has left me alone for two and a half years, and now it’s bursting in.


I’m not ready. There’s so much work still to do.

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