Tag: El Paso

Maurice Cherry:
All right. Tell us who you are and what you do.

Xalavier Nelson Jr.:
Hello. I’m Xalavier Nelson Jr., I’m a studio director at Strange Scaffold, a frequent writer, narrative designer, collaborator, working on dozens of things. I’ve worked on over 60 games in the past five years. And now my current mission is not just finding new and exciting ways to collaborate with people at my own studio and at the studios and projects of others, but also finding ways to advocate for making games better, faster, cheaper, and healthier than they are currently assumed to be made.

Maurice Cherry:
How has 2021 been for you? Have you learned anything about yourself over the past year?

Xalavier Nelson Jr.:
I think one of the primary things I learned over the past year is just how much I cared about production. I do love telling stories. I do love of putting things into a video game. I love creative content production. Writing a killer page or scene is a thrilling experience, but when I look at the things that consistently get me out of bed in the morning, that make me passionate about waking up and getting to work and collaborating with other people, it’s getting into the nitty gritty of how something comes together.

Xalavier Nelson Jr.:
The scope of a project, defining, reducing, and defining that vision of a project and how it’s accomplished in very calculated ways. The exercise of finding new and interesting formats and arrangements for artists coming together to build things together, that makes me feel alive. And so exploring those paths myself, sharing what I find along the way, and as much as I can, opening those doors for others is something that I’ve discovered I love. Now my mission is finding ways to do that again and again and again, as consistently and healthily as possible.

Maurice Cherry:
Have you thought about what you want to accomplish for this year coming up for 2022?

Xalavier Nelson Jr.:
I think the big thing I want to accomplish is, we’ve talked about this in a few forums thus far, but Strange Scaffold is moving into publishing and to have at least one of our published signed projects come out. And the exact thing that the developer wanted to bring into being hopefully substantially de-risked and shipped at a scope and form that made the project better while also making it something that they could accomplish without destroying themselves in the process. That’s something I’m really excited to do.

Xalavier Nelson Jr.:
If we establish ourselves by the end of 2022, as having a perspective that allows us to not just develop intriguing things in unexpectedly small or efficient packages, but provide those resources and that perspective to others on a consistent scale and timeline, I’ll be very happy. And it’s by all indications that were well on our way to already accomplishing those goals.

Maurice Cherry:
That’s good. Congratulations on that.

Xalavier Nelson Jr.:
Thank you.

Maurice Cherry:
Let’s talk more about your studio, Strange Scaffold. First, I want to know how you came up with the name, but like, I just want to hear more about how you started it, how it’s going, things like that.

Xalavier Nelson Jr.:
I started Strange Scaffold primarily as an engine for exploring what happens when your explicit goal for a studio is not to build a dream project, but instead to bring as many things into the world as possible in a healthy, consistent and efficient manner. So exploring how, defining the structure of your game ahead of time and considering that to be set in stone and improvising within those lines and constraints that you’ve set, essentially putting a strange scaffold in place. And then making an interesting thing in between that foundation, that was the starting point.

Xalavier Nelson Jr.:
And it pretty quickly evolved from bringing that perspective to the projects of my clients, to bringing that into projects that I originated and directed, and now sharing those resources that we built to make games in that very specific way with other developers who also want to make incredible things, but not ruin their lives in the process. Because we have so many examples of the desire or dream of what a thing could be running someone into the ground as they pursue a path towards it.

Xalavier Nelson Jr.:
And I feel like game creators and really creative professionals of all forms deserve the right to pursue and contain the same joy in their working processes that they seek to deliver to their player, users and audiences on the other side of that creative process.

Maurice Cherry:
Now, I’m looking here at the Strange Scaffold website. I see you’ve got three games that are showing here.

Xalavier Nelson Jr.:
[crosstalk 00:08:31] finished by the by.

Maurice Cherry:
Okay. All right. I see you’ve got El Paso Elsewhere, you have An Airport for Aliens Currently Run by Dogs. I think I heard about that also on Kotaku. And then Space Warlord Organ Trading Simulator. Those are some pretty interesting names for titles. And I like that each one of them is very different. You’re definitely trying to, I guess, tell different stories with each of these games, it looks like.

Xalavier Nelson Jr.:
Yeah, the idea is, again, nothing that we bring in into the world will be perfect. We are flawed human beings doing the best we can to bring encapsulations of our souls into being, that process is going to get a little messy. So coming from the starting point of none of these things is going to be perfect, but how can they be interesting? How can they be built in a way that is itself joyful? And how can they deliver and experience you couldn’t get anywhere else, is something that we want to explore in as many ways as possible.

Xalavier Nelson Jr.:
So sometimes that takes the form of an inherently joyful universe, a first person open world comedy adventure game like An Airport For Aliens Currently Run by Dogs. Sometimes it’s a sci-fi body horror market tycoon like a Space Warlord, which at the time of this publication will have come out pretty recently on Xbox Game Pass and Steam. There’s a lot of ideas pinging around our heads and finding the shortest point from A to B to express those things and move on to the next project that allows us to deliver the next piece of our souls is my priority.

Maurice Cherry:
Now, the first time that I heard about your work was through a game that currently out. I played it on the Switch called Hypnospace Outlaw. And that is such a unique… I’ll put it like this, the Switch often has very unique games. That’s one reason why I really like the Switch over say PlayStation or Xbox. But Hypnospace Outlaw really for me, just hit that sweet spots for early internet nostalgia, like the late ’90s, early 2000s Web 1.0 aesthetic, just like, “Oh, I loved it. Love it so much.” How did you get involved with that game

Xalavier Nelson Jr.:
As a teenager actually. I met Jay, as in Jay Thole, the creative director of the game when I was a teenager playing an early version of one of his previous games. Dropsy. Dropsy is a game about a misunderstood, horrific-looking clown who wants nothing more than to bring joy and love into the lives of the people he meets, no matter how much they despise and/or fear his initial appearance. And playing that game, delivering feedback that he took into consideration, and I saw coming to being in the next versions.

Xalavier Nelson Jr.:
And coming to understand how myself and Jay Thole are both Christians. I’ve been raised around a lot of Christian media, which tends to have mixed results, and finding something that was such a perfect encapsulation of what is intended to be the spirit of the faith, sacrifice and deep unconditional transformative love. And how that could be conveyed in a game about something else entirely different, when all I’ve been raised around was for the most part art, where the only thing that justified its existence was that it had a Christian label or would uphold dogma.

Xalavier Nelson Jr.:
That changed my life, changed my perspective, had a huge impact on me. And we stayed in touch, continued to bounce off each other creatively. And when he revealed Hypnospace Outlaw and continued to go down the path of developing it, eventually he was kind enough to bring me aboard and I got to directly collaborate with him and the rest of the team as a narrative director to serve a double purpose. The first being, writing a whole lot of stuff and doing a lot of narrative design to convey the themes and stories that they wanted to tell in that world.

Xalavier Nelson Jr.:
But also how to structure those stories in the game flow and progression such that it delivered those themes and made a game of infinite scope. Because when you’re simulating the internet, you can just keep going forever, finding a way of taking existing material and material yet to be created in creating a flow that made it to where we could make all of these things within a human lifetime, in a way that was faster, cheaper, healthier, and more efficient than we originally considered in my it even be possible to do so. We ended up pulling it off.

Xalavier Nelson Jr.:
It got rave reviews, it got nominated for a lot of awards. I’m still friends with the team and we still talk about potential collaborations in the future. So as much as you can judge a collaboration be successful, I certainly am happy with what happened coming out the other side of that.

Maurice Cherry:
I’m glad that you unpacked a bit about what narrative design is, because that’s what I was about to ask. But as you put it, it’s not just, “Oh, we’re writing the dialogue,” but you’re also looking at how that fits into the overall structure. So it’s like writing and almost producing and directing all wrapped up in the one, it sounds like.

Xalavier Nelson Jr.:
It depends on the role, when you’re a narrative lead, it certainly gets more into the structure and vision of the overall project as well as potentially managing elements to accomplish that. But narrative design, being the practice of looking at all aspects of a games experience to tell a story. And then collaborating with people to bring that into being as opposed to a writer, which in many teams can also hold narrative design duties, but their primary job is to write dialogue, write things that will be depicted as text on the screen.

Xalavier Nelson Jr.:
It’s a big part of the ambiguity here, because there is a lot of overlap, but there’s very distinct ways in which if you have a killer writer or a out of this world narrative designer, and you put them in a position to focus on their particular intersection, it can genuinely transform the way in which a game comes to life.

Maurice Cherry:
Now, the game that you’ve been working on that just came out recently, Space Warlord Organ Trading Simulator. I love have to hear the inspiration behind that. Just from the title alone, it sounds a lot to digest at once perhaps. No pun intended.

Xalavier Nelson Jr.:
The pun is very much appreciated though. The inspiration point, it’s twofold and there’s a lot of different rabbit holes that can be taken. But at its basis for warm, I was sitting in a doctor’s office, a man not wearing doctor’s clothes walked in, closed the door behind him and said, “Well, I’d like to see my insides.” And in that moment I had one of two decisions. The first was, do I run and get out of here and start screaming? Or two, do I keep going along these lines because whatever happens, I’m going to get an interesting story out of it?

Xalavier Nelson Jr.:
And I ended up going the story direction and I didn’t end up getting murdered. Turns out this was a nurse practitioner, someone who was in process of doing their rounds and I guess accomplishing their residency and they needed practice with ultrasound machine. So I got to watch my heartbeat, my lungs breathe in and out, my liver function, and being connected to the tangible reality of the invisible processes that made up my life. Every moment of every day was such a point of perspective, of being exposed to something bigger than yourself.

Xalavier Nelson Jr.:
It sounds odd, but looking inward can be as perspective-broadening as looking outwards. So looking at this marvelous, complicated fleshy machine that we are and seeing it working had a big impact on my perspective. So, years later, that ends up culminating in a game about buying, selling, and trading the one thing everyone has and needs in a strange and evolving universe, organs. Because if there’s anything that is as large as space or the universal language of commerce, it is how much our equations of value or inherent value change as soon as you slap a dollar sign on something.

Xalavier Nelson Jr.:
It can be a plush beanie baby, it can be a green piece of paper that says one on it, or it can be a human heart. But as soon as you assign and agree upon a shared belief and value, the world changes in some small and inexplicable way that is very hard to reverse once it happens. And exploring those implications has been a very fun and hopefully compelling… Has been a very fun process that I hope has resulted in the compelling result.

Maurice Cherry:
I don’t know why for some reason, when I first heard the name and then I saw it on Steam, and we’ll have a link to it down in the show notes so people can check it out. I saw that and the first thing I thought of was Spaceballs. Have you seen Spaceballs before?

Xalavier Nelson Jr.:
I am familiar with Spaceballs, but I’ve never properly seen it.

Maurice Cherry:
Okay. That’s your homework, you have to see Spaceballs. I want to see what you think about it-

Xalavier Nelson Jr.:
Got it.

Maurice Cherry:
… after you watched it, but-

Xalavier Nelson Jr.:
Putting it on the list.

Maurice Cherry:
… I don’t know. I saw it and for some reason it got me to thinking about that movie for some reason, even though I’m sure the game is not… Spaceballs is clearly a parody of Star Wars, but your game is not a parody of anything, but for some reason my minds made that connection. I guess, because it’s space and it’s trading and all this sort of stuff. But what does your process look like when you’re creating a game? Because as you’re explaining both this game, as well as the games that are currently on the Strange Scaffold website.

Maurice Cherry:
It seems like you put a whole lot of thought into like the ethos and the soul of what the game is about and less about maybe the final product with graphics and all that sort of stuff.

Xalavier Nelson Jr.:
Yeah. Going into the process of how a game or any creative production comes into being is potentially very complicated, but I do try to think of any creative work, which I embark upon. I’ve worked in comics, I’ve worked in other mediums, sometimes in forms that I can’t talk about because of NDA. But I’ve worked in a lot of different mediums, communication styles, genres, and the thing that binds my approach to all of them together is a sense of what brings this to the finish line? And how does every piece of this experience reflect the perspective which birthed it?

Xalavier Nelson Jr.:
So the term I like to use for this idea is a prism. Ideally, at least when you’re working on tightly scoped projects, filtering every element of the game through a central prism or perspective. Following those logical conclusions, those leaps of perspective that are grounded because they remain in the same foundation. That drives everything in terms of how I at least approach the directing process. So in An Airport for Aliens Currently Run By Dogs, the question emerged inside of the team at the beginning of the project, how do we handle currency?”

Xalavier Nelson Jr.:
How does the player get more money? How do they spend money? How is money and currency represented? And at that moment, I took a step back and I thought about it for a moment and I said, “There is no money in this game,” because the prism, the perspective of the game world is what does it look like for a truly utopian society run by stock photo dog? A universe that is inherently joyful and cares about you specifically. A game that’s playing with you as much as you’re playing with it. How does it communicate with its players?

Xalavier Nelson Jr.:
What are the elements of its world? What is the logic it runs upon? There’s a lot of interesting things you can do with currency or money in that world, but for me in that moment, the truest reflection of the world we wanted to create was one where dogs don’t care about money. A dog isn’t going to not give you a ticket to a FOBO just because you’re $1 short. If anything, they’re just going to give you the ticket or they’ll give you 50 tickets, just because you asked for it. Because they want to be helpful, because they want to see you happy.

Xalavier Nelson Jr.:
Because your joyful existence is more important than exchange of goods and services. Following decision processes like that, of what is this world attempting to express and how is it communicated through every layer and element of the game has become an essential piece of any of my work whether I join as a director or as a contractor. So I really value at this point, the idea of cohesion and how much agency I’ve been allowed in my different assignments to bring that perspective to bear, because sometimes you don’t have that ability.

Xalavier Nelson Jr.:
You can run into a project or string of projects or a career of projects where not only are the products disjointed, but your ability to bring any unity to them is nearly absent. So there’s a mixture of skill and execution here, but I’m also just deeply thankful that I’ve been given the opportunity and specific scenarios in which my skill in this area has been allowed to shine.

Maurice Cherry:
That’s interesting when you say that about the dogs not needing money, because I guess, yeah, that makes sense. But to have no currency, what about treats? I don’t know. I guess it’s your game, but I’m curious when you said that about the money, that does make sense now that you’ve pulled back and really explained it in that way. Because what are they going to spend it on? Is there also a supermarket run by dogs? How does that all work? So I get that.

Xalavier Nelson Jr.:
And the dogs would just give each other stuff at the supermarket if they have it [crosstalk 00:23:27]-

Maurice Cherry:
Right.

Xalavier Nelson Jr.:
There’s different tree treatments you could do of this definitely. There is a world where there’s much harsher dogs. There are dogs who do demand things in the game. A lot of it is a straight up barter in the project as opposed to using an abstract concept like money. But all in all, yeah, at every single step we ask, “How would this work in a joyful universe? How would this work if dogs were deciding how this should function?” And in many cases, the solution was one that was more kind and more interesting than anything that existed in the real world.

Xalavier Nelson Jr.:
And that caused a moment of reflection, at least for myself, whenever that occurred in the project for even how rarely we get the opportunity to imagine a better world. It can be very cathartic to create work that allows you the opportunities to explore that because Lord knows with the 24-hour news cycle, it can be difficult to bring yourself to that point when you’re scrolling through Instagram and it feels like the world is on fire.

Maurice Cherry:
Yeah, that makes sense. So I want to switch it up here, but of course we’re hearing about you as a game developer, studio owner, narrative designer, but I want to know where this all originated from. So tell me more about like where you grew up.

Xalavier Nelson Jr.:
I grew up all over the place. I was a military brat and that perspective in itself traveling so many different places seems so many different perspectives and cultures, has been in a massive contributor to me becoming who I am.

Maurice Cherry:
Can you talk about some of the places where you grew up?

Xalavier Nelson Jr.:
Yeah, I was in South Korea, I was in Italy, I was in Germany, I was all over the United States. And I’m now based in the Southwest, El Paso, Texas, so been a lot of places.

Maurice Cherry:
Okay. Now I guess while you’re of course traveling all about with your family because of being a military brat, did you get to experience just a lot of different design and tech and all that sort of stuff growing up?

Xalavier Nelson Jr.:
Yeah. And to top it all off the fact that my dad was so interested in tech when I was growing up, had no doubt a massive impact. One of the earliest photos that exists of me is I am an extremely chubby baby sitting on my dad’s lap with a unplugged controller in my hand, wrapped attention towards a screen that isn’t in the frame while my dad is looking towards the exact same thing, because I thought in that moment that I was playing the game right with him. And in a sense I was, and now, I send him free video games. So, it all works out.

Maurice Cherry:
Do you know what game it was that your dad was playing?

Xalavier Nelson Jr.:
No, but I do remember certain games for my childhood in a lot of different contexts.

Maurice Cherry:
Oh, like what are some of those games?

Xalavier Nelson Jr.:
One of the big ones was Morrowind.

Maurice Cherry:
Okay.

Xalavier Nelson Jr.:
My dad played it on the original Xbox, the first console with a built-in memory. And he played hundreds of hours of that thing. And I would watch him be enthralled by this world and I, of course wanted to be like my dad. I was like, “Can I play? Can I play? Can I play?” He finally let me do it. And I was like, “Yes, I’m in the world of Morrow ind. I have read this manual from cover to cover dozens of times.”

Xalavier Nelson Jr.:
And I make a little bit of head way through the game, not really understanding it because it’s a more classic RPG and still having a good time with it, but not really understanding what I’m seeing. I save my game and I log off, a few hours later, I hear this on earthly moan. I walk into the front room and there’s my dad just staring at the screen, because I have overwritten his hundreds of RSAs with all the armor and all the weapons and [crosstalk 00:27:36]-

Maurice Cherry:
Oh, no.

Xalavier Nelson Jr.:
… with almost half of his own everything with my misspelled main character in his underwear in the middle of the town square that you first get to. And he was like, “Did you do this?” And I was like, “I do what?” And he explained to me, “You deleted my save.” I was like, “Oh, oh no.” So he went back to it, and if anything, he went back to it harder than last time, it was like the Rocky training sequence, I was so proud of him. He put a blanket over his head, he put a blanket over the TV, he went for it.

Xalavier Nelson Jr.:
He’d work, he’d come home, he’d get it in because he is a good dad. At some point he says, “Yes. Okay. You can play again.” And I start a new game and I get a little bit of weigh in, and I meet an elf who I really hate. He’s just a real son of a bitch. I close the game and I come back out, and it’s very rarely that I’ve seen my dad look defeated, just deflated as a human being nothing inside of the husk, that is his body. But he was sitting, he didn’t even, there was not even the sound or really a conversation, he says, “Was this gone?” And he just like Sisyphus was rolling the boulder up the hill again. And he-

Maurice Cherry:
Oh, what, you saved over it again.

Xalavier Nelson Jr.:
Yes. I believe [crosstalk 00:29:03].

Maurice Cherry:
Oh, my God.

Xalavier Nelson Jr.:
The third time he didn’t go for it as hard, I think he knew what was coming. Eventually, I asked him, “Hey, can I play the game?” And he is like, “Are you going to delete my save?” I was like, “No, I know how to do it this time. I’ve seen you save, I’ve been watching. I know how to do it.” I didn’t know how to do it. I deleted his save again. And when he stopped playing it in defeat, he’s never turned to that game ever since. I lost interest because it was cool because my dad was doing it. So lesson of the story here is, one, this is on him because he shouldn’t have kept letting me play it. And two, it’s even more on him because he never showed me how the save menu worked. You can tell a five-year-old how games saves work.

Xalavier Nelson Jr.:
You can explain the concept. I’ve thought through this for years now, there is a way five-year-old me could have been told about how save games worked. But that process was not undergone, and so consequences were followed and I do feel very bad about it. Every time I can’t log onto my Xbox because he is using the console profile in a different location to have access to my game pass. I’m doing my little bit to pay back the horrible price I incurred by destroying his dreams early on.

Maurice Cherry:
That’s a good son, that’s what a good son should do. That’s good to hear.

Xalavier Nelson Jr.:
Absolutely.

Maurice Cherry:
Although now I feel completely old now that you mentioned Morrowind. I was like, “Jesus.” I was in college when Morrow ind came out. I remember the game though, I probably didn’t get as far as you did though. When did I start playing? Not in 2002 certainly. Probably like in maybe ’05, I think I had an Xbox then. And I don’t know, I could never get out the first town. I kept getting killed by rats and I was like, “Eh, forget it.”

Xalavier Nelson Jr.:
Yeah. Because it had a D and D chance to hit. So you would hit it and you wouldn’t know, you’d have to look in the bottom left corner of the screen to be like, “You missed. You missed, it’s before.”

Maurice Cherry:
Exactly. That’s not all my fault. So no, I.

Xalavier Nelson Jr.:
What we’re learning in this episode is that abdication and responsibility is good actually. It was my dad’s fault, it wasn’t your fault. It was Morrowind’s fault. We can always find someone to blame and that’s the real takeaway of today’s show.

Maurice Cherry:
All right. And speaking of that, when it comes to games, you first got into, well, it sounds like you first got into the gaming industry as a games’ journalist as a 12-year-old. Is that right?

Xalavier Nelson Jr.:
Yeah. Pretended to be an adult.

Maurice Cherry:
You got to tell me how that happened.

Xalavier Nelson Jr.:
That’s the story in a nutshell, I was 12 years old. I found out that games journalists get games for free. I thought, “Oh wow, there it is. It’s the perfect job, free video games.” And I, as a very driven and precocious young man, pretended to be an adult and somehow I got away with it, and that started what has now been a… Oh, it’s been over a decade in the industry. And people I met back then I have since worked with, and I’m now colleagues with, and everyday I am thankful for not just that journey, but how clearly I can see the journey at every step in my life. I can see the impact that God has had in directing that path, whether it was good or bad, everything came together to produce the person I am now, and the perspective I have.

Xalavier Nelson Jr.:
And so much of what I’m trying to do is without having to go through similar pain in part, any of the things that I’ve learned or discovered along the way to the people that I meet, if I manage to… I think it’s really important to put on your own air mask before you assist other passengers to use an airline reference or metaphor. But I also think none of this stuff really matters if it only goes to benefit me. If I just, even if I make hits, if these games come into the world and all they do is make money.

Xalavier Nelson Jr.:
Money is important, it pays bills, it allows for agency and freedom and a quality of living that’s important and aspirational. But if I work with someone and they don’t come away having learned something, if I come away from working with someone and haven’t learned something, if I am not through my working processes, enabling the people around me to do their best work in the healthiest environment possible, it doesn’t matter what we’ve produced, because the purpose of making that thing has already been lost. What point is a perfect game, If you lose your soul along the way? Or if you never make another thing again.

Maurice Cherry:
I was curious to know, as you started out so early in this industry writing about it, reviewing games and such, did any of your colleagues know that you were that young?

Xalavier Nelson Jr.:
From what I understand, most didn’t and I don’t know what that says about either my skills for disguise or about my industry in terms of maturity level, but yeah, I somehow skated by.

Maurice Cherry:
Do you think that your work as a journalist really helped you out as a narrative designer?

Xalavier Nelson Jr.:
I think the work I did as a journalist helped me as a narrative designer in a few ways. The first is, I did all of my professional bad writing very early. I got all the bad words out, hopefully, so now I can write good stuff. But the second major thing that I think about in terms of journalism is, when I got older and really leaned into attempting to understand artistic intents and artistic processes and how and why things came to be, or when the creator intended something, why that didn’t emerge onto the screen. And the things that led to that course of events, that gave me an inherent empathy for the people I would come to work with as well as an ability to examine, what was something trying to communicate?

Xalavier Nelson Jr.:
Like reverse engineering, what was something trying to communicate and how, and what pieces of an experience didn’t contribute to that process, led to me now attempting to bring those things to life myself in as cohesive a manner as possible. And I certainly won’t claim to get it right 100% at the time, but I can see how my history as a journalist coming to treasure these things and learning how to form these opinions and thoughts in such a way that I could share them with others and have them be disagreed with or agreed with or spark interesting discussion. It was an incredible training ground, and I’m so thankful that I had the opportunity to come up through that direction.

Maurice Cherry:
What do you ultimately want to accomplish as a game developer? It certainly sounds like, one, your faith factors a lot into your work, just in terms of how you approach the games and it sounds like even the mechanics and the whole ethos behind it, but then also you’ve mentioned earlier about wanting to provide just a more holistic game development experience. At the end of the day, when all is said and done, I’m using a bunch of different metaphors here, but what do you want to accomplish as a game developer? Is there like a bigger goal or message at play here?

Xalavier Nelson Jr.:
The average game developer career lasts about three years. If there’s anything I accomplish in my lifetime as a commercial artist, as a creative professional, I want to see the average career length for someone working in games to be 20 years, 30 years just like Martin Scorsese, says he can be 70, 80 years old, still making interesting films. I want to see games professionals have the same ability to discover what their next story is going to be, what the stories they could deliver if their careers just lasted a little bit longer.

Xalavier Nelson Jr.:
If they had that ability to hit that next rung in the ladder, if they had that ability to fashion their craft that much more. The fact that we get the games of creative potency that we have now, given the relative lack of seniority, we have the ability to crew in, in the industry because our mentors, our elders are few and far between. I treasure and look forward to a future where we find out what breathtaking things can come into being when people have been making these for 30 years instead of three.

Maurice Cherry:
So overall, what are you excited about at the moment? Of course, you got a new game that just came out. Of course, congratulations to you on that, but what are you really the most excited about right now?

Xalavier Nelson Jr.:
I think the thing is I’m most excited about are honestly the projects. This sounds corny, but it’s the projects made by my friends and colleagues and peers in the industry right now. Games is legitimately a more vibrant, diverse, creatively executed and broad communicator of artistic intent than it’s ever been. The golden age of games is happening right now. And it’s because of the people I often find myself having the ability to work with, no major end point to that other than, “Dang I’m thankful.” And wow, I can’t imagine what it’s going to look like 10, 20 years from now, especially if we can create working conditions to where the folks who are doing this amazing stuff now can continue to evolve their craft and be making things that far into the future.

Maurice Cherry:
Now for people that are listening to this that want to also get into developing games, what would you recommend to them? Any resources or any kind of course of action that they should take?

Xalavier Nelson Jr.:
The most important thing I would recommend is make games or make anything really with the resources you have right now. If you don’t have money, find out what kind of game you can make with no money. It’s possible. That’s to where I started. If you are a fantastic artist, look at how a game can uniquely leverage your art. If you’re a musician, look at how within the resources you have, you can express things that no one else would think to do.

Xalavier Nelson Jr.:
Or frankly could if only because they have more resources, we tend to forget how sometimes having more resources can be a limitation in itself because it forces the solutions you are finding to take pretty similar forms to things that are successful right now, or that have been done in the past, depending on the environment and which you’re working. So yeah, wherever you are, whatever you have, look for how you can be making something right now, because not only will that advance your portfolio, but whenever you bring something into the world, finish and release it, you learn something about yourself, you learn and what to do, you learn what to not to do, you learn something about who you are. I say you deserve to learn as fully as possible who you are, wouldn’t you?

Maurice Cherry:
Yeah, sure. Why not? What do you think you would’ve done if you hadn’t gone into game development? It sounds like you had such an early start. Was there anything else that you had in mind even?

Xalavier Nelson Jr.:
My very, very first job was doing landscaping for a cult. Do not recommend it.

Maurice Cherry:
Wait, wait, wait, wait, wait, landscaping for a cult?

Xalavier Nelson Jr.:
We’re going to move on from that.

Maurice Cherry:
Okay.

Xalavier Nelson Jr.:
But after that, what I got into and what I loved was librarianship. Library science, the practice of serving customers in a community through libraries. I found opportunities with the resources I had and the place that I had in the communities that I was in to end up being a children’s librarian, not just one time, but multiple times. And I loved it. I love what libraries represents. I practically grew up in libraries. The role libraries have in society, the continuing relevance they have, as well as the impact you have on patrons in that environment.

Xalavier Nelson Jr.:
Sorry, I’m getting a little bit emotional in this end, but I loved every single one of those kids who walked in through the door. I loved every single person who came in and didn’t know what they were looking for and came out with a book that ended up changing their lives. I loved every single one of those ridiculous ass romance novels that ended up being, this is a fun fact. Romance novels are the most checked out thing in a library, at least in my experience. Romance readers read voraciously, they’re constantly cycling through those books, same books going in and out, in and out. They’re the secret lifeblood of any library circulation.

Xalavier Nelson Jr.:
And yeah, every single one of those books and the joy that they brought the people who read them. I loved those books and I loved every single one of those people, and I loved everything about that profession. If it didn’t require that master’s in library science to become a quote unquote proper librarian, I might have still even having started my career in games so early, I might have still done librarianship anyway, because if it’s not creative production, if it’s not making games or comics or something in linear media, like film or television. I’ll tell you what feels like home to me, it’s the walls of a library.

Maurice Cherry:
Where do you see yourself in the next five years? What kind of work do you want to be doing?

Xalavier Nelson Jr.:
Aside from in a library?

Maurice Cherry:
Sure. Why not? I’m sure there’re more games out down the horizon. I’m sure.

Xalavier Nelson Jr.:
Yeah. In five years I see Strange Scaffold as a vibrant constellation of projects and people that are sustainable, healthy, and unexpectedly ambitious and well positioned to remain so for the foreseeable future. If I could do exactly what I’m doing now for the next five years and the rest of my life, I would be very happy indeed.

Maurice Cherry:
Well, just to wrap things up here, where can our audience find out more information about you, about your work and everything online?

Xalavier Nelson Jr.:
You can find my ridiculous Twitter at twitter.com/WritNelson. When I’m not posting puns, I am talking about our projects and how and why we bring them into the world. We have a Patreon at patreon.com/strangescaffold where you can get early access to our work, as well as do things like get pictures of your dog, into the games that we’re bringing out now and get custom content into some of the projects we’re still developing, such as Space Warlord Organ Trading Simulator.

Xalavier Nelson Jr.:
And lastly, I work on a lot of games. So if you look on a PlayStation or an Xbox or a Nintendo platform or on Steam, running into something that I’m working on is, or have worked on, there’s a better chance than not that you’ll find it pretty quickly. So Strange Scaffold is the name for a lot of my collaborations, but for a step outside of that, like Skate Bird or Hypnospace Outlaw, if you like one thing we’re doing, there’s a vibrant thread of work to be followed.

Maurice Cherry:
Xalavier Nelson Jr, I want to thank you so much for coming on the show, one, thank you for sharing your really unique look into game development and your very, I think honestly inspiring story about how you even just got involved into games. I love that you really are thinking about not just the stories that you want to tell throughout games, but also how you can make the industry better as a whole. I think that’s something that probably, I don’t know if many other game developers are doing that, but it seems like that’s something that you really tapped into and are trying to put forth. And the games that you’re creating are fun and unique, and I just want to see more of what you’re going to accomplish in the future. So thank you so much for coming on the show. I appreciate it.

Xalavier Nelson Jr.:
The kind of words mean an immense amount. Thank you.