Interview: Nate Simpson On Comickybook Nonplayer

David Valjalo swings by to talk to game industry veteran turned comic creator Nate Simpson (Demigod, Supreme Commander) about his MMO-themed graphic novel that was conceived on the toilet, how everyone thought Demigod would go toe-to-toe with League Of Legends, and why he believes game addiction is real, and coming for us all.

Image Comics’ Nonplayer is a beautifully drawn and coloured book that brings to mind the delicate lines and pastel-wash hues of some of comics’ finest. But the real hook? It’s all about games. Specifically, it’s about what happens when a hobbyist player assassinates a celebrity NPC and how both the virtual and real worlds go ga-ga with the repercussions. With its finger fully on the pulse of MMOs work and the inner lives of game-playing folk carry on, it’s no surprise to find its creator’s CV steeped in games. Nate Simpson’s biggest break was when he lead the art direction on strategy hybrid Demigod. Here, we talk all things games, comics and why Demigod’s failure wasn’t the developer’s fault…

RPS: Tell us about Nonplayer – where the idea came from…

Nate Simpson: I guess the short answer is that it happened on the toilet. I’d quit games about six months earlier so I could work on a screenplay for this big space opera called Gordon And The Stareater. I’d been tinkering with versions of that story for nearly a decade, and it was going to be my great magnum opus. And it turned out not to be all that good. I’d wasted half a year’s worth of money, and all I had to show for it was this terrible, impossible-to-fix pile of crap. In that moment of despair, one of my friends, this guy named Ray Lederer — who did concept art for Skyrim — he told me I should maybe back away from the movie idea and try a comic. It was a huge relief to even consider a life without the Stareater burden on my back.

I guess I had a backlog of stuff I’d thought about that hadn’t made sense as part of the Stareater stew – ideas about the Singularity, advances in gaming, advances in robotics – and once I’d freed up the bandwidth for something new, it all just came flooding out. I think I had all the basic plot points worked out over about half an hour. It’s the only time in my life I’ve ever experienced that kind of all-at-once creative surge.

RPS: How did your time working in games influence your decision to move into comics? Are game writing and designing skills transferrable to comics writing and creation?

Nate Simpson: Well, I’ve never really played a major role in game design, but I’ve done a lot of concept art, and that skill-set is certainly transferable to comics. Especially the tools. I don’t think I’d be able to do comics at all if I didn’t have a Cintiq [Simpson’s Cintiq is pictured below], for example, and that was a gadget that I discovered at Gas Powered Games.

I think a lot of guys in both comics and games spend a lot of time looking wistfully over the fence at the other side. When you work at a game company, you’re a small part of a big machine, and you don’t have a lot of control over what you’re doing. If your company needs to do a My Little Pony game to stay afloat, that’s what you’re going to do for the next year and a half. But a lot of comics guys envy the financial stability and the relative predictability of working in games. And weirdly, even though game developers crunch a lot, the schedules are a lot less brutal than comic schedules. The comic artists I’ve met are mostly nervous wrecks, with the exception of a couple of guys like Ryan Ottley and Brandon Graham.

Obviously, my exposure to the games industry informed a lot of the themes in Nonplayer. I had an unusually intimate view of the sausage being made, and it’s really interesting stuff. Nonplayer probably wouldn’t have existed if I’d just been an oil painter or something.

RPS: Specifically on the process working on Demigod. What trials and tribulations did you go through on that project, what did you learn?

Nate Simpson: Demigod is a great example of everything that can go right and go wrong with a game. The team was one of the best I’ve ever worked with – everybody had a great attitude and we believed in what we were making. There were so many opportunities to be genuinely creative with the way the game was presented, and it was one of those rare cases where the money people and producers had a very “yes, and” attitude in brainstorming sessions. I think the game ended up looking pretty interesting because of that.

At the time, we thought we had a real blockbuster on our hands. Our primary competition were the guys doing League of Legends, and the advance press was that we had the more interesting product. Ha! Now those guys own the universe, and nobody’s even heard of Demigod. In the end, our game was hobbled by the publisher, who insisted on handling the networking code on their end, but didn’t have either the time or the manpower to do it right. They ended up just shipping it broken. So we had this great multiplayer game that nobody could actually play when it shipped. That pretty much killed us.

RPS: How did the deal with Image come about?

Nate Simpson: I’d been posting some of the early pages for Nonplayer on my blog, and it had attracted the attention of a few industry people. At the time, Joe Keatinge was still working at Image, and he’s a big lover of that European clear line style, so I had an advocate there.

RPS: How about the film rights deal? Any news on the film production/direction?

Nate Simpson: The film stuff happened after the comic debuted at Wondercon. There was a little bit of buzz for a few weeks, and a number of movie people contacted me. It was strange. I guess production companies contain a lot of comics geeks, because Nonplayer wasn’t really that widely known. Anyway, I flew to LA and got to talk to a few production companies. I’m totally ill-suited to pitching stuff, though. I remember meeting a couple of producers at this breakfast place and going off on this tangent about how they should make a movie series based on the Riverworld books by Philip Jose Farmer. I could see they were ready to change the subject about five seconds into it, but I couldn’t make my mouth stop moving. So embarrassing. Regardless, I guess I didn’t screw up too bad, since they ended up optioning the book.

I don’t have anything to report on the film’s progress. I handed off a synopsis of the entire story months ago, and I haven’t heard much since then. Hopefully good things are happening!

RPS: Nonplayer revolves around the MMO – why choose this genre as subject matter?

Nate Simpson: I’m really interested in game addiction. I’ve seen lives ruined by World Of Warcraft, for example. We can all sort of stand around and laugh at the unfortunates who get sucked into that stuff, but those of us who have that detachment just haven’t yet been targeted by the industry. At some point, they’ll get around to making a world that I find preferable to the one in which I’m living, and then I’ll be faced with a very difficult choice: both of these worlds are equal from a neurochemical standpoint. When I succeed, I get the same dopamine pay-off. But in the virtual world, those pay-offs come early and often.

In a weird way, choosing to spend your time in the real world is like choosing to live in the middle of the desert. All the interesting, rewarding stuff is happening where you’re not. And of course that sounds terrible, because none of the things you’re doing inside that virtual world have any objective value. It’s scary. I’ve got a little boy on the way, and I’m not sure what the rules will be when it comes to games.

RPS: Comic book adaptations and spin-offs of games feel like a ghetto of the comic book medium, do you agree?

Nate Simpson: Yeah, it’s true. I guess that may say something about the relative cultural impact of comics and games right now. Though I bet if you hired some great people to do the adaptations, you could see some movement there. Like, I dunno… a BioShock comic drawn by Mike Mignola. Holy crap. It would be the moodiest-looking book of all time.

RPS: We’re slowly seeing games become more a part of comics culture in both iconography and subject matter – Scott Pilgrim and Thiem Pham’s Level-Up, for example – how do you see this developing and why is it only now becoming so prevalent?

Nate Simpson: That’s probably because the current generation of influential comics creators all grew up during the 8-bit era. It’ll be fun to see the next generation come forward and bring all their Mario Kart nostalgia to the medium. I also think Bryan Lee O’Malley created a new vernacular with Scott Pilgrim. Just all of the tongue-in-cheek user interface stuff that pops up — I’ve been seeing a lot more of that in newer comics. He deserves a lot of the credit for that trend.

RPS: Did any games and game art directly influence Nonplayer?

Nate Simpson: Certainly games like World Of Warcraft and Aion influenced the tone of the in-game sequences in Nonplayer. I wish I could paint like some of the great game concept artists, but I’ve always been the guy to whom producers are constantly saying “can you make this stuff look less comicky?” I definitely come from a line-art background, which means that mainstream painterly concept art isn’t something I can process very well. That said, I’ve been very inspired by M.C. Barrett, Cory Allemeier, David Ryan Paul, and a few of the other guys I work with here in Seattle.

But as far as visual inspiration goes, I think I developed most of my drawing habits before games got good-looking enough to influence my artwork. I idolized guys like Moebius, Geof Darrow, William Stout, and Arthur Rackham. A big part of my decision to draw a comic that takes place in a fantasy forest comes from wanting to draw gnarly, Rackhamesque trees.

RPS: You had a terrible accident that delayed Nonplayer’s production, I’m going to be quite insensitive and assume you could still play games and read comics during that time. What did you play, read, find inspiration in, and what did you learn from the respite period. Such bouts of creative inactivity can be a blessing or a curse to a creator, what was your experience?

Nate Simpson: Sadly, I was unable to play games during my convalescence. I was so busted up, I could barely even sleep. I ended up watching every episode of Mystery Science Theater, and then every episode of Top Gear, and then every episode of Mythbusters. My time away from the comic was definitely a curse – I was aware of the ticking money clock throughout the healing period, and it made it hard to think about the book in a positive light. It was really depressing.

RPS: Will you ever return to game development?

Nate Simpson: I have already returned! I ran out of money pretty quickly after Nonplayer issue one came out, and I had to go back to the grind. I work at PopCap Games right now, and my first game there will be coming out in 2013. I’m working on Nonplayer in my off-hours, which is why it’s taken so disastrously long to get it finished. I still grapple a lot with work-life balance. I’d love to be able to get back into comics full-time, but it’ll be awhile before I’ve saved up enough to go back to that life.

RPS: What games are you currently playing?

Nate Simpson: I got sucked into Kerbal Space Program a few months ago. If you haven’t heard of it, it’s basically Legos in space. You have a vehicle assembly building where you construct spacecraft from a menu of parts, and then you can fly them around the solar system. The amazing bit is how accurately the physics are modelled — I have learned a ton about the way actual rocketry works. And when you screw up, there are lots of pretty explosions. Before that, I was into Minecraft, which is basically a Lego game, too. You may be sensing a pattern here. I played a little Skyrim in between, as well. These days, I’m on a no-gaming diet. But every once in a while, when I feel myself approaching burnout, I take a little time off to let my brain return to its original shape.

RPS: The first issue of Nonplayer debuted over a year ago, with the second delayed due to a health issue you suffered; for readers wanting to catch up ahead of the forthcoming release of issue 2, where can they find it?

Nate Simpson: There are actually still copies of the second printing out in the wild. I see one every now and then on the shelves at my local shop in Seattle. I have no idea where this inventory comes from — I think maybe some of the larger regional shops stocked up in a big way and are letting them trickle out or something. But even if you can’t find it at a shop, it is available on ComiXology. I also think it’s pretty likely that issue one will see a third printing before issue two comes out, just to give people a chance to catch up.


  1. Premium User Badge

    FhnuZoag says:

    Bit of a random question… what font is used for the dialogue bubbles in Nonplayer?

    • David Valjalo says:

      I’ve just checked with Nate, he says the font is “Silver Age”. Hope that helps.

      • cynthialorenzo6 says:

        my best friend’s ex-wife makes $81/hour on the laptop. She has been without a job for 9 months but last month her payment was $14812 just working on the laptop for a few hours. Go to this web site and read more..Money Hot Spot

      • Stormwaltz says:

        Looks like it might be the one from Blambot:

        link to

  2. Strutter says:

    Nonplayer #1 came out in august 2011, can’t believe it’s been so long already. The art was gorgeous alright but holy crap that’s a long time to wait between issues.

    • RedViv says:

      Oh dear, so long that I had almost forgotten about this book. Was quite a nice surprise really. As is the forthcoming second issue.

    • Shuck says:

      I recollect reading about it and seeing beautiful preview pages long before the first issue came out – perhaps as early as 2010. I was waiting until they had all the issues in one collection, and then forgot about it… looks like I’m going to be waiting a lot longer.

    • frightlever says:

      I thought about playing Demigod today. Been looking at that sucker for a while now. Four years? Naw, not today.

      But Nonplayer issue 2 might be out in 2014. Yay! In the meantime they’ve sold the movie rights and probably made a bunch of other merchandising deals. Meanwhile Prophet trundles on, on a fairly regular schedule and Bravest Warriors and Adventure Time comics are swatting down video game and SF&F staples like mosquitoes at a TED Talk. By the time Nonplayer issue 2 is out they had better have something profound to say or Jake or Danny will have already shit all over it. I thought the first issue of Nonplayer was good. But I liked Mogworld. I’m easy pleased is what I’m saying.

  3. guygodbois00 says:

    Beautiful, intriguing first issue that caught me quite off guard, then nothing in a long, long time.
    Is this one of those life-is-not-fair jokes, Mr. Simpson?

  4. pakoito says:

    Demigod? Fuck Stardock and Frogboy.

    • Steven Hutton says:

      I dunno, I sort of liked it. It’s got a few interesting bits that you don’t see in other Dota-likes (such as new map layouts) and the design aesthetic is very strong. It’s a bit of a shame that there’s only one character and that it was utterly, utterly broken on release because it might’ve become a game worth playing if it had done well enough to justify patches and expansions.

    • Jenks says:

      The game was completely forgettable, but the Rook was the coolest unit I’ve seen in that genre. Techies are a close 2nd.

  5. DK says:

    It’s funny that the Stardock story is that GPG didn’t help at all, and didn’t produce the post-launch content they were supposed to, which is supported by the fact that it only got 2 heroes post launch, they were incredibly late and look terrible – basically still in a first-pass state.

    While the GPG story seems to be that Stardock didn’t let them do the networking and that’s why it failed?
    But if that’s true that doesn’t stop them from doing the post-launch support they promised?

    • cyrenic says:

      My understanding is that Stardock was responsible for the lobby networking code, which was utterly broken on release, but then eventually fixed.

      However the networking code when you played the actual game was written by GPG, being based on previous RTS’s they had made like Supreme Commander. The important thing here is that it was peer to peer networking, which was common in RTS’s at the time. With peer to peer networking, if one person in a game lags it lags *everyone*. This was completely inadequate for a game that expected 6-10 players in each game. Even if stardock hadn’t completely screwed up their end of the networking, the peer to peer architecture of the game would have kept it from being a competitive DotA clone. And rewriting the core network code was too expensive to be feasible.

      So it seems both companies were to blame for the crappy network code in the game.

      • KillahMate says:

        Worse than that, from your ‘too expensive to be feasible’ line it looks like Demigod never really stood a chance, since it was conceived with basically-broken network code that could never be fixed. Which makes it extra sad to read Simpson’s recounting of the excitement and drive of the team making it, now that we know that the game they were working on was destined to be DOA from the very start.

        • cyrenic says:

          I agree, it’s a shame because there was some really excellent art and game design in Demigod. But somewhere along the line there was a fundamental lack of understanding about what kind of networking was required for a DotA style game.

  6. Felixader says:

    Comixxology, god damnit! I am from Germany and there are several Comics (like Penny Arcades Lookout) i really would like to read, but sadly they don’t take payment over PayPal and i do not have the cards that they demand for payment. That’s such a bullshit.

  7. Ninja Foodstuff says:

    Strange world we live in where you can even feel guilty in doing something you enjoy. There are many things I do that I enjoy, that if I did them too often would be bad for me. That’s not to diminish or belittle the risks and devastation wrought by addiction, only that there’s some inherent fear that we are all powerless to prevent it.

  8. matveev.sergeev says:

    Yeah well, that’s not a happy thought but still…

  9. frightlever says:

    One for TPB I guess. First issue looked to be a beautiful thing but the delay in getting the second issue out is worrying. Health issues? Sure. Also it was optioned for a movie. Not saying that putting together the movie package was more important than working on the comic, but a parallel world, cynical version of me might.

    Say what you like about The Dandy (RIP) but they managed to put a comic out once a week.

  10. Filden says:

    That’s lovely art. I will certainly pick up a copy while I ponder how to steal Nate’s Cintiq.

  11. Hieronymusgoa says:

    I hope you read this, Nate:
    But the people playing it where often the kind of “socially problematic players” which nowadays get bashed by the Tribunal in LoL (thank the heavens for this institution) and somehow Demigod didn`t get the player base it was definitely worthy of.

    I still tell people about the interesting characters and skilltrees in the game and my favorite quotes like Lord Erebus saying:”Haste is sooo undignifying.”