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RB: It was like working in the boys’ dormitory. One day there was a classified ad in the Austin paper, asking for writers, artists, musicians, and programmers at Origin. After many years of living in New York, we wanted a change, and we couldn’t afford to expand our living space to accommodate a toddler. RB: My wife and I decided to leave Manhattan with our infant son and go back to Austin, Texas, where we both had gone to school (University of Texas at Austin). UC: How did you end up working at Origin Systems? That set me on the path of writing and designing games. I did three, which were distributed by Mindscape ( Stephen King’s The Mist, A View to a Kill, and Goldfinger).

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Then, in late 1984, I was approached to write/design text-adventure games for a software company outside of New York City, where I was living at the time. I got heavily into Infocom’s text-adventure games ( Zork etc.).

Around that time, PCs were just coming into the home. They invited me to write an adventure module for their system ( You Only Live Twice II - Back of Beyond). In the early 80s, the James Bond 007 Role-Playing Game was published, and I knew the creators. I was already in my 20s when Dungeons & Dragons came out, but I started playing that, too. As a kid I played all kinds of board games, and as a teenager I was into the Avalon Hill war strategy games. Raymond Benson: I had always been interested in games. What drew you toward the video game industry in the first place? Ultima Codex: You came from a background of musical theatre and non-fiction writing, primarily. Ultramind Dragon’s Runic Font Converter.

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