Quench the thirst of 1920s Prohibition New York! Build a criminal organization to distill and peddle whiskey, and you could end up rich, famous, or dead.

Bootlegger: Moonshine Empire is an interactive historical novel by Drew Morrison. It’s entirely text-based, 150,000 words and hundreds of choices. Choice of Games editor Mary Duffy sat down with Drew to talk about Prohibition, ChoiceScript, and his writing process. Bootlegger: Moonshine Empire will be available on Thursday, August 22nd. You can wishlist it on Steam in advance of its release—it really helps!

I think this is your first time writing interactive fiction, but you’re rather an accomplished playwright, I gather. Tell me a little about your background and what brought you to Choice of Games.

I started writing for theater in middle school, and got my Masters in Playwriting at the University of New Mexico. Dialogue has always been my favorite part of writing, and theater offers such a great way to get together with friends and tell a story. I worked for a devised theater company in Albuquerque for about five years, and I really got attached to the camaraderie that develops around putting up a play, especially when it’s done without a lot of financial resources. It means everybody learns different tasks, and shifts around with each show: sometimes you’re a writer, sometimes an actor, director, technician, or shadow-puppeteer. The whole thing ends up being this wonderful process of collaborative problem solving: How do we make what we want to make with what we have? Those limitations spark more interesting ideas than the ones you’d have if you could just pay problems away.

I was introduced to Choice of Games by a friend who had worked for the company as a cover artist. I’d never written anything like this before, and it was a steep learning curve, but the Choice of Games forum and community is such a vibrant scene of supportive people that it’s been really exciting to work on. As a writer, it’s so easy to get sucked into the lonely process of submitting to distant strangers and contests, rarely getting any feedback on your work. The opportunity to have people engaged and willing to respond to your drafts is an invaluable resource, which was my favorite part of working in theater.

What did you find most challenging about the game design and using ChoiceScript to craft a narrative?

Pretty much everything? I was so proud the day I finally submitted a full draft that you could play through from beginning to end that it’s fueled me through the whole editing process since. Having finished a CoG game now, it’s amazing how many tips and tricks you pick up along the way that would change how you approach writing another game.

There were a lot of really fun challenges purely at the level of the prose. For one, second-person/present tense is such a fun, propulsive voice to write in. As someone who didn’t grow up with tabletop roleplaying games, it’s a relatively new voice for me.

Also, as a playwright, my plays are often structured around reveals and buried secrets. When lights come up on a play, we don’t know the people on stage, and revelations about their pasts, motives, relationships, and shared histories are part of what fuels the drama.

In an interactive fiction novel, the reveal isn’t as useful, because it will only work for the first playthrough. This completely changes the notion of suspense as a storytelling technique–a returning player has already seen behind the curtain. Plus, in the main character’s case, the player needs to know (and decide) all major backstory decisions from the outset, so that they can make informed decisions. This was really fun for me; as a writer I couldn’t rely on old tricks. It feels like I usually write as someone watching from the audience, and this was like going on stage and whispering in the main character’s ear.

Bootlegger is set during such an interesting period in American history. What about the period, and about Prohibition in general do you think modern readers may not know about?

The intersection of coffee and alcohol is really interesting to me. Part of the reason people drank so much pre-Prohibition was because alcohol was one of the only reliably safe ways to drink water. It would be much lower alcohol content than we associate with booze today, but people would drink the entire day. Coffee and tea were new forms of safe ways to drink water, so people went from being mildly drunk all the time to sober and caffeinated. The intellectual and political ramifications of that are massive.

The period is great for anecdotes, and I love all the methods people came up with to get away with drinking. Speakeasies would install levers that, when pulled in the case of a raid, would dump their entire liquor display down a hidden chute, shattering the bottles and draining the booze. Alcohol had been determined to have no health benefits, but during Prohibition that suddenly changed: whiskey could be gotten legally with a prescription for all sorts of maladies.

For me, it’s also a really interesting time of how people respond to a ban. For many, Prohibition was an attempt to stop some truly devastating habits, such as poor workers and farmers blowing their full paychecks on the way home, before even getting to their families. You can see how the Women’s Christian Temperance Union and the Anti-Saloon League could see alcohol and the people who sold it as criminal enterprises. At the same time, the complete ban on it meant that many people saw a market, and exploited it ruthlessly. With Bootlegger, I wanted to explore the sudden emergence of a new market that’s illegal, lucrative, and slightly absurd; something that was legal a few short years ago is now a violent, thriving industry.

Do you have a favorite NPC, one you enjoyed writing most?

I’ve never written any kind of gangster story, so writing Capaldi was a lot of fun. Writing a villain in general is a lot of fun, actually, but especially in this case, since Capaldi can be a villain or an ally depending on the play-through. That type of character, alternately frightening and endearing, is so rich and prevalent in gangster movies, and I like that in interactive fiction you might only see someone’s worst side when you’re on their worst side, which is just a terrible place to be. I think one reason we get into stories like The Godfather is because we see two sides of people, while the other characters in the story only see one: loving family member, terrifying murderer. It seems impossible that they can be one person.

If you were transported to the world of Bootlegger, what kind of underground shenanigans would you be best at? Distilling, smuggling, or imbibing?

I think I’d be good at distilling. I know I’d be terrible at being in charge of an operation, I have neither the economic wherewithal or ruthlessness. But I was a barista for a long time, so I think I’d be good at tending a still. I don’t think Prohibition had much of a “craft rotgut” scene, but I imagine I’d be able to get to the point of describing the flavor notes to my customers, which could maybe help me work my way up to get the kind of clients who could afford to care about the quality of their whiskey during Prohibition. But I’m also too trusting, so I’d be very easy to rip off. So, if I could find my way into an operation run by someone like Sam in Bootlegger, who takes care of their own, I’d make a very good worker.

Do you have a favorite tipple or are you a teetotaler?

I do love the occasional bourbon or an old fashioned, but generally I stick with beer.

What else are you working on/working on next, writing-wise?

I’m currently getting my Masters in Political Science, so I’m writing several essays, mainly focusing on the global impact of the film industry. I recently had a staged reading of a new play, Wildlife, which focuses on the illegal wildlife trade, as part of an ongoing project for my classes focusing on climate change. I am also working on an audio drama, called Ambrosia’s Big Break, with the hopes of releasing it in podcast format. Over the process of revising Bootlegger, I’ve had more ideas about things I’d like to do in this medium, so I’ve started to sketch out ideas for another interactive novel. This one would take an interconnected series of science fiction stories I wrote, and adapt them into one big world for the player. It’s one of those narratives that I’ve been attached to for years, but haven’t found the proper form for yet.