Though I was a big fan of my early work (just because it was my early work, and evidence that I was working as a game designer) one of the first things I was truly proud of was TSR’s Birthright, my first published world, which took AD&D into a lower-fantasy setting and let you take the part of a ruler of a realm. Second was my work on the Planescape campaign setting, which allowed a huge degree of creative exploration. In that body of work, Monte Cook and I (along with our able editors, Ray Vallese and Michele Carter) were able to flesh out a significant part of the cosmology and background of the planes, defining and creating a foundation that would lead to my next big gig (and to Monte’s; not only did he help design D&D 3.0, he also produced an amazing string of successes, the latest of which is his Numenera setting).
Third, and perhaps most importantly, was Planescape: Torment. That’s almost certainly the work that people remember best, even if they don’t necessarily remember my name. Working on PST was… well, let’s turn on the Wayback Machine.
I came onto Torment as, I think, the fifth or sixth person when my Playstation Planescape game was canceled. It was a blow to lose my first lead designer gig, but it turned into a real education. The first members of the nascent team had been working on the game’s preproduction for a few months. At that time, it was called “Planescape: Last Rites”, a name that had to change because of the game “Last Rites.” But the concept remained largely the same, though it grew stronger and stranger as we progressed.