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Some Valentine’s Day love to start our Final Weekend! This update’s chock full o’ stuff!

Wow. Here we are, heading into the final weekend of our Shadowrun: Hong Kong Kickstarter campaign. Can you believe it?


Share Me! Share me like the wind, Bullseye!

It feels like only yesterday that our first teaser image started making the rounds… but that was aaall the way back in 2014! Time really does fly when you’re having fun, doesn’t it?

Even though today is Friday the 13th, tomorrow’s Valentine’s Day so we thought we’d make this a Valentine’s-themed update. It’s about life, it’s about love, and it’s about the bleak dystopian Awakened Cyberpunk future we’re making together.      Awwww. [sniff]

And since we can’t hand you a box of chocolates, we thought we’d give you a taste of our first exploration into the look & feel of the Matrix. For those who like our little peeks behind the curtain, when we start a process like this, we work very loosely like in the images below.

Workin' Loose

Workin’ Loose

Eventually, we tighten things up and create a piece like the one below. This color image is one of those “sculpted systems” in the Matrix. Like our original “Night Market” concept, it’s meant an inspiration piece for the team (that’s another way of saying that we’re not changing the isometric gameplay view).

Looks like we found the back door.

Looks like we found the back door.

As we noted in a previous update, sculpted systems are distinct digital representations of their owners (usually megacorps) within the Matrix. Rather than accept the standard look of the digital world (which is getting its own facelift, btw), these corps spend a bunch of nuyen to customize their domain. Now sculpted systems may look flashy but they aren’t just for show. As one Backer so eloquently put it, “…they’re basically a ‘You came to the wrong neighborhood’sign for deckers!”

We look forward to exploring more of the Matrix as we move deeper into production. Thanks again for the opportunity to work on it, y’all. We’re having fun.

Changing topics, nothing says, “I love you” like a Shadowrun themed Valentine’s Day card, eh chummer? We thought it was hilarious when we saw folks posting them on our comments page – especially because Cassidy was already in the process of making some of her own!

Share them with someone YOU love!














And finally, as we bathe in the warm glow of our Valentine’s Day Shadowrun lovin’, we leave you with a bunch of images to help you get the word out about the campaign. ‘Cuz nothing says love like social media, right?


SRHK Backer FB

Twitter BannerLastWeekend




Development Update – A peek behind the curtain at where we are in the process

Hey everyone,
Mitch here.

For those new to the project, I’m the Game Director on Shadowrun: Hong Kong. I did a bunch of writing and plotting on Dragonfall and before that, I produced and did the bulk of the writing on Shadowrun Returns. I’m also the co-founder and Studio Manager of Harebrained Schemes.

Mitch, already looking a bit care-worn

Mitch, already looking a bit care-worn

Awhile back, I gave you a “peek behind the curtain” of the stages a game goes through from Concept to Release. Today, I thought it would be cool to give you a quick look at what’s going on in each area of the project so you can see where we are in the process.

As I mentioned previously, the transition from Pre-Production to Production is always tricky. Before the Kickstarter, we were in hardcore planning mode – writing design docs, prototyping new tech and magic, creating lists of stuff to make, that kind of thing. Now, a couple of folks are still in planning mode, but most of the team has started cranking on the game. I imagine there are producers out there who prefer things “neater”, but in my experience, doing the right thing is more important than doing things right. You don’t ship a great process. You ship a great game.

Here’s a quick look at each discipline and what they’re up to:


The designers are already at work creating scenes and runs in the game. Kevin’s been working hard on the hub, while Trevor’s busting out the first few scenes of the game. Tyler’s already completed a first draft of a side run and is starting work on his second, and Connor’s drinking from the firehose – he just started on the project and is busting hump to come up to speed quickly.


Andrew is hard at work on the second draft of his detailed story outline document based on the “GM Notes” document we collaborated on earlier. Think of the GM notes as the “What’s Really Going On” section of a Shadowrun tabletop adventure that allowed the art and design teams to get started. Andrew’s story outline meticulously lays out the information flow necessary to progress through our plot so that we can find holes or inconsistencies early when things are still easy to change. When Andrew needs to step away from that work for a “palette cleanser,” he and Kevin collaborate on a description of the characters & situations in the hub.


The artists represent the largest discipline on the project. Cassidy and Spencer are in production mode, busting out environments for the locations called for in Andrew’s story outline, while Tristin puts in serious time on a Matrix look & feel piece. Maury is working on Gobbet and the rest of the crew members’ in-game character art while Eleanor builds new Hong Kong police and Triad members. Our technical artist, Will, has been working on new visual effects for all the stuff we’re adding and importing our new characters into the game. In fact, Gobbet and Wu have already made their way in. And our Art Director, Chris Rogers, is everywhere – leading art reviews with me, defining the amount of art we’re able to create, planning interface changes, working on outsourcing plans, sketching characters, and producing art for the Kickstarter.


Jon is working on his overall approach to the music in Shadowrun: Hong Kong, collaborating with Klimecky and Kevin who both have music backgrounds. Jon’s delivering his first draft today and I look forward to reviewing their work soon!


Garret’s already finished his first draft of the “toggle turn-mode” functionality that allows you to drop into turn-mode before entering a suspicious area. He’s turned it over to Jeff for testing before it goes to the design team for review. He’s now hard at work on new Matrix features. We’ve got to get those done immediately so the designers have time to play with and iterate on them before they start implementing them in their missions. Meanwhile, Brenton’s hard at work on new editor features that should make writing dialogue – our critical path process – faster and easier. And everyone’s consulting with AJ and Sheridan on AI and interface revisions.


And then there’s production, led by Klimecky (there are a million guys named Chris in the studio, so the two on Shadowrun usually go by “Rogers” and “Klimecky”). Klimecky’s managing the scope of the game – figuring out how much of everything we need to make, how long it will take, how the processes will work, etc. It’s Klimecky who forces me to make the hard decisions – choosing between features, which characters are higher priority than others… that sort of thing. Although this sounds like a drag, it actually a very positive thing for everyone. We’re all focused on quality over quantity and don’t want to bite off anything we’re not sure we can deliver at our standards. By making these decisions early, we get to move forward confident that we can deliver what we promise.

So far, so good

That isn’t to say that the development of SR: HK is going to be smooth as silk. To paraphrase Field Marshal von Moltke (the Elder), “No plan survives first contact with the enemy.” We’ll find plenty of problems we didn’t anticipate and we’ll need to improvise and adapt to overcome them. That’s part of the fun. And we also know that inspiration will hit us and we’ll want to add or change something down the road that we didn’t plan for. We’ve tried to leave time for that too, but as is often the case, if we want it bad enough, we may need to push ourselves to get it in. Maybe one day I’ll tell you about the major change to Dragonfall’s plot that happened just two weeks before we shipped…

Oh, before I go, I thought you’d like to see our first draft of what Wu and Gobbet will look like in the game. :)

First draft of how our in-game models will look

First draft of how our in-game models will look

Take care,

How ’bout another peek behind the curtain?

Hey there!

Wow, we’re narrowing in on $800,000 in funding for Shadowrun: Hong Kong!

That is incredible. We would love to create that Mini-Campaign for you if we’re lucky enough to hit $1,000,000. Thanks for all your help in getting the word out. And thanks for being so welcoming to our new Backers! This community is full of really great people.

For today’s peek behind the curtain our Audio Director & Composer, Jon Everist, will talk a bit about his process and hopes for the game. For those of you who don’t know, Jon also did the sound and music for our other Kickstarted game, Golem Arcana.

Have a great week!


Jon and his woofers

Jon and his woofers

Greetings Shadowrunners! I’m happy to be serving as your noble Audio Director, Composer, and Sound Designer for the upcoming full-length campaign set in Hong Kong! It’s been a dream come true, literally–Shadowrun for SNES was my favorite game as kid.

Harebrained Schemes is a collective of some of the most wildly talented people I’ve ever met. I’d also like to take this opportunity to thank everyone for showing your support for my previous contributions to the Dragonfall OST, its been fantastic. My only hope is that I can support the insanely good writing and art with an audio soundscape that will suck you in and keep you running in the shadows.

Hong Kong, wow, what a location! Like many cities in the Shadowrun Universe, it’s a place of extreme contrasts. There’s the mega rich encroaching and crushing the poor, neon corporate buildings a mile high next to 3000 year old temples. There’s magic, there’s tradition, Yin and Yang, Qi, and nightmarish and otherworldly forces. I love that Shadowrun is a mashup of old and new, the timeless and the futuristic, the spiritual and the physical.

My approach to the music for Shadowrun: Hong Kong will mirror this dichotomy. There will be organic, acoustic instrumentation with classic, Chinese elements set against dread-future deep synths and driving electronic rhythms and soundscapes – imagine the expressiveness of a live cello set against the crackling of a gritty sawtooth bass and space in the soundtrack to tune your ears to the environment.

I’ve been involved in the Hong Kong campaign since day one so I’m working hard everyday to weave a cohesive, compelling, and immersive audio narrative into our story arc. My goal is to make the audio a unique character while supporting the story. I’m going to continue showcasing individual characters (like in Glory’s Theme) by creating unique motifs for them and situations they find themselves in. We have some exciting new tech we’re hoping to implement which will also allow us to incorporate adaptive music and sound design that reacts to in-game situations and how you choose to play.

For fans of the music of Shadowrun, expect a whole lot more of what you love. I’d love to hear from you so feel free to drop me a line on twitter @JonEverist or at my website at

– Jon