Introduction

Before moving on

A few clarifications are necessary before proceeding.

The information contained in this timeline is extensive—because it must be. To understand what follows, and to critically examine how these events have been publicly portrayed by Liana Kerzner since the cancellation of Song of Sparklemuffin, both context and documentation are essential.

Section 3 outlines specific instances where Kerzner has misrepresented or selectively altered the development record of the game, especially with regard to my role. As the primary contributor to the project's creative and technical development, these misrepresentations have materially impacted both my professional standing and the public perception of the work. The subsequent section will illustrate how this has also affected my husband, whose personal and professional life has been similarly mischaracterized.

Accordingly, this section lays out the chronological sequence of events in detail, supported by contemporaneous records and primary sources. Accuracy sometimes requires granularity, but every entry included here serves a purpose.

To preempt any misunderstanding: I am not bound by a nondisclosure agreement, nor have I ever signed one in connection with this project. The information presented here is lawfully mine to disclose and is drawn exclusively from my own records and correspondence.

Our Responsibilities

The campaign page for Song of Sparklemuffin accurately reflected the intended division of labor between project leads.

Liana Kerzner, in her role as Creative Director, was responsible for the story framework, dialogue, puzzle design, and the overarching narrative architecture. The intellectual property — including the core characters, plot, and world — was primarily hers, with the exception of two characters, Maus and Armand Heisserwolf, which originated from my own prior creative work.

Her completed scripts and puzzle concepts served as the narrative foundation upon which the interactive experience was to be constructed.

My responsibilities involved translating those narrative materials into a functional and immersive gameplay environment. This included implementing the content in the game engine, writing code, integrating audio and visual assets, managing technical systems, and ensuring the narrative flowed cohesively through player interaction. I was responsible for the technical realization of the game’s creative vision.

As Artistic Director, I was responsible for the creation and integration of all major visual and audio components of Song of Sparklemuffin. This encompassed character and background art, level and environmental design, animation for both characters and spells, original music composition, sound design, and the implementation of all these assets within the game engine and its supporting systems.

My husband, Asher, was listed on the campaign page in connection with our shared development imprint, Artificial Dreams Productions. However, he had no direct involvement in Song of Sparklemuffin. At the time, Asher was focused on a separate creative project under our imprint, scheduled for release independently of this title and any association with Kerzner.

Following the successful close of the Kickstarter campaign, attention briefly shifted to producing a short holiday parody—a Christmas Carol–style vignette featuring Solomon and other characters from Bossfight. This piece was designed as a lighthearted seasonal project and was developed outside the core production cycle of Song of Sparklemuffin.

As 2022 dawned, work started on the game. Click the link below to read the summary of year one:

YEAR ONE