Jason Wilson, also known as Jay Gunn, has been a luminary in the world of video game development, especially in the 1990s. Time, however, hasn’t been too kind to him, which explains why he’s made the tough decision to sell his Game of the Year BAFTA award, which he won in 2000 for MediEvil 2.
Gunn shared the disheartening news via his X account, explaining to his fans that his decision stems from a pressing need for financial resources as he continues his job hunt. The sale of his BAFTA award was announced following a recent hospital visit, which was attributed to high levels of stress, anxiety, and financial worries stemming from his difficulty in even reaching the interview stage for game art and design work.
Earlier in the year, Wilson also put his extensive art and design archive for MediEvil up for sale. This archive included hundreds of concept arts, hand-written books, and level design sketches.
For those interested in purchasing the BAFTA award, the starting price, along with a metal Sir Dan Hand statue and a MediEvil FunkoPop, is set at £6,000, but Wilson has stated that he is open to higher bids.
It’s worth noting that the original tweet has since been deleted because Twitter is sometimes a cesspool of ignorance and malice, and as such, some people lack the sensitivity and compassion that come with being human.
For those unfamiliar with Wilson’s works, he co-created MediEvil, a hack and slash series of action-adventure games that debuted on the original PlayStation in 1998. Set in a world that is one part spooky, two parts hilarious, MediEvil is centered around the valiant exploits of Sir Daniel Fortesque, a skeleton knight who has a bone to pick with Zarov, an evil sorcerer. The quirky title quickly became a cult classic, endearing itself to a generation of gamers with its Tim Burton-esque visuals that perfectly capture the Gothic fantasy theme.
Wilson’s foray into game development began in the late 1980s, initially focusing on games for Amiga computers. In 1996, he joined Sony Computer Entertainment Europe, a pivotal move that led to his involvement in some of the most memorable titles of that era.
At Sony, he served in various roles, including lead game designer, artist, and creative director, until his departure in April 2012. With games such as Silverload, C-12: Final Resistance, and Ghosthunter, Wilson’s portfolio showcases his diverse versatility and creative prowess.
After his tenure at Sony, Wilson explored his passion for storytelling and visual artistry through other creative avenues, like writing comics. Despite these successes, Wilson has been down on his luck as a game developer, as the industry is currently facing its own boss-level challenge.
The pandemic brought both a surge in gaming as players sought solace in virtual worlds and a subsequent economic reckoning. As reality set in and the revenue boost started to dwindle, most companies took a look at their bottom lines and, in a bid to stay afloat, turned to the tough decision of trimming their ranks, letting go of thousands of developers.
The irony is that this year has witnessed the release of some of the best game titles we’ve seen in a while, the likes of Baldur’s Gate 3, The Legend of Zelda: Tears of the Kingdom, and the unexpectedly great Alan Wake sequel.
Long story short, Wilson’s case is just one of the many examples of the harsh realities of the gaming industry. It serves as a good reminder about the thrills and spills of a creative life and the courage to adapt when the game changes.
