Category Archives: Writing

On a Lack of Originality in Science-Fiction and Fantasy Game Settings

Video games are frequently criticized for utilizing the same genres, tropes, and settings time and again. Space marines, Tolkien-derived medieval fantasy full of elves and dwarves, military techno-thrillers, post-apocalyptic zombie scenarios… oh, and don’t forget the actual licensed franchises! The repetitiveness of it all can make network television–with its hundred variations on police and medical precodurals–seem diverse and vibrant.

But there are reasons why most fantasy games look an awful lot like Lord of the Rings instead of drawing inspiration from, say, Michael Moorcock’s phantasmagorical Eternal Champion landscapes or the contemplative science fantasy of C.S. Lewis’s Space Trilogy. There are reasons why few science-fiction games deal with a post-singularity world or meaningful cultural shifts. Continue reading →

Yes, You Have To Write a Game Plot Summary; and Yes, It Has To Be Good

Some days we discuss high-level theory. Some days we get our hands dirty with realities of the business. If you’re working on an overall story document for your team’s game and you’re not sure how to approach it, here’s some advice.

No one likes writing plot summaries. If you have a story that can support a game–a story designed for a multi-hour, interactive experience–of course it’ll be painful to reduce it to a handful of pages. On top of that, a plot summary needs to be engaging to read, be clear and thorough enough not to logically fall apart on examination (so no handwaving how protagonists get from Point A to Point B), and–for most plot summaries in the video game world–contain enough meat to allow artists, cinematic designers, level designers, and so forth to intelligently respond with their own concerns and plans. Continue reading →

Why It Worked: Saints Row IV and Living Exuberantly

A well-written comedy can get away with just about anything so long as it’s funny. Paper-thin plots, characters that vacillate between personalities, and a dearth of thematic meat are by no means a requirement of comedy writing, but they’re easily excused when the jokes are genuinely funny and the delivery is strong. For this reason, it’s easy to overlook when a comedy gets its fundamentals right–when its essential narrative building blocks are sturdy and cleverly deployed in ways applicable to any genre.

Saints Row IV WallpaperImage purloined from the official site.

Saints Row IV is clearly comedic, but its narrative also succeeds in ways rarely seen in modern big-budget games. It builds its emotional stakes, Player engagement, and yes, quite a few jokes on a fundamentally joyful core.

Let’s talk about why it works. Continue reading →

Every Game Is Its Own Medium

In traditional media–films, television, novels, comics, etc.–a creator usually assumes a level of familiarity with his medium of choice on the part of the audience. As a filmmaker, you know your viewers expect a movie to run around two hours. That helps you pace your scenes, as the audience will have an instinctive sense of how far through the story is. If your protagonist appears to die ten minutes into the movie, you know your viewers will be wondering “how will she survive?” and “when will she come back?” rather than sitting confused, trying to figure out if the film is over already.

Similarly, a novelist needn’t worry about readers assuming each page is a self-contained unit, as if it were a scene in a play. Basic literacy comes with a knowledge of the existence of section and chapter breaks. Novels may vary dramatically in length, form, and viewpoint, but certain fundamentals remain the same. Continue reading →

Branching Conversation Systems and the Working Writer, Part 5: Arts and Craft

This is the fifth part in a multi-part series on branching conversation systems (crossposted at Gamasutra.com). See the Introduction for context.

Last time, we went over high-level principles you should keep in mind when constructing a branching conversation scene. This time, we’re going to talk specifics–ideas to apply on a line-by-line level. Think of this as a toolbox, with specialized tools to be used in the correct circumstances. Continue reading →