Generally speaking, I try to focus this blog on “how you might write” rather than “what you should be writing.” We’re about craft here, not art–not because one is more important than the other, but because there are a lot more places to talk about the latter than the former. This entry is an exception.
Let’s talk about empathy and the moral responsibility of the writer. Continue reading
We’ve seen it over and over again: Our wife dies in our arms, or our brother is brutally gunned down, or our mother is eaten by monsters. This tragedy provides the impetus for our journey into adventure–an adventure that could last years or, more likely, 20-80 hours (depending on our completionist tendencies). It’s a tragedy that will remain burned in our minds for every one of those hours until we finally confront those responsible.
Or, more likely, not. Continue reading
I’ve totally neglected my game writing posts, of late–I’ve got a number of articles half-composed, with titles like “Writing for Failure” and “Complex Stories and Atomic Narrative Theory.” Unfortunately, paying work has taken precedence over more complex pieces, so let’s do something simple: Back to writing fundamentals!
Games–especially open-world action-adventure games and role-playing games–tend to have extremely large casts. This is partly due to length (you can cram a lot of characters into a 40-hour game), but mostly due to mechanics: If every quest requires a unique quest-giver, or if every town needs to be populated with a dozen or more conversable NPCs, or if every item seller needs dialogue attached, you’re going to end up with vastly more characters than the narrative really warrants. When it comes to speaking roles, a game like Dragon Age: Inquisition makes the entire Lord of the Rings trilogy look intimate and focused by comparison.
Let’s forget mitigating this fundamental issue for now (and there are ways to design games to reduce this problem) and focus instead on how to handle all those characters. We’re not just dealing with a cast of thousands, but a cast of a thousand walk-ons–characters who appear for one scene, serve one purpose, and then may never be seen again. Continue reading
Understanding your audience will make your writing better.
That’s not a statement that should need much explanation, but in brief: Storytelling is communication. It’s about reaching out to strangers and presenting ideas to them in a compelling, resonant fashion. You wouldn’t write a television show for 10-year-old American children the same way you would write for Japanese senior citizens. You likely wouldn’t refuse to revise your Broadway-style musical if most of the audience wandered out midway through your dry run.
Game metrics are nothing more or less than a way of increasing your understanding of your audience. They’re not a magical means of producing an engaging story–no one’s suggesting that if players respond positively to orcs and plot twists, every game should feature an orc Player Character and a major plot twist every 15 minutes–but they are a powerful means of understanding how players experience narrative.
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