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Storytelling in games - work not only for a screenwriter



As a game scriptwriter, you will write scripts, dialogs, in-game text, and possibly even a trailer. There will be a place at the table during pre-production, and a lot of communication with game designers. The main thing - you will not tell the story alone.

Video game development is a tricky thing. It amazes me how dramatically the plot can be written taking into account short terms and limited resources. The script writer should be ready to solve production tasks with the help of a creative plot or character actions. But to bring it all together, many other developers will be required.

The storytelling in AAA video games is a cooperative game, not a solo mission. You will need partners in this difficult journey.

Workmates


We need people with various skills and professions. And that's why:

  1. Different points of view on the plot enhance the perception of the story by the player.
  2. Each profession has its own knowledge of how to use available resources to tell a story.
  3. More screenwriters are more likely to write a quality storyline.

Each plot decision from you, as a scriptwriter, will require time and resources of the developers, be it a concept artist, animator, 3D modeler, programmer, designer, etc. Each one influences the plot and characters of the game - more than one article will be needed to explain them all. But on a daily basis, my main partners are concept artists, mission and level designers.

Concept Artists - Visual Storytellers


They create first impressions.

When I want to create a new character, at first I almost always turn to a concept artist. We send him a few quotes of the character, a short background and some thoughts about the appearance. In response, I get a few questions. Does the character have a pet? Tattoo? Where are they from? An hour later, the concept artist will sketch out a piece of the environment or a sketch of the character.

The most important thing that I learned in working with concept artists is the power of the first impression. Even before your character opens his mouth for the first remarks, his appearance will tell the player everything he needs to know. At the concept stage, all aspects of the character are considered:

  • Tongue shape and silhouettes (great character reading).
  • Suit and accessories (clothing, gear and equipment)
  • Personality (through facial expressions or posture)

The visual design of the character creates a very strong first impression, so you should always interact with concept artists. Otherwise, your character may be left overboard. The further character development progresses, the more expensive it will be to change its appearance. Usually, if something changes later, then this is his cue.

Mission designers - interactive storytellers


They own verbs.

Mission designers view history through the prism of player actions and how these actions advance a mission. Video game verbs often seem limited and usually include: walking, interacting, fighting. It is the context that makes them interesting:

  • Go to the funny house run by the nuns.
  • Interact with a talking jukebox.
  • Fight the guy who stole your sandwich.

Mission designers are plot supporters, although their focus is on the player’s instant experience. Clarity is paramount to mission design. If the player does not understand what he is asked to do, then the next question from him will be - why do this. Just as concept artists help a screenwriter create the right first impression, mission designers are working to keep both entertainment and clarity.

Quite a lot of time passed before I realized why mission designers are so invested in history. The reason is the simplest: they will play their quest more times than almost any other developer in the studio. And they will work on the pace and formulation of each goal. After all, this is their job. But think about this: if your joke is funny for the first time, then what is it like listening to it in the tenth. Or for the hundredth time.

Level designers - environment tellers


They define space.

Of course, level designers do not do this in a vacuum. They work with scriptwriters and mission designers to design the right locations. Sometimes I come in them to ask for scenery, a bloody trail, a wrecked ship - any props that will help me sell a mission or character. Some designers like to tell stories, and some don't. Mission designers should be involved in the plot. But level level designers have other goals: exploration and battles.

However, regardless of whether they want to be or not, level designers are born storytellers because they are most familiar with the things that will help tell the story. I will go up to them and say: “I need something for a bad feeling.” Ten minutes later, I have half a sandwich smeared with blood on my plate.

The conflict between screenwriter and level designer can reach outer space. The character needs time to tell a funny joke. But without the right environment, this cannot be done - you need to either cut it out or put the player in a slowly moving elevator, and nobody wants this. Right?

Joint storytelling


The rich background of the character can increase the significance of the mission. An additional line here or there can turn a quest with food into something special. At least I believe that.

Every day I wander around the office, forming stories, and hoping to attract my colleagues. At Gearbox, we value how narrative elements enrich the player’s experience. But you cannot do it alone. And you should not. So choose your partners carefully.

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