Daryl Cox Industry Analysis

Writing for Videogames

31.05.13

The following essay examines videogame writing in the games industry, using primary sources from freelance and in-house writers. I argue that while videogame writing is often overlooked, it is the future of the games industry. I will discuss how a videogames story attracts consumers and persuades them to purchase downloadable content. I then talk about industry perceptions of game design and game writing in terms of gameplay and narrative, before looking at how game stories are pitched, or rather, not pitched. In the final two paragraphs, I will explore how the player influences the storys creation in both pre- and postproduction, and how familiar writers are being used as a marketing tool to sell more games. First of all, though, I will discuss the relationship between the videogame writer, designer and producer. The videogame industry has yet to accept the importance of videogame writing. A synthesis of the game writing and design art forms is still in its early years, suffering from teething problems, since producers tend to see writers as goofballs; writers tend to see producers as the Borg (Beaver & OConnor 11). Chuck Beaver and Susan OConnor suggest that game creation focuses on genre, type and mechanics. They believe that an emotional core (Beaver & OConnor 20) is missing from the above list, which is something an engrossing story provides. To create a videogame with a story and game mechanics balance, the writer and game designer should work hand in hand from the start to help determine how the mechanics/design and story/narrative will fit together (Ortega). With the videogame writer and designer working together from the pre-production stage, the development house can fuse story and gameplay. Consequently, the writer and designer give an emotional core to the games master narrative [], the full player experience (Beaver & OConnor 40). Games such as Gears of War 3 and Bioshock Infinite had the writer and designer work together from the outset. As a result, both the story and design work together to form a cohesive and symbiotic piece of art (Ortega). In terms of economics, Eidos Montreals Jeffrey Campbell says that storytelling is consistently ranked as a major influencer in game purchases and ratings in market tests. Looking at Mass Effect 3, a game rich in story, design and mechanics, players have spent over 88.3 million hours worldwide on the single-player campaign (Petitte). Four examples of story-driven downloadable content have persuaded consumers to reach into their pockets time and again since Mass Effect 3s release on 6 March, 2012. Despite storytelling helping to sell games and its importance in immersing players, it has a slightly sour reputation (Campbell). Many development houses design a game and then employ the writer to fit a story around it. Indeed, OConnor compounds this statement 1

Daryl Cox Industry Analysis

Writing for Videogames

31.05.13

when she says that most games arent built around stories. Its the other way around. Gameplay is, arguably, the most important game quality. Without it, many players will not buy the game, recommend it to their friends, or purchase further products in the series. Take, for example, Aliens: Colonial Marines. It had an established story, borrowed from the Alien franchise, but its gameplay was poor: Aliens: Colonial Marines has definitely been crafted with a lot of love for the franchise, it just needed a little more imagination - and a hell of a lot more polish (Ogilvie). The Super Mario Bros. series, however, has used the same and similar stories for the past 30 years, but the gameplay is superb. Add to that the nostalgia factor, and it attracts consumers every release: For two decades, Marios 3D adventures have stolen the show. New Super Mario Bros. U reminds us theres life in 2D (George). Consequently, a game can succeed without an engrossing story, but it will fail without solid gameplay mechanics. Of course, when a game needs a story, it should be immersive and integrated from the pre-production development stage. But how is a game story matched to a game design? Many of the videogame writers I have spoken to have said that a solid set of game mechanics renders the pitching process common to other writing forms somewhat moot (Murray). It appears, then, that both the story and the pitching process take a back seat to the game design. Indeed, Campbell agrees that the writer does not pitch the entire story concept for the game. Instead, the writer works with the designer to carry out the narrative vision (Ortega). However, to complete the narrative vision, the writer must discuss story aspects and design-narrative turning points with the individual in charge. Campbell says that he once pitched ideas to a major Disney executive, because Disney owned the studio. Consequently, the writer does not pitch the entire story, because the games narrative is dependent on an often pre-determined design. Beaver and OConnor agree when they state that game design is iterative and story has to respond (25). However, the writer can put forward ideas to project leaders that fit with the established game mechanics, though new ideas usually come from the designers or upper management (Ortega). Also, Beaver and OConnor say that Newstory studios are likely to get very cold feet on their first encounter with a story-based conflict (32). As a result, new Intellectual Properties from writers are rare, despite the videogame writers influence on the players interaction with the game. Games such as The Elder Scrolls V: Skyrim and the Mass Effect Trilogy give the player more control over the story. They allow for branching storylines, dynamic decision making, on-the-fly recognition and reaction to the players actions (Ortega). In other words, the games design is the mould in which the player can shape their story. There appears, then, 2

Daryl Cox Industry Analysis

Writing for Videogames

31.05.13

to be a shift in the concepts of videogame theory and the industry as a whole. According to Ortega, players no longer just want to have a linear experience in regards to story. They want their actions and their decisions to become part of the story and actually shape the narrative. Indeed, Beaver and OConnor would say that it is not possible to hire a writer in production to write the story. It already exists because the story IS what the player DOES (40-41). Gareth Brook, a Train2Game student and independent developer, adds to Beaver and OConnors idea when he says that the story should influence the player. Consequently, the relationship between the player, the design and the story is symbiotic. Advances in new technology and new thinking have allowed development houses to create non-linear player experiences, something that's really starting to evolve at light speed in the industry (Ortega). But if the player creates the story by playing, is the writer necessary? Yes, because the writer is there to ensure the recipient experiences the emotional core (Beaver & OConnor 20). They give the player the conflict, the reason to level-up, and the drive to complete the game. Beaver and OConnor consolidate these words when they say that they make sure the win state for the story and the win state for the game connect with each other (27). Consequently, the player experiences both a quantitative and qualitative achievement, as they are able to connect an emotional value to the videogames completion. Game writers are needed for progression within the videogame industry. Brook says that he prizes storytelling and narration above everything else for the future of games. Indeed, studios hire wellknown story writers to use as a marketing tool for publishers and consumers alike (Brook). In effect, writers themselves become a part of game marketing. One recent example is that David S. Goyer, co-writer of Christopher Nolans The Dark Knight and The Dark Knight Rises, worked on Call of Duty: Black Ops II with established videogame director Dave Anthony. The inclusion of a familiar and trending screenwriter on the project could have boosted sales of a much-anticipated game. Videogame writing has come a long way in the games industry. However, a lack of understanding about this art often means it becomes a game development afterthought. True, not all games require a story. The popularity of mobile gaming has exploded in recent years. Rovio Entertainment, the developers of Angry Birds, has succeeded in making addictive and adored games without an immersive story. No emotional core, no branching storylines, and no player-controlled verbal responses. Angry Birds is a casual game; it is like a song on Youtube, a childs cartoon. The player does not have to invest the time, energy and emotion that they do with Mass Effect, Bioshock Infinite or Fallout 3; games that are like a novel, 3

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Writing for Videogames

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feature film or concert. In other words, there is a place for both the casual and the epic. The epic, though, should be grand. It should immerse the player, give them true interactivity, and allow their decisions to form their story. That is the future of the videogame industry.

Word count: 1,476

Daryl Cox Industry Analysis

Writing for Videogames Bibliography

31.05.13

Alien. Dir. Ridley Scott. 20th Century Fox, 1979. Film. Aliens: Colonial Marines. Dev. Gearbox Software. SEGA, 2012. Game. Angry Birds. Dev. Rovio Entertainment. Chillingo, 2009. Game. Anthony, Dave. Director of Call of Duty: Black Ops II. Treyarch. Activision, 2013. Assassins Creed III: Liberation. Dev. Ubisoft Sofia. Ubisoft, 2012. Game. Beaver, Chuck and OConnor, Susan. Is That a Gun in Your Pocket or Are You Just Happy to See Me? Evolving the Emotional Content of Games. Game Narrative Summit. GDC Vault, 6 May 2013. Web. < http://www.gdcvault.com/play/1018169/Is-That-aGun-in>. Bioshock. Dev. Irrational Games. 2K Games, 2007. Game. Bioshock Infinite. Dev. Irrational Games. 2K Games, 2013. Game. Brook, Gareth. Re: Writing for Videogames. Message to Daryl Cox. 31 Mar. 2013. E-mail. Call of Duty: Black Ops II. Dev. Treyarch. Activision, 2013. Game. Campbell, Jeffrey. Re: Writing for Videogames. Message to Daryl Cox. 7 Apr. 2013. Email. The Dark Knight. Dir. Christopher Nolan. Warner Bros., 2008. Film. The Dark Knight Rises. Dir. Christopher Nolan. Warner Bros., 2012. Film. The Elder Scrolls V: Skyrim. Dev. Bathesda Game Studios. Bathesda Softworks, 2011. Game. Fallout 3. Dev. Bathesda Game Studios. Bathesda Softworks, 2008. Game. Galletta, Ryan. Game Writer, Narrative Designer and Screenwriter. Warner Bros. Games, Montreal. Gears of War 3. Dev. Epic Games. Microsoft Studios, 2011. Game. George, Richard. New Super Mario Bros. U Review. 15 Nov. 2012. IGN, 4 May 2013. Web. < http://uk.ign.com/articles/2012/11/15/new-super-mario-bros-u-review>. Goyer, David S. Co-writer of The Dark Knight, The Dark Knight Rises and Call of Duty: Black Ops II. Jean M., Bonnie. Narrative Designer and Writer. Black Tusk Studios Microsoft. Marx, Christy. Freelance Writer and Senior Narrative Designer. Zynga. Mass Effect. Dev. Bioware. Electronic Arts, 2007. Game. Mass Effect 3. Dev. Bioware. Electronic Arts, 2012. Game. Mass Effect Trilogy. Dev. Bioware. Electronic Arts, 2013. Game. Murray, Jill. Re: Writing for Videogames. Message to Daryl Cox. 18 Mar. 2013. E-mail. 5

Daryl Cox Industry Analysis

Writing for Videogames

31.05.13

Myers, Jonathon. Narrative Designer & Writer. Disruptor Beam Inc. Nadiger, James. Scriptwriter. Ubisoft Montral. New Super Mario Bros. U. Dev. Nintendo. Nintendo, 2012. Game. OConnor, Susan. Re: Writing for Videogames. Message to Daryl Cox. 8 Apr. 2013. Email. Ogilvie, Tristan. Aliens: Colonial Marines 360/PS3 Review. 12 Feb. 2013. IGN, 4 May 2013. Web. < http://uk.ign.com/articles/2013/02/12/aliens-colonial-marines-360ps3review>. Ortega, Joseph. Re: Writing for Videogames. Message to Daryl Cox. 13 Apr. 2013. E-mail. Petitte, Omri. Mass Effect 3 by the numbers: 4 percent of players like shooting doctors in the face. PC Gamer, 6 May 2013. Web. <http://www.pcgamer.com/2013/03/25/masseffect-3-infographic/>. Petty, Ethan. Scriptwriter on Watch Dogs. Ubisoft Montreal. Soulban, Lucien. Freelance Writer and Story Designer. Ubisoft Montreal. Super Mario Bros. Dev. Nintendo. Nintendo, 1985. Game. Toole, Anne. Writers Guild-nominated Game Writer and Narrative Designer.