Video game writing
interactive storytelling or grand world building design?
by Stephen Pellow
This article was originally published on the Storyslingers wordpress blog on 29.06.2014: click here
I have never made it a secret that I am an avid (if not particularly good) video game player, and I have noticed that storytelling in video games has evolved and become a lot more ambitious in the last few years. It’s come a long way from a lengthy backstory written up in the forward of an instruction manual to character customisation, choosing your path and having multiple outcomes. Yet the writing in video games is something that is dismissed by people who would still laud the plots and characters of movies and novels.
While interactive storytelling can be much more complex than linear storytelling, the fundamentals are the same. You have structure, characterisation, 3-5 acts and a climax, but time can pass dependant on the player and his or her interactions within the game. The script has to take into account a third dimension that is controlled by the player, and out of the writers hands completely. Working within the boundaries and constraints offered by the medium provide the biggest challenge to the writer of a game as opposed to, say, someone writing a novel. Rhianna Pratchett had to write most of the backstory for Mirror’s Edge off screen in comic book format, so it didn’t exist for the majority of people who played the game, her original story chopped and edited to fit already existing level design and gameplay mechanics. A frustrating, but not totally uncommon, occurrence to video game writers.
But there are more games writers now than there were five years ago, and creators like Ken Levine of Bioshock and Bioshock Infinite are more becoming the norm. Neil Druckmann, writer of the PlayStation title “The Last of Us” would like to see a move away from mainstream pop culture references and to make the stories told in games to be as personal as possible. When you don’t approach things from a personal or emotional level, he feels the player doesn’t learn the message you are trying to convey.
To me, the writing in video games is beyond simply the narrative, the lines of dialogue and scripted cut scenes. Video game writing is at it’s best when you don’t notice it. It’s the experience of the story, a believable and immersive world built and presented that makes sense. This is why I personally find video games such as the Bioshock series, Gone Home, Portal and Mass Effect great inspiration for my own world building exercises, and encourage me to want to expand my own fictional universes.
