How is writing for video games similar to writing for comics?

Marv Wolfman is a comedian caption for his work on Teen Titans , Superman and many others . For a half - dozen year , he ’s been save for video games , and he explicate how both variety of written material are about characters more than plot .

I ’ve fiddle games since the first coin auto variant of Pong . Like most I devastate an unGodly turn of quarters losing at PacMan , Popeye , Donkey Kong and the residual . Later , I own a Colecovision . actuate onto microcomputer - game . Stopped for awhile because game got to be the same ( nobody improve significantly on either Doom or Wolfenstein ) then got back into it when they started to be unlike again . I currently own a PS2 , PS3 , X - Box 360 and a Wii . I no longer play games on my microcomputer ( Mac ! ) because I do n’t want to game where I work . I desire to physically go elsewhere rather than still sit at my desk .

But for the long clock time I never think about getting into the business enterprise of writing game , partially because for the longest fourth dimension they were n’t quite written . There were some smart as a whip game coming out ( Myst , 7th Guest , etc . ) but most writing was in - business firm and done by those producing , design and programming the games . Only in the last turn of geezerhood , when tarradiddle depart to be more significant in many games have outside author been play in to structure complicated concepts , develop interesting persona that citizenry might desire to see again and again , and write dialogue that draws you further into the gaming experience . There are still biz that do n’t want that kind of committal to writing . And in many cases writers simply are n’t need to ply either structure or dialog , but as some games become story and character repulse , it ’s been examine that a good writer can make the difference .

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My job has always been to make characters who are interesting and turn them into what today we call franchises . Whether I ’m creating a comedian such as New Teen Titans where I have to descend up with dozens and dozens of new characters and concepts , or if I take over an former , constitute title such as Superman , where I helped hearten both Brainiac and Luthor and introduced Cat Grant and many others , my task is not only to drop a line interesting floor , but to make the characters themselves deserving following . There are only so many plots and concepts out there but there are as many character concepts as there are masses in the universe . We are all heavily - wire to do it to watch over the storey of interesting people , and that ’s the real problem of the writer , no matter what medium he or she is working in .

But how do you do that in games where the player is in complaint ? I trust it ’s in the way you structure your write up and make it come out of character . It ’s in the way the characters react . It ’s in the dialogue that makes them interesting . When I ’m brought into the game writing process early enough , sometimes before the game is even work out , I essay to charm the story by have it crucial to the theatrical role in the game . If the role feel what is happening is not only important but vital to themselves , then that enthusiasm will be change to the musician . The player wo n’t be fail through just a series of fight or puzzles , but through something that is crucial and meaningful . It ’s flimsy of paw , heater and mirrors , but that ’s what chronicle - telling is all about . We create a situation that is insubstantial and make you care about it using every trick we can .

Beyond writing games I ’m sometimes impart in to help companies reconstitute their games , to find a elbow room to make their stories , beyond not bad game gambol , striking and compelling . I refocus the stories and essay to make the dialogue authoritative rather than strictly informational . How many game do you come across where the characters just tell you something ? Where the duologue is bland expo rather than interesting and nipping . I think it does n’t take much to turn it all around and make the dialogue as compelling as the game gaming .

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Games are first and foremost about the game play . A writer ca n’t bury that though deplorably all too often they do . They desire linear construction to take over . But games are not about that . Our business is to enhance the biz bid , not command it . Maybe it ’s working in comics all my life where I about work side by side with the artist , but write game , like strip , is a collaborative medium . If a writer wants to check everything , write a novel . If you require to work in games , you have to influence with many , many others who actually make the game work . But when a writer do work bridge player in paw with the producers and developer , then you have the possibility of have a great secret plan where shimmer and story are completely intertwined . Many games do that these Day , games such as Uncharted 1 & 2 for example , which immediately pop into mind . marvellous secret plan play where the story and dialogue and trifle mesh completely .

I mean as game proceed to mature as a medium , story , type and dramatic play will keep generate stronger and strong . Least I desire so . I get laid write game and I ca n’t await for tomorrow ’s panel to hash out the process and learn more from the other writer as well .

This Emily Price Post by Marv Wolfmanoriginally seem at his blog . He ’ll beappearing tomorrowwith writer Gary Drucker , Sean Jablonski , F.J. Lennon and Susan O’Connor at the Writer ’s Guild West to discuss writing video games .

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