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📚 WRITING THREAD ✏️
Gather round, word scientists, for today I am gonna share the Secret Formula for writing characters your audience will love.
#gamewriting #narrativedesign #amwriting
Gather round, word scientists, for today I am gonna share the Secret Formula for writing characters your audience will love.
#gamewriting #narrativedesign #amwriting
Have you ever noticed how certain fandoms seem to revolve entirely around characters-focused content?
Google FE3H memes and you'll find countless charts like this, or people posting memes saying "ahaha character X would TOTALLY do that".
Google FE3H memes and you'll find countless charts like this, or people posting memes saying "ahaha character X would TOTALLY do that".
This kind of fan content naturally emerges when you are writing characters who are easy to *get*.
One thing we learned the hard way while writing on @CryingSuns with @IanReiley is how important it is to playtest your narrative onboarding. Here is a small story about the infamous “Missing Cargo” ⤵️
#narrativedesign #IndieGameDev #whatwentsouth
#narrativedesign #IndieGameDev #whatwentsouth
Crying Suns starts with the main protagonist, a clone of a famous fleet admiral, being unfrozen by a strange AI. To sum it up roughly, he learns that he is in a super secret facility on a remote planet and that an AI awoke him because they didn’t receive their usual shipment.
So something might be very wrong out there because the empire is NEVER late. They need him to go take a look about what’s happening, explicitly telling him that it’s not about the shipment but about making contact with empire authorities.
@CryingSuns is a text heavy roguelite that required us to write a lot of events (>300) to breathe life into this interplanetary travel. It required a lot of back and forth between the amazing @IanReiley and myself, so we came up with our own format⤵️
#narrativedesign
#narrativedesign
The game engine was not really ready to test events when we started to write (which is a bad idea btw) but the planning needed us to start anyway. Also most events had a length constraint to avoid disrupting the flow, so we didn't need too much branching within dialog
Requirements were:
-> Being able to write easily in a ready to export format
-> Human readable to share it with the (non writing) team. We like sharing wip for feedbacks at @AltShift_Games
-> Easy to comment and work collaboratively
-> Being able to write easily in a ready to export format
-> Human readable to share it with the (non writing) team. We like sharing wip for feedbacks at @AltShift_Games
-> Easy to comment and work collaboratively
I often see Twine being recommended to beginners looking to create a proper #NarrativeDesign portfolio, and while it’s very good advice I would like to clarify some expectations that might go with it.
A lot of newcomers to the craft seem to think that interactive story means player choices and consequences. While it’s true for a certain kind of projects, it’s certainly not the epitome of narrative design.
When I look for a designer (not a writer), your ability to write branching dialogue or stories doesn’t tell me much about your narrative creativity. If well done, it tells me you have the computational brain power to handle a few well chosen variables.
J'ouvre un thread que je vais alimenter chaque dimanche sur le #narrativedesign. Je n'ai pas appris ça à l'école et plus par l'expérimentation donc je vais peut-être dire des évidences ou des choses bancales. En tout cas ce sera là .
1 - un point essentiel de la littérature combinatoire, tabulaire (celle de lire des tableaux dans des manuels de JDR) ou procédurale voire aléatoire des JV c'est qu'il y a une sur-interprétation des faits par le lecteur qui peut donc s'approprier l'histoire d'une façon unique.
Par exemple vous mettez dans un sac plein d’événements dont :
a) le héros va voir une diseuse de bonne aventure
b) le héros a une crise d'angoisse
a) le héros va voir une diseuse de bonne aventure
b) le héros a une crise d'angoisse
