Scriptwriter's place in the game development team



    Hello, my name is Maria Kochakova, I am the screenwriter of the Skyforge project in the Allods Team. This article summarizes two years of my work as a game writer. All these are the harsh realities of the life of computer game writers, something that we face daily. Categorical form is dictated by the importance of content.

    Computer game script

    The narrative (narrative) part of the game consists of a setting, plot and text.

    Setting is the world of the game, its laws and realities. Examples of setting: post-apocalypse, fantasy-the Middle Ages, cyberpunk ...

    The plot is a sequence of events that add up to history. It happens that the same plot can be told in different settings. It happens that setting dramatically affects the plot. The need for the plot most depends on the genre of the game. For some genres, the plot is optional.

    The script is the form in which the plot is expressed. Usually the script looks like a list of scenes with a description of what is happening and dialogs. Scriptwriters are people who can tell stories in the form of a script - the document that is ready for the rest of the team.

    The text is not the optimal form of presentation of the setting and the plot of the game. Text is an auxiliary tool. Remember that the text may not be read. There are games with a plot and without text (Machinarium). But the text can be made the source of the fan, and even the USP (Deponia, Bard's Tale).



    The plot of a computer game is not necessary, but adds involvement, atmosphere.

    The plot may be the USP of your game, or it may interfere.

    The plot is only one of the components of the success of the game. Do not overestimate it. But underestimate the power of the plot is not worth it.

    The decision about whether your game needs a plot, and if necessary, to what extent, must be taken carefully and before development begins. If you want to tell a story, then you need a plot. If you want to provide a service, then you may not need the plot, or the plot will become the same service as the other components of the game.

    Some of the players want to see the plot in the game, but most often the players do not want to read.

    Narrative problems arise in two cases:

    1. When the screenwriter does not understand the specifics of his work - due to inexperience or due to incorrect installation. In this case, the scriptwriter acts inadequately: he perceives the feedback, takes raw scenario decisions, is lazy, overestimates his role on the project, etc.
    2. When the team does not understand the specifics of the scriptwriter - because of the prejudice and negative experience of cooperation. In this case, the team gives an inadequate feedback, unreasonably intervenes in the script, demands the impossible, underestimates the role of the scriptwriter, etc.

    Treating problems follows the magical power of enlightenment - both the scriptwriter and the team.

    Computer game writer




    A screenwriter is a profession. Like any other profession, there is a set of special theoretical knowledge and practical skills.

    The knowledge and skills of a computer game scriptwriter are acquired as a result of special training and work experience.

    Professionalism includes not only a set of skills, but also professional ethics - attitude to one’s work, to a project, to colleagues, to work situations.

    On the project, the scriptwriter is responsible for the narrative and the correspondence of the narrative with the vision of the game.

    Narrative, as we recall, is a setting, plot and text.

    Vision (vision) - this is the essence of the project, the upper bar, an idea of ​​what the game should be at the exit. The scriptwriter is not the creator of the vision, but, together with the arthlide, is its custodian. Ideally, scriptwriters and artists together monitor the consistency of the game with vision.

    The job responsibilities of a screenwriter depend on the project. The larger the project, the narrower the responsibilities and the higher the degree of specialization. In a small team, one person can perform the functions of both a scriptwriter, a literary editor, and even a community manager (writing news, announcements, conducting contests, etc.). It all depends on your abilities. Nothing wrong with that. No one has yet died from an additional working skill.

    The professional ethics of a computer game scriptwriter includes attitude to work, attitude to the project, and attitude to the team.

    Attitude to work

    Perception of feedback.

    A great danger for the writer is the perception of his work as part of himself. When they evaluate the work, the scriptwriter seems to appreciate it as a person. Therefore, the scriptwriter can react too emotionally and negatively, immediately leaving for a blank defense.

    1. If the feedback is adequate (polite) and is not gustatory, but reflects the realities of the project (there is no necessary mechanics, it is impossible to show the plot course by available means, etc.), then the scriptwriter should learn to perceive the feedback as a clarification of the statement of work and calmly make the necessary corrections.
    2. If the feedback reflects only the tastes and views of the evaluator, then he has no relation to work, and, therefore, can go the forest (unless it is the customer’s feedback, then this is a specification of the statement of work, not a feedback, see paragraph 1).
    3. If the feedback is inadequate (impolite), then it can go through the woods, even if it is the customer’s feedback. Let's respect each other.


    An awkward moment when a screenwriter falls in love with an idea

    1. There are no and cannot be favorite ideas in the work of a screenwriter of computer games, there are optimal scenario solutions. If the solution ceases to satisfy its needs, it is replaced with a more optimal one. As Hemingway said: "You need to kill your loved ones." In other words, the position “I see it this way” is not about screenwriters. Everything is clear with us. Practically math.
    2. There is always a risk of falling in love with an idea. You just need to understand that no one is safe, and treat this as a failure in love - you will cry a little and pass. A new one will appear.
    3. Unfortunately, favorite ideas come not only from scriptwriters, but also from customers. To kill the customer’s idea, good reason is needed. You must be firmly convinced that the idea has become obsolete and is no longer optimal. Approach the killing as carefully and accurately as possible. It is highly recommended that you turn the arrows on the project realities and carefully hide the corpse, so as not to emerge in the spring.


    Scenario Decision



    Scenario Decision is the scripter's main tool. This is the best possible plot move that optimally meets the requirements of the project.

    1. It is necessary to carefully check your scenario decisions in order to give a “justify” if necessary: ​​why and why such a decision was made, what it gives to the project and what problems it removes.
    2. Finding the right scenario is a path through the swamp. One wrong step, and the whole storyline will fall. In no case can you make unweighted scenario decisions, the so-called decisions-from-balds. Laziness will drown in the swamp both the plot and your reputation.
    3. The more information you have about the swamp (project), the more successful way (solution) you can find. Therefore, it is strongly recommended that you ask for directions (Old and feedback) from other team members. Many goals are better than one. But the choice of path is up to the screenwriter. This is his area of ​​responsibility.
    4. It would be nice for the team to understand at what price the scriptwriter is given his script solution (if it is, of course, a true screenwriter, not a screen-writer). Swamps of stories are strewn with gray hair of scriptwriters. Respect their work!


    Vigilance in the lore.

    On the shoulders of the scriptwriter lies the linking of all elements of the game (sometimes even purely gameplay conventions) into a logical and coherent lore.

    1. It is recommended to read, watch and play a lot, not only for pleasure, but also to increase the skill of “Erudicia”. Some of the most interesting setting decisions have already been made before us by a million incredibly cool science fiction writers. Our task, in addition to creating a new one, is not to lose the knowledge of our ancestors and pass them on to the next generation. Also, if a screenwriter can give a couple of examples of a similar scenario solution from world culture, it will be easier for him to “sell” his idea to his superiors. “If it worked at Startrek, then it will work for us.”
    2. If the creation of the plot is the path through the swamp, then the creation of the setting is a battle with the Lernean hydra. On each answered question on the world order two new ones come out. Train your logic and do not produce entities - tie the stumps of the necks together.


    Attitude to the project

    You need to know the project.

    1. You need to know the content to use and reuse it. The scriptwriter is advised to remember that the hour of the work of the artist, modeler and animator in total is more expensive than the hour of the scriptwriter. Making a scenario decision, the scriptwriter spends the money of the project. This is the price of creativity.
    2. You need to know the gameplay and mechanics. It’s correct that the script and gameplay do not try to kill each other by entering the game from different ends of the ring, but act together to make the project more interesting. It is a misconception that stories can only be told in text. The plot gameplay is the ideal scriptwriter for computer games.
    3. Quality control. The scriptwriter not only “writes” the script, but also watches how the script fits into the game at all stages of development. Is everything as planned? Do players understand what is happening in the game according to the plot? No one except the screenwriter knows how the plot he intended should look like in the game. Only a scriptwriter can catch scripted bugs that he himself has bred - other team members may simply not know that these are bugs, and QA has enough work without a script.


    Conclusion: screenwriters, play your game!



    Team attitude

    You need to know the team and, if possible, love.

    1. It’s good when the screenwriter imagines the strengths of the team members and can use them to create the plot. If an artist draws ponies best, it might make sense to fit the ponies into the plot. If a level designer makes labyrinths best, it may make sense to add a labyrinth to the plot. Otherwise, the scriptwriter risks that the maze will be added to the plot without his help. It's like sewing a leg to your face without anesthesia, yeah.
    2. It is good when the screenwriter imagines the weaknesses of the team members. Perhaps if the level designer does not get along with the mazes, it is not worth introducing the maze into the plot. Doomed to failure to overcome someone else's incompetence is fraught with tears at the funeral of your favorite idea.
    3. Scriptwriters, adapt to the team. These are the people with whose hands you will introduce the plot into the game. It is necessary to act at the same time, and not to assert oneself at the expense of the project.
    4. There is still a subtle point. Sometimes it happens that a team member offers a better solution than a screenwriter. Here, the scriptwriter should not go on about pride and seek adoption of his decision, no matter what. The scriptwriter's task is to choose the optimal solution, even if it is not his solution. This is called professionalism.


    Scriptwriters, remember that the main thing is the project, not the ego. In collaboration with other people are hidden abysses of interesting ideas and original solutions.
    The scriptwriter should not perceive the team as enemies who put sticks in the wheels of his creative genius. Live communication is not only a feedback, but also an opportunity to convince (s) of the correctness of your decision.

    It is worth appreciating the team’s interest in the plot and the desire (albeit not always appropriate) to participate in its creation. If they do not care - then you should worry.

    Conclusion

    I have a dream - a professional community of computer game scriptwriters.



    The professional community is primarily the transfer of experience and training, and secondly, communication and assistance to each other. Help in finding successful solutions, in finding references, in supporting the knowledge of various universes. One person is not able to grasp all the thematic content, but together we can create a fundamental base that will enable us to create interesting, high-quality game scenarios.

    The purpose of this article is not to discuss the need for a plot in games. I want to talk about the specific working problems of screenwriters.

    For example, in my practice there was a painful case when I took up a project without really driving into a vision. Having no idea about the target audience, reference games and what should happen on the way out, I selflessly spied the script with great pleasure. As a result, the game sank precisely in accordance with the expectations of Central Asia (a classic mistake!). The setting lost focus, went blurry and ambiguous, sometimes too tough, sometimes too childish. It was a shame for the time spent and ashamed of the team. Damage to the project could be avoided by preoccupying itself with the mobile dock and carefully discussing it with the authorities.

    Let's share the experience. Wellcome to the discussion: tell us in the comments about your work as a screenwriter or work with a screenwriter. Negative experience will help us not to repeat the mistakes of our predecessors, and a positive one will provide an example to follow.

    This is the first of two planned scripting articles. Next time I will tell you exactly how we work on the Skyforge script (without spoilers, of course).

    Other materials can be viewed on the Skyforge developers website and in our Vkontakte community .

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