The Reality Of Fiction

We dive head first into the narrative abyss of the videogame writing world and emerge triumphant with all the details you need to get into the game.

- Adam Bryant

Game development can seem like a mystery to anybody outside the industry. But of all the disciplines involved, writing is possibly the most misunderstood and underappreciated. Videogames writing can be best described as an enigma, wrapped up in a riddle, encased in the mind of someone who we’re told is sane but shows clear signs of madness, and keeps banging on about a princess being in another castle.

Fear not, for OXM is hot on the case and this month we had a chat with some of the best talent in the business. Writers Rhianna Pratchett, Anna Megill, Jakub Szamałek and JT Petty were all ready to lift the veil and explore their mysterious world with us.

The first thing to clear up would be what a videogame writer actually does. “In general [writing for games] involves working on a game’s narrative components such as story, dialogue, characters and world building,” explains Rhianna Pratchett. “It can also involve other elements such as environmental storytelling, narrative mechanics, voice directing, marketing and PR.”

“It depends on the project and the role,” says Anna Megill. “I might write screenplays and dialogue, or focus on narrative design and integration with other game elements. I coordinate with other teams to make sure that our work flows together. Collaboration is critical. I also write dialogue, trailers, and lore documentation like story bibles.”

Writing for games has come a long way, but it’s only been in the past ten years that the games industry has recognised the value of dedicated writers. “It’s actually emerged as its own discipline now,” says Pratchett. “There are many more professional game writers around these days. There are awards for game writing and summits dedicated to the craft. It’s taken much more seriously.”