Wednesday, July 1, 2009

Signs of the Zodiac




Seeing as how my birthday was a couple days ago, I was inspired to do a astrological prompt.

Pick a random day on the calendar. Look up the astrological characteristics for a person born on that day. Now, create a villain based on those characteristics.

For example: Say you picked today. That would make your villain a Cancer. Cancers are highly emotional, they're very strong-willed, and are usually night owls. This could be fun for a villain. A Cancer villain would have very deep motives, stemming from a past hurt or betrayal. This could either be a villain that the player would sympathize with, or one that would scare the player half to death.

If I were a villain, I think I'd be closer to the second one.

Tuesday, June 23, 2009

Opening Cutscenes








This might be a little more fun for you poetic and dramatic writers. Cutscenes are a HUGE part of gaming anymore. It started out as impressive, silent graphics and has now turned into short films about the characters and settings. Opening cutscenes can easily suck a player into playing a game.


Your prompt: Create a great opening cutscene. It can either be full of talk or speechless.


Reasons for speechlessness: A video game script doesn't just have dialogue. It has narration. A game script's narration is usually short and to the point, but there is plenty of it. A great opening isn't always full of talk. Sometimes confusion or an adrenaline rush can suck in a player.


Other notes: Even if your opening has no talking, be sure to involve sounds in your description. Sounds add tons of depth to any game.


Examples of great openings:


Final Fantasy 8

This cutscene has absolutely no speaking. The reason this make a great intro is because it shows many elements of the game: relationships, action, and future events. The music gives a nice adrenaline kick as well.









Prototype (CAUTION: This is a M17 game. It contains graphic violence. Like, people getting cut in half violence.)

This is a great opening because not only do you see really wicked action, but you learn the story of the character you're playing. Even with my weak stomach, I'm itching a bit to play this game myself because the story is so facinating. (Even if it is a bit of a I Am Legend steal.)









Uncharted

I like this opening because it makes me laugh. Ok, there are more reasons than that to as why it's a good opening. You learn about the characters you're going to be spending a good week looking at. The story is set up and when that is settled, it goes straight into the action. Perfect!











Kingdom Hearts 2

This is a very complicated opening, which makes it so great. Not only is this the opening to KH2, but it's a synopsis of the events in KH1 and KH: Chain of Memories. So it's like 3 games meshed in one. Not easy. This is another opening with no real talking other than the song lyrics.








Thursday, June 18, 2009

Bully





System: XBox 360/PS2/Wii/Windows
Release: 2006/2008
Developer: Rockstar


PLAY THIS. I don't think I could be clearer about it. Rockstar is a company that has some of the best character and humor writing. Rockstar is famous for their sandbox games, including Grand Theft Auto.

So what do I give it?

Plot: 5/5
Characters: 5/5
Side Quests: 5/5


Plot
The basis of Bully is that you play as the new kid at a boarding school that seems to be especially made for juvenile delinquents. Trying to survive relentless attacks by jocks and bullies, you try to make your way to the top of the social food chain.

The plot is simple enough, but almost anyone can identify with it. If you've ever been picked on in school, it feels great to walk up to a character in one of these games and just glass jaw him.

The main idea in this game is to earn respect of everyone in your school by doing jobs for people. Starting at the bottom of the totem pole with nerds, you slowly make your way up to the top. Your only accomplices are Pete, a wimpy follower, and Gary, a psychopath that I'm glad I never went to school with.

So Gary convinces you to take over the school, then betrays you and tries to get you to fall to the bottom of the food chain and tries to take over the school himself. So not only do you have to defend yourself against bullies and Fonzie wannabes, but you have to find Gary and destroy him before he destroys you.
In the end, you set Gary up and the principal gets him expelled.
You're the top of the food chain. But only in Video Game Land. Sorry.

Characters

Jimmy
Even though Jim is a type of live-and-let-live type of character, he also helps others---at a price. Jim has a great amount of complexity in him, which is why I like him. He's got an attitude problem (that you can tell is from his lack of decent parents), he doesn't want to deal with anyone, and yet he still manages to become the most popular guy in school by helping everyone. For the goody-two-shoes (Does anyone understand that expression? Do rebels only wear one shoe or something?) that never talked back to teachers or meddled with school property, you will be surprised at Jim's behavior, but the teachers' behaviors kind of balance it out.


Gary
This kid doesn't belong in school, he belongs in a psychiatric ward. This kid makes an excellent teen villain due to the fact that he's absolutely crazy. Almost Kefka crazy in a sense. Finally releasing himself from medication, Gary goes nuts and tries to destroy Jimmy in order to get the school for himself.
(Why is it that crazy people are the first to pursue big dreams?)





Other Characters
There really aren't a lot of major characters. They're evenly distributed throughout the game. The most interesting thing about the characters in this game is that they aren't copies. Each one has a name and personality. That's definitely a rarity in a sandbox game.

Side Missions
The funny thing about missions is that they were so much like the mainstream ones that I couldn't tell the difference. Some of them were a little more disturbing mind you, for example, getting your butt ugly lunch lady a date as she spits in the vat of mystery meat; but all in all they went seamlessly into the gameplay. It really is the best mission writing I've seen thus far.

Final Say:
Play it! Don't ask, just do it!


Other notes:
How about a female sandbox game, Rockstar? Why should guys get all the fun of hitting people, stealing cars, and pissing off authorities?

Tuesday, June 16, 2009

Prompt: Princesses




Inspired by Fat Princess (Sony), I thought I'd dedicate today's prompt to princesses. These are the types of princesses we usually come across in the world of games:

Sweet and Sincere
These girls are quick to think, slow to anger, and even slower to say anything. If they say anything relevant at ALL, it usually ends up being something timid and philosophical.

Punk Princess
These princesses usually have armor, a sword, and sometimes less clothes than normal people. They're quick to anger, quick to speak, and usually end up destroying one thing or another in the process.

The –Not So Secret-- Princess
Yes, yes. You're really a princess. We NEVER saw that coming. Come on.


Your prompt: Come up with a princess. Make her original. Make her deep. Make her bigger than a size 2. (Why are all princesses so TINY?)

Monday, April 13, 2009

Technical Writers

Picture from www.freefoto.com

The writing field of video games almost seems top secret when all attention is drawn towards gameplay, level design, and whether or not stuff explodes. Few and far between know about all the work that goes into sending out memos to all departments, throwing together an instruction manual, or the 500 page game design document that is poured over before a game's production.

Thanks to www.igda.org, I was able to talk to Megan Wiseman, the technical writer for Red Storm Entertainment. Although Red Storm may not be as large as its parent company, Ubisoft, there is still a ton of work involved for a technical writer. See for yourself!



1) How did you get on board as a technical writer of Red Storm Entertainment?

Well, this job kind of fell into my lap. I had a friend who worked at Red Storm, and I originally had been thinking I would try to get on in the Design department--I do creative writing as well, but I don't have anything published yet. So I really didn't have the actual stuff on my resume to break in that way. But last summer, my friend contacted me and said "We desperately need a technical writer, and no one we've interviewed has a clue, or is even someone we like. I like you and I know you know your stuff, PLEASE apply." So I did. And I got hired.

2) What is your typical day at work?

Well, my day is about the same as anyone else's. Or about the same as any other technical writer's. I come in to work, I look at my task list, I pick a task and start working. If you are looking for the types of tasks that I do...that is highly variable, but that is addressed in the next question. If you want a walkthrough of my day...I get coffee; I banter with my co-workers; as I said I pick tasks to work on; I do some work; I banter some more; I might go talk to someone else in the company if I need additional input or have questions about something; I might set up a more formal sit-down meeting if I have several things to ask or several people to address at once. I usually have a brief check-in meeting with my supervisor once a week to let him know what I'm working on, what I am having trouble with, what questions I have, etc. We have a company meeting once a week where all departments give updates. Generally my day is pretty fun, though--I get to hear people talking about the different parts of the projects they are working on, brainstorming ideas for new projects, working through storyboards or blocking out scenes, etc. It's all very exciting.

3) What tasks are you in charge of?

I've done a little work on a game manual, but most of my work has to do with the documentation that the engineers produce in the process of creating the game. How to use the game engine, the editor, and the software tools that attach to the engine; tutorials for the art team in how to use the software; tutorials by the art team for other artists on specific techniques to use in creating game objects; information about the networking and multiplayer capabilities of a game. I also work on process and policy documentation--in other words "how do we do things here?" Sometimes these are referred to as "best practices" documents. Eventually I'll also be documenting the documentation processes I create--meta-documents, or "documents about documents". Confused yet? I do a bit of everything. Mostly because I'm the only one. Eventually a lot of this will be delegated. I hope.

4) Which tasks do you find most rewarding?

That's a tough call. I enjoy working on manuals, though it's a small proportion of what I do now. At the moment my boss is asking me to focus more on "big picture" projects, having to do with the overall organization of our documentation, and our infrastructure for creating, storing, and distributing that documentation. What I'm doing now could be seen more as "information management" or even "information architecture". I'm also working on a project to completely re-do our company portal or intranet. So those are the biggest things, and I think once we get them done it will improve overall productivity and efficiency at the company, so I think it will have a big impact. That makes me feel pretty good.

5) Which tasks do you find most challenging?

See above! While it's rewarding to work on something that will impact the entire company and improve things on a big scale, it's also something I've never done before. I've never been in charge of infrastructure, developing standards, creating processes wholecloth, or building a company portal/intranet from the ground up. All of it is new to me. Additionally, I appear to be one of the few (maybe the only) actual "technical writer" who is labeled as such in the video game industry. Thus, it's a very challenging job.

6) Who do you work with for information and tasks?

I work with just about everyone in the company, but that's because my job function is still being worked out to a large degree. Right now, I'm in charge of ALL the documentation, for ALL departments in the company. Even though we're still a fairly small studio we're growing fast, and have more than 100 employees so it's a daunting task. I'm still getting to know what all the parts are, and who everyone is, and I'm still defining what needs to be done. I work with the heads of departments, company management, group leads, and some individuals. It depends on the task I'm working on. If I need a particular piece of information or a question answered, I'll go to an individual I think might have what I need. If I'm trying to get more general information or a bigger vision of what needs to be done on a task, I might choose a group lead, a department head, or even company management as a whole. When I was working on the one manual I have worked on so far, I worked with the testing team a lot, as well as the lead designer and the producer on that project. So it just depends on the task.

7) What skills or education are required to be a technical writer?

In general, technical writers can have a pretty broad skill set and educational background. As for me, I had an English degree and some personal background in various technical areas. I was fascinated by computers so I had a small degree of knowledge about them, and more important I had the curiosity and interest to learn more. I think that is probably the key skill or talent you need--curiosity and a desire to learn more about just about any area of interest. If you can summon up your curiosity about even a topic you never thought to investigate before or didn't think you would be interested in, you can probably do a good job. Because a technical writer usually stands in for a particular audience, you see. The people with the information you need are so close to the subject they know that they have forgotten what it's like for someone who *doesn't* know what they know. So the writer has to represent all those folks who need the information that engineer or programmer or whoever has in their brain.

So the skills you need are:
--> Good writing skills (grammar, spelling, punctuation, ability to communicate clearly and accurately, ability to write for a particular audience);
--> Curiosity;
--> Ability to get along with and talk to many kinds of people;
good interviewing skills (ask open-ended questions, create more questions based on answers you get, etc.);
--> Ability to think logically as well as creatively;
--> Good editing skills (sometimes you'll have an editing department but more often you'll do your own or you'll have peer edits only)


8) Are you a permanent employee or is it a project-by-project type of job?

I'm a permanent employee.

9) How much demand is there for the tech writer field? How much do small companies rely on a tech writer? What about larger companies, such as your parent company, Ubisoft?

You know, I really don't know the answer to this question. On the one hand, I seem to be one of the few (or only, as I said) technical writers who actually hold that title within the industry. I think that's because so many studios are general small, and even larger companies are usually made up of several smaller divisions or studios. So in general I think people in the industry tend to multi-task and have variable skills sets. Given that, I would say a lot of technical writing gets done, but probably by people who aren't labeled as technical writers as such.

I really don't know what the state of the industry in general is or will be for a technical writer. I think there is definitely room for technical writers within the industry if you can find a company who is willing to hire you. The key, as in all areas of the game industry, is to diversify your skill set; make sure you know video games and love them; and network, network, network! If you are capable of doing something besides just technical writing (game design, programming, 3D graphics, game writing, etc.) you'll probably be a better sell just because most studios, even big ones, are looking for the most bang for their buck. A lot of the technical documentation created at most studios is likely created either by the engineers (meaning it's likely not very well organized, or very clearly written, unless that engineer also happens to have training in technical writing) or its done by the design writers (which could mean anything; most of them at least will have fairly strong writing skills but may not have experience or training specifically in technical writing).


10) Is there any extra information or advice you’d like to give people interested in this field?

First and foremost, don't give up. I first met my friend and became interested in working for his company in 2004-2005. It therefore took me four years at least to get this job! Granted, I wasn't working actively to get in that entire time. I imagine I would have gotten in sooner if I had. But my point is, it can take time to gather the skills and experience you need, or to meet people who can help you position yourself correctly to break in. So perseverance is important. KNOW VIDEO GAMES. KNOW YOUR WRITING CHOPS. Those are the two most important things, I think, besides perseverance and patience. It's not vital to know and play all genres of games, but the wider your knowledge base the more likely you are to impress whomever you try to get a job with.



Thanks goes to Megan for her time!




Thursday, April 2, 2009

The Game Design Document


I'll be honest: I've only written about 5 or 6 college GDD's and they were pretty lame by anyone's standards. So me telling you how design a GDD would be hilarious to the professionals, who have websites dedicated to the stuff.

Instead of telling you how to make one, I'm going to go into what a GDD actually is and what it accomplishes. I will also add in some links to websites if you'd like further help in creating the documents themselves.


What is a game design document?

A GDD is a humongous stack of papers that tells everyone on a gaming staff what the game is, how it works, and every single small and large detail incorporated within the game. It's an exhausting document that makes Leo Tolstoy's War and Peace seem like a children's book. Grant you, the less complicated the game, the shorter the GDD. But for large game worlds like Grand Theft Auto or Kingdom Hearts, these documents can be anywhere from 200-1000 pages.


Who is in Charge of Writing it?
This usually depends on the company. The most common way of doing it is to have everyone fill out their own pieces and then the lead designer puts it together and makes it shiny. If there is a technical writer on the staff (which isn't as common as you may think) they usually have a hand in it.



Why do games need such a big friggin document?
If you're a studio of 3 or 4 working in someone's mother's basement making an arcade game, maybe you only need a few pages of memos. But if you are Ubisoft, Square-Enix, or EA Games and employ 100s of people, you're going to need one.

A GDD tells everyone what's going on at any time. If something changes, it's in the GDD. It may not seem like it, but this document saves buttloads of time down the road.

Not only is it important for the developers, but for the publishers as well. They look at the GDD to see if they want to fund the developer or not.

So make sure it doesn't suck.


What does a GDD Cover?
Everything. Seriously. Here's a list of some of the things a GDD covers:

  • Why you should play this game
  • What sets this game apart from others
  • Characters and Controls
  • AI and Enemies
  • How the World is Set Up
  • Storyline
  • Graphics and Engines
  • Scales and Objects
  • Camera and Lighting
  • Interface and Sounds
  • Weapons, Health, and Special Abilities
  • Single Player vs Multiplayer
  • Etc

How does the template work?
Depends on the company. There really is no set way of making a GDD except for a few things: First, the beginning pages are the ones that make the readers (AKA publishers) excited about making the game. Second, there is always a well written table of contents. And third, everything about your game is easy to find and well written.

Other Notes
GDDs aren't really meant to be particularly exciting nor creative. They're just a reference for publishers and developers. So if you're a college student and you find writings up GDDs boring, just be grateful yours will only be 5-20 pages instead of 500.

Conclusion
All game companies have GDDs. If you want to be a game designer, you're going to have to learn how to write them well. If you want to become a game writer, it wouldn't hurt to know the strings.

Great Links
http://www.gamasutra.com/features/19970912/design_doc.htm

http://www.sloperama.com/advice/specs.htm

http://www.thecorpament.com/the_importance_of_design_docs_in_game_development.html

Templates
www.runawaystudios.com/articles/ctaylordesigntemplate.doc

http://www.cowgodgames.com/articles/designdoctemplate.htm

Examples
https://www.digipen.edu/fileadmin/website_data/gallery/game_websites/Claustrosphere/GDD.pdf

http://gamasutra.com/features/20070220/bateman_01.shtml

Tuesday, March 31, 2009

Poll: Best Narrative

Which genre do you think has the best narrative?

RPG
These games are usually the ones with the deepest, most complex storylines. They are also prone to really annoying plot twists and lame characters. These types of games are usually best for people that play games mainly for storyline and rarely for gameplay. Examples of this genre are the Final Fantasy Series and Kingdom Hearts.


ACTION/ADVENTURE
If you like a simple storyline along with blowing up or slashing stuff, this is the genre for you. In these types of games, storylines and dialogue are used only in medium strength for background information. This genre, however, is becoming more in depth and may turn out to be as highly developed as RPGs in the future. Examples of these types of games are Call of Duty or Fable.

SANDBOX
Sandboxes are big worlds in which a player can do whatever s/he wants. Rockstar is a great example of sandbox game writing, with such titles as Bully and Grand Theft Auto. Writing is mainly for entertainment purposes, seeing as how most sandbox games are mission based. The writing in these games are to enrich a game world, not so much to make you see what happens next.

STRATEGY
Go here. Destroy these guys. Blow up this base. To me, this is about the extent of strategy writing. The story depends on the game. Turn based and tactical strategy games usually have the strongest of storylines, while games that lean onto the simulation side will have a fainter one. Examples of these games are Ceasar III, Phantom Brave, and Warcraft.

Which do you choose?