Good writing is the future of gaming

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Monday, February 06, 2012
EDITOR'S NOTEfrom Jason Lomberg

In gaming's 50+ year history, the medium has made remarkably little progress in the area of storytelling. On the other hand, games like Heavy Rain, Portal, and Mass Effect prove that interactive entertainment is fully capable of telling complex, mature stories. David argues that for gaming to evolve, it will need to embrace the written word.

Picture yourself immersed in a new game, and so far it’s good. It plays well, has a fun combat system, and a world that’s engaging. Everything seems right. Everything seems to work.

So you play on, beat a boss, solve a puzzle, or just somehow progress the story forward when it happens and everything goes horribly, horribly wrong. It tends to be during a beautifully rendered cut-scene, when you’re marveling at the artwork and at the graphics. Suddenly...BAM! A bad line of dialogue ruins your experience forever. It feels like getting punched by a dinosaur.

We’ve all seen it before; bad writing spoils an otherwise worthy title. The dialogue is clunky and dry, the villain is comically over the top, or your character’s love interest is beyond obnoxious, and you just want them to die. Die in a fire. Pair any of these examples with bad voice acting, and any self-respecting player will just put the controller down.

This industry constantly strives for visual perfection, but it often ignores stories and spoken words. Countless games look great; technological advancements have made it very easy for things to look pretty. Most studios can create breathtaking images, but they can’t seem to tell a joke, make us cry, or get us to care about the death of a nonplayer character (NPC).

This has been the norm for years, and we put up with it. However, as Bob Dylan once said, "the times they are a-changin'." Developers like Bioware and Bethesda are hiring authors to help tell their stories, and these two companies seem to only make bestsellers. The rest of the industry is starting to catch on. People are realizing that good writing can take a decent game and turn it into one that is beyond banana pancakes awesome. This is the future.

 

those eyes

Because of this new philosophy, video games are becoming a more valid and artistic method for telling a story. The desire to kill an RPG's entire supporting cast is being replaced by a general concern for their well-being. The urge to fling your love interest into a pool of acid is swapped for an odd attraction to the elf in the party.

Companies will find that criteria for the next generation, or "next-gen" for people who hate syllables, has changed. Graphics, playability, and all that will still be important but so will the writing. I know some people could argue that this only matters to RPGs and other story driven games but I ask: Would Portal have been as much fun without GLaDOS? Or the promise of a nonexistent cake?

The shift to this brave new world has already started. Star Wars: The Old Republic employs tons of real sci-fi writers. Best-selling author R.A. Salvatore created the lore in Kingdoms of Amalur: Reckoning.

Hopefully, as this trend continues, more conventional storytellers will work in this new medium. Imagine the possibilities...our favorite authors, screenwriters, and directors might need an interactive element to fully tell this epic new tale. That, for this world to be fully realized, the audience needs to help build it. In this glorious future, our beloved creators may find that they need to make a video game.

Steven Spielberg has already been involved in several titles. He created Medal of Honor and Boom Blox, but I hope more visionaries take the digital plunge. I want to see Neil Gaiman create a dark and beautiful virtual world. Think about how amazing a sci-fi adventure game penned by Simon Pegg and Edgar Wright would be. It seems appropriate for these fabled creators to do this eventually; in fact, Neil Gaiman has worked on a few that never got to see the light of day.

The future is now, tomorrow, and the days that follow it. So, barring any unforeseen catastrophes, video games will continue to gain more and more respect. If the writing continues to get better, our beloved medium will take its rightful place alongside theatre, fiction, and film, and it will finally be considered art. I, for one, can’t wait for the places we’ll go, the NPCs we’ll meet, and the stories we’ll live.

 
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Comments (24)
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February 03, 2012

ugh, i don't want to live in a world where every developer tries to cram good writing into every game. I prefer that developers focus on gameplay. If gameplay takes a back seat, then it's just an interactive movie/book.

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February 03, 2012

Why does it have to be one or the other? Can't we dream of a world where games have fantastic gameplay and great writing?

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February 04, 2012

I'm not sure why video games must be the only entertainment medium with such juvenile writing. Gaming's inability to tell mature stories (with "mature" denoting more than exploding heads) is holding it back...it's no wonder gaming has such a sad reputation.

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February 04, 2012

I'm not sure why pornography must be the only entertainment medium with such juvenile writing. Pornography's inability to tell mature stories (with "mature" denoting more than "exploding" heads) is holding it back...it's no wonder pornography has such a sad reputation.

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February 06, 2012

Fox, I'm not sure I understand the analogy. Are you saying that gaming, like pornography, is good for quick thrills and nothing more? Or that porn is a legitimate entertainment medium, and we ought to be harping on Ron Jeremy to take acting lessons?

Pict0079-web
February 06, 2012

I dunno. I was wondering what he was saying in the first place. Lol. And I'm not willing to stick around to find out.

Lolface
February 06, 2012

Based on Fox's previous comment, I think he sees porn as being analogous to games. In porn, we don't really care about the story, we just want to see sex, and the story justs gets in the way of that. Similarly, story can be viewed as getting in the way of gameplay. It's a common complaint for Metal Gear games, when you have to sit through an hour long cutscene before actually playing. Essentially, Fox is equating the sex in porn to the gameplay in games.

I'm not saying that I completely agree with this analogy (I like Metal Gear), but I can see where he's coming from.

Sexy_beast
February 07, 2012

Interestingly enough, I believe the Metal Gear series does storytelling wrong.

Kojima tells story from a film perspective -- delivering expository information via boring cutscenes. This is akin to someone taking the controller from you, setting it down, and explaining to you what's going on...rather than you experiencing it for yourself.

This method, along with the series limitless twists, corny dialogue, unoriginal characters, and filler that the gamer is expected to remember, is grounds for a very torturous storytelling experience.

It's the reason why fellows like Fox can see story as "getting in the way," and why I believe games like Metal Gear Solid should be praised for anything BUT their stories.

Praise Half-Life and Portal instead...those games do it right.

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February 07, 2012

I do think that Metal Gear's story was its weakest element. I was really digging Metal Gear Solid 2 until it took a turn for the wacky in the end.

But video games can be a vessel for fantastic, unique storytelling. Games can interface with the player like books and movies cannot...in ways that are truly sublime.

Wile-e-coyote-5000806
February 07, 2012

I think the analogy between video games and pornography is a deeply flawed one.  Pornography is a genre, video games are a medium.

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February 06, 2012

I would give my soul to have Gen Urobuchi(Song of Saya, Puella Magi Madoka Magica, Fate/Zero) to write a story for a JRPG.

I can see it now. Brutal antiheroes, mass murder, party members getting killed out of nowhere, and manipulative bastards galore. Urobuchi could do to JRPGs what Madoka Magica did to the Magical Girl genre.

ANTE UP!

Pict0079-web
February 06, 2012

I keep thinking that Urobuchi wrote the script for Tsukihime, because Fate/Zero was a TYPE-MOON project. The company sure branched out over the last few years.

I'm up for another Urobochi project. He's clearly moving upwards in the industry. It wouldn't be a bad idea to try to top his previous work with a JRPG phenomenon, with vampires, violence, vendettas and whatnot.

(I'm still surprised that Fate/Extra made it to the States...)

Default_picture
February 06, 2012

Nah. Most of the Type-Moon works, specifically the official canon VNs, are written by Kinoko Nasu. Gen Urobuchi wrote the prequel novel to Fate/Stay Night, Fate/Zero.

Gen also wrote the dark VN, Saya no Uta.

In fact, when you look past a lot of the sexual content and lack of what many consider "gameplay' in many Visual Novels, they tend to offer some of the best writing and characters out there. Hell, just look at all the praise that's been heaped on Katawa Shoujo - just ignore the stuff that professional journalists have to say about it and play/read it with an open mind(http://katawa-shoujo.com/about.php).

Sexy_beast
February 06, 2012

The belief that the majority of innovation in games lies within gameplay -- and that the majority of design focus should be aimed towards it -- is a dated concept, and I have little sympothy for people who buy sequels to "AAA" franchises and claim they're "bored with them."

This industry continuously focusing on refining gameplay at this point is like the automotive industry constantly redesigning the common steering wheel; it works perfectly fine...leave it alone.

Story, on the other hand, is about as developed in this medium as its views on sex and violence. Hopefully developers will get their heads out of their asses and actually think about the themes they're featuring in their games, rather than keep making it easy for non-gamers to assume these things are designed by 15-year-olds.

Pict0079-web
February 06, 2012

In most cases I wouldn't have believed you. However, after playing Battlefield 3's laughable campaign, I pretty much agree.

BF3 wasn't terrible by any means. The main story just didn't set itself apart from other franchises. If the multiplayer mode didn't have those high-res graphics and the wide open spaces, I would have dismissed it as an overpriced junklet.

Heck, it still feels like an overpriced junklet. At least the limited edition had the Back to Karkand DLC, to compensate for my disappointment. I hate to say it, but I don't feel the same charm from military shooters anymore.

So to sum my comment up, I'll just say that the story matters more than anything else.

EDIT: Actually, the gameplay still plays a big part in certain cases. I remember quite a few games that stood out for how they revolutionized styles of playing. So, I don't think it's fair to assume that one is greater than the other.

Yeah...I flip-flopped. X-P

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February 06, 2012

Hmm, I can see your point somewhat, Ryan, but you seem to be implying that gameplay works perfectly fine, so developers should leave it alone (given your car analogy).

That's a pretty broad statement. Gameplay can and always should be improved. Even the best titles out there could use some help in the gameplay department, and those are the AAA titles that get tons of praise. Just think of the B or even more mediocre titles out there. Should they focus more on story? Would that make their games better.

I'll agree with everyone here that video game writing needs to develop more, but looking at the relatively short history of gaming, the writing really isn't that bad. We've had games capable of delivering mature stories since, what, the mid-late 90s? Books have hundreds of years on games, and movies have had decades to develop their storytelling. Gaming has had all of 15-17 years. Give it time. 

Videogame stories are getting more and more complex all of the time. Just look at Mass Effect. :)

Sexy_beast
February 07, 2012

Usually by "leave it alone," I mean developers should just use what's been standardized and progress gameplay as it applies to the function of the game's story. For instance, gameplay should be a product of a great character with superpowers, rather than a mediocre character being a product of great superpower gameplay.

The main reason for this is because games become more boring more quickly when gameplay is the main emphasis...which is why I spent about 10 minutes playing Gears of War 3. Nothing had really changed since the series' first incarnation.

Gameplay will naturally continue to evolve as developers try new and interesting things with their narratives, so storytelling should be the main focus now.

And I wouldn't go as far as saying complexity is the right direction for game narratives, nor is it a good thing in and of itself. Metal Gear Solid is incredibly complex, but that doesn't make it good. In fact, it's a pretty laughable and embarassing story, at times.

Mass Effect is a good example of great writing, but not of a good story. The narrative itself is very generic, cookie-cutter pulp sci-fi that has been around in games since their seminal years.

This medium needs to start veering away from the typical sci-fi, fantasy, and apocalypse themes that have now overly saturated the market.

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February 07, 2012

Gaming's storytelling techniques have not kept pace with the remarkable advances made in visuals and gameplay.

I agree with Ryan. Video games need to embrace a much more personal, idiosyncratic approach to storytelling and lay off the bombastic sci-fi/fantasy/action.

Lolface
February 06, 2012

While I do believe that a good story is vital to a great game, I don't think writing alone is capable of elevating gaming. With games, writing is usually secondary to design, and the way we interact with games is very limited. Portal 2 was a great game with a great story, but it was all about shooting things. No, you weren't shooting robots in the face, but the only way to really interact with the world was to shoot your portal gun at a wall. Kingdoms of Amalur: Reckoning is in the same boat. Although the developers would like to have you believe that action RPGs didn't exist before their game, Reckoning is just like Fables, but slightly more open. Even with a story by R.A. Salvatore, the only way for the player to interact with the game is by hitting things with large sharp objects, or magic.

There are a few games that do change the way we interact with them, with Heavy Rain and Catherine being two that immediatly jump to mind, but every game can't be block puzzles and QTE fests. So, until developers can change the way we fundamentaly interact with a game, every story will just be another reason to shoot/hit something.

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February 07, 2012

Matthew, I respectfully disagree. I think that we haven't come close to exploring gaming's true potential as an artistic medium. We have countless action and sci-fi flicks. Where are the comedies and dramas? I don't think that every individual component of every game needs to be subordinate to the greater goal of shooting or hitting something.

Lolface
February 07, 2012

I don't think so either, but in most cases, they are.

Default_picture
February 06, 2012

I just don't want every game to become bloated with Hollywood budgets like Uncharted and Modern Warfare.

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February 08, 2012

Very nicely said and I couldn't agree more. As a member of the development community, I can honestly say that one of the biggest disappointments has been seeing how Writing and Audio always seem to take the backseat in development. The mantra "gameplay is king" is a correct one, but in an age where development teams swell to the hundreds, why does it have to be exclusionary? Isn't there room for professional writers? I definitely think so, and I definitely think it makes a huge difference in the game. However, I have to temper this with a further comment on the topic. In the world of games, being a good writer isn't enough. You have to be a good GAME writer. Too many writers treat it like a novel or screenplay, and neglect the fluidity of the game world. There are some masters on the topic, but they are too few and far between. I would love to see a college course for writers that teaches them "creative writing for games," because it really is its own art form.

Loved the article!

Sexy_beast
February 08, 2012

Being a game writer is actually my ultimate goal. I love games, know everything about how they function, what works and what doesn't, and I happen to love writing (90% of my jobs have involved it). But every time I mention this to a developer or someone in the industry I get the same response, "Ah man, that's hard. That's a tough field to get into."

Really? How? Nobody is doing it, so shouldn't the margins be huge? Or perhaps it's like trying to go after a job that is virtually non-existent.

It's depressing, the reality of the role and significance that writing plays in this medium...a very, very small one.

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