Reflections of a Gaming Industry Freelancer

GenCon Indy 2007 | Contest Winner This year marks the fifth year I’ve been active within the gaming industry as a freelancer. Within five years I’ve worked on two dozen games, dozens of reviews, attended approximately 35 conventions and gatherings, met hundreds if not thousands of people, spoke on panels, and built some awesome memories. Here are some of my take-a-ways from working in an industry saturated with creative people and a desire to have fun.

(1) Got an Idea for a Game? Great. Then What?
There are dozens if not hundreds of people out there who have a natural ability to design games. Game design is a multi-disciplinary function that may blend psychology, group dynamics, mathematics, strategy, engineering and creativity. There are many folk who run circles around me in game design, but there are just as many that don’t understand what that critical next step is and how it relates to running a business.

(2) Working in the Gaming Industry is Often a Labor of Love
There’s a common phrase that I hear all the time, “If you want to make money in the gaming industry, stay out of it.” Because the people behind-the-scenes are in this industry for different reasons, there are multitudes of levels of professionalism and business conduct. It is not uncommon for a person not to get paid–even when a contract is in place. Communication can either be sparse or excessive, which may create challenges with how much time it takes to complete a project. Yet, people keep coming back year after year because they love what they do.
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How to Infuse your Creativity by Researching Tropes, Myths and Beliefs

As promised, I’d like to give you all a little exercise that my fantasy author friends might appreciate and immediately recognize. This is an example of how I do my research, and I’m offering it to you to put more questions in your mind than answers, to challenge not only what you write—but how.

For those of you who are familiar with research methods, you will notice that some of the steps are out of order. For my own work and curiosity, it has become necessary to formulate my hypothesis after I read my source material to reduce personal slant and remain objective.

Research Exercise: Avoiding a Common Trope in Your Setting

Step One: Identify your Intent

Create a dark-skinned race of characters that do not adhere to the common fantasy trope: all dark-skinned characters are primitive, barbaric, or villainous.

Step Two: Recognize Potential Sources of the Belief or Trope

Specific to fantasy there might be: Dungeons and Dragons, Tolkien’s the Lord of the Rings, or Conan the Barbarian. In this area, I would also recognize the need to read history or other nonfiction source material.

Step Three: Investigate a Major Influence for the Belief or Trope

Tolkien is often considered the father of fantasy and, in fact, heavily influenced early Dungeons and Dragons.

Step Four: Create a List of Author Influences

In this bucket, I sometimes either write down or note a variety of things about the author. For example: When was the book written? Where did the author hail from? How did the author create the trope or belief? Was the trope intentional? Did the writer have any prevalent or outspoken beliefs?

Step Five: Formulate your Opinion

Here is where you, the author, come into play. In this really basic example, you’ve done your homework to pinpoint what you believe is the reason why this trope was created and where it came from. Knowing those two things can really help you engineer other ways to avoid the trope or realistically portray a belief.

Step Six: Read Others’ Opinions

When appropriate, it might be a good idea to read other people’s opinions when appropriate. Literary criticism might be a great resource in this example or even commentaries from other writers. This step ends up becoming more important if you’re researching the origin of Halloween, for example, or myths and legends that cross time, cultures or countries.

Step Seven: Return to Your Original Goal

As the last step in the process, I recommend circling back to your goal and writing one paragraph to complete your thoughts. Sometimes, the act of writing down how you’d like to infuse your story with that different perspective can make all the difference.

What process do you use to marry research elements with your work? How do you manage collective thoughts and creativity into your projects? If you have other methods you use, feel free to share! Happy scribing!

The Difference between Game Design and Writing Games is…

Okay, so now that we’ve spent a whole week talking about writing game-related fiction, I’d like to round out this week o’ gaming by talking about the fundamental differences between game design and writing games. This is an often hotly-contested topic in many gaming companies, but really comes down to a very, simply idea and that is: writing is different from designing. The skills may be complementary, but often the two are not the same thing. Here’s why.

Game Design

When someone designs a game, they are planning out a mechanical system of rules that addresses the player, the environment the game takes place in, and the way that the player interacts with other players and that environment. Take UNO for example:

    Player The holder of a set of cards
    Environment The way the deck is laid out or: discard pile vs “play” pile
    Player Interaction Player plays off of the cards in the environment and interacts with other players through a turn.

Okay, so that’s pretty easy to see where the design comes in because there’s this concept of adding and factoring in mathematical chance and…but wait? Does that mean that every game is designed based on math? In my opinion, great game design is based on a combination of math and logic (as in propositional logic) to keep players focused on that game. Let’s take a look at another less obvious game called the Kingdom of Loathing.

    Player Paris the Fat, a pastamancer (Yes, that was actually my character name.)
    Environment Kingdom of Loathing
    Player Interaction Play is turn-based, where you interact with the environment and the environment mechanically responds based on different actions you take. Player may interact with other players by joining a “group” which offers a *stat benefit.*

Now, with games like these you can see where the design takes a different turn. The focus is on how the player interacts with the environment around her in order to follow the “rules.” This is where it gets confusing. In order to have rules for setting-rich environments, you have to describe those rules. Enter the writing aspect.

Writing Games

Sometimes, people who write games and people who design games are the same people, er…person. (You get what I mean.) When someone writes a game, they are either describing the environment for the player to play in, the type of character the player might play, or the rules. If the rules are established (like they are at larger companies) then it’s the writer’s job to translate those rules into a marketable, attractive setting. The game designer knows what kind of game they want because when done right, the rules are integral to the setting. The Star Wars: Knights of the Old Republic classic is a good example of this because within that game, a writer had to come up with dialog that would influence his (or her) Force rating. The way that a player chose to respond affected his character’s mechanics in game either for better or for worse. Here it takes a great amount of skill to come up with dialog that reflects subtleties of meaning — either positive, neutral, or negative — and not every game designer has that skill. Unfortunately, not every writer can design games either. Within the industry, rules can often get outdated as designers often try to remain current with different styles of play.

Besides dialog in video games, tabletop games often run the gamut of writing skills requiring technical, fiction, and nonfiction styles in order to put all the pieces together. The skills that game “writers” require are often different, because if a game designer is building the foundation or the structure of the game, the writing fills in the bricks, furniture, windows, and other elements necessary to what the game is supposed to be about. Game writers will often familiarize themselves with a game’s rules and setting in order to successfully contribute to a project; game designers will often do the same thing, but from their perspective. Sometimes, a game writer will be able to flesh out the setting like I typically do; other times, creative teams that include artists and other folk will map a game’s scenes out through storyboards while the game is being developed.

Hope that helps clear up the difference between the two. Keep in mind that the roles people have within the gaming industry varies depending upon the size of the company. This is true for any business, but especially true in this energetic, creative field. Happy gaming!

Gaming Fiction Day Four: Inferred Plot and Metaplot

Game fiction can sometimes have an “inferred” plot because of its popularity like many popular movies. Most people know Darth Vader is a bad guy. Writing about the rebels running from Darth Vader may seem like plot to you but really? That’s just a standard detail nowadays. Instead, those same rebels might be running from Darth Vader because they’re hiding a piece of jamming equipment that is going to screw up his cyborg life support mechanism. Now true, we know Darth survives, but how? Will the rebels make it out alive or will they be the ones responsible for delivering the plans to the Bothans?

Providing a layer of curiosity to your plot will help alleviate some of the challenges with an “inferred” plot, but sometimes it’s not enough. Sometimes, the publisher will say “and the character X has to be included and he has to win the day.” Okay, yeah. This can stunt creativity and cheapen the story, but only on occasion and strongly depends upon a writer’s skill.

The other thing that often happens is that writers will be trudging along and then *poof* are told that they can’t write X because it doesn’t fit within the metaplot, or the parts of the story that they can’t see. A metaplot is an over-arching plot that covers several books, games, or other media like webcomics in a series like . Examples of metaplots are the Harry Dresden Files book series written by Jim Butcher, the Resident Evil series, or the In a perfect world, writers should be told what they can and can’t write about up front. But the creative world is far from organized, because there are a million zillion moving parts that affect other pieces even the publishers and creators don’t know about. Writers truly have to be extraordinarily flexible with their writing as a result, because the contract only protects so much. Additionally some authors, like myself, have to be very careful about how we put our feet down because well? Unknown writers have less clout that “known.”

In this way, you’ll have to design your story so that it can bend and stretch if it needs to. I know this can be really hard to stomach, because some writers fall in love with their work. I’m not saying that you shouldn’t love what you do, but writing game fiction is about sales. If you’re not writing to sell fiction, you might be doing what I did early on. I wrote to build my portfolio, get references, and explore something I was interesting in doing. In the end, though, if you see a World of Warcraft or Forgotten Realms or even a Vampire: the Requiem novel sitting on a bookstore’s shelf, remember that that book is there to be sold.

There is a ton of other topics to cover with respect to game fiction, and I’ve covered the bare minimum here: audience, theme and plot. Tomorrow, I’m going to cover something different but if you like the series, feel free to let me know and I can talk about this more to cover what I haven’t really touched yet: setting, characters, game mechanics, and so much more.

Game Fiction Series

Day One: Can you Define your Game Fiction Story’s Audience?

Day Two: Can you Identify the Primary and Secondary Themes of your Game?

Day Three: Do you Know how to Plot your Story Based on a Game?

Writing Game Fiction Day Three: Plot your Plot

So now you’ve decide you’re going to write this really awesome story based on the video game Final Fantasy X. You love the character of Yuna, so you’re going to sit down and write a story about…but wait? What is your story about? Okay, you’ve figured out that Final Fantasy X is based on the idea that Zanarkand was at the height of technology but somehow “fell” to “Sin” 1,000 years ago. You and your band of merry adventurers are traveling on a not-so-merry quest throughout the planet Spira to get that final Aeon to relieve the world of Sin; only to do this, you have to sacrifice. A lot.

Last time, we took a look at what the theme of the game should be. Let’s just say, for the sake of argument, that we know the theme of this story is fantasy quest with eastern philosophical overtones. We also know what the overall plot is, because either we’ve played the game or we’ve heard about it from someone else. So now what? How are we going to expand upon this already well-developed story?

In an open game environment like an MMORPG, RPG or even a board game like Arkham Asylum, it’s pretty easy to plot the plot provided the “rules” are followed. Things like monster weaknesses, powers, setting restrictions, and other minutia all come into play here. For that type of gaming fiction, it’s easier to think big and squish down the elements to fit within those particular parameters because really, the sky’s the limit on the plot.

In a closed game environment, where the plot has already been decided, your plot is exceptionally more challenging to figure out because a closed game environment has a time line of events. As a writer, you’ll have to determine the “when” of what point in that time line you want your story to occur. Once you figure out the timing, you’ll probably be able to recognize “where” in the game your story might take place and then “who” your character is interacting with.
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