CONNECTING STORIES Entrepreneurial Partnerships Between New and Traditional forms of Writing Foreword 2
With this report Luke Kelly has sought to demystify the relationship between writing and gaming, an industry that employs 10,000 people in the UK and was globally worth close to £3.5bn in consumer spend in 2013. Worldwide, games sold more than music or video in 2014 1. Luke suggests that writing for video games is a wonderful and inspiring career choice for writers, although not one that is yet widely understood or embraced by writers with ‘traditional’ work portfolios. The expeditious development of the gaming industry requires writers to adapt and catch up or risk missing out on this creative and potentially lucrative avenue for their skills. Spread the Word is grateful to Creativeworks London for the opportunity to work with Luke Kelly and we look forward to taking the recommended actions forward to support a new cohort of highly skilled and visionary writers ready to make their mark on one of the UK’s most successful and rapidly expanding industries.
www.spreadtheword.org.uk
Laura Kenwright & Sue Lawther, Spread the Word
1 Source: http://ukie.org.uk/content/games-industry-numbers contents Click Page Number to Select
Introduction 4 Executive Summary 5 Next Steps 6 Methodology 8 Desk Research 9 Case Studies 11 Sherlock: The Network 12 The Black Crown Project 16 Blue Toad Murder Files 20 Inanimate Alice 24 Zombies, Run! 28 Insights 31 “Inanimate Alice” Introduction 4
What do writers offer video games? Does the rise of video games and the constant development of the industry offer new opportunities to writers? If so, how can writers make the most of these? How can writers skilled in creating films, novels, plays or poetry transfer this knowledge and experience into writing for video games? This project asked questions about the role of writers working in the industry via the construction of several case studies, each of which focussed on a game that showcases high quality written content. In so doing, it presents an overview of the differing ways in which high-quality writing can be - and indeed has been - integrated within contemporary games, and provides insights into the careers of several games writers. The writers, developers, and producers interviewed have all actively challenged preconceptions as to what the term “video game” actually means; this project provides an introduction to both the works they have created, and the skills, experience, and processes used to create them. Many video games need strong stories, original and engaging characters and evocative worlds: the very qualities which also govern much creative writing. This research presents a series of case studies as to how writers have been successfully integrating such skills within a range of critically and commercially successful titles. It uses these as the basis for a series of insights as to how new and emerging writers can seek to replicate, learn, and take inspiration from such successes. By asking what writers offer games, it also uncovers what games can offer the development of writers’ skills and careers. “Inanimate Alice” executive summary 5
This project identifies a series of critically and commercially acclaimed Core Insights games that foreground high-quality writing, using interviews with the writers involved to detail some of the processes by which they were created. From Analysing the results of the interviews also uncovered a series of key insights fitness apps to educational tools to experiments in literature, no two of the which applied to all the games studied. These findings summarise the experiences of the writers interviewed, whilst also indicating a number of games in this study are alike - though they are linked by the integral role of potential areas for future study and actions for Spread the Word and writers the writer. All are playable on either a smartphone or via an internet browser; interested in writing for games (as described on the following page). Presented all are either free to play, free to try, or cost less than £3; all are easily- in detail at the end of this report, these insights are summarised below: accessible even to people with zero gaming experience. They’re collated here as a “primer” to what the industry can offer, highlighting the creative opportunities games can present to aspiring writers, whilst also providing an • Developing Core Skills • Adapting and Interacting indication of the skills, knowledge, and experience such projects require. Writers can hone and practice the Once a game has been released, core skills games required for the interacting with its audience, and development of games using a range adapting to their experiences, can of free-to-use tools and platforms. inspire future development. In-Depth Case Studies For each of the games featured, an in-depth interview was conducted with • Building a Portfolio • Learning to Collaborate one of the key writers or developers involved. These have been used to How to make a portfolio that The case studies show that construct a “Writers’ Journey”, a map detailing some of the key challenges demonstrates a grasp of the key skills collaboration with other people is faced during the development of each game. Collated here together with needed - even if this doesn’t take the crucial, whilst the experiences of the profiles of the interviewees and key excerpts from the interviews, they show form of a game. writers interviewed hint at ways this what writing for a game “looks like”: they provide a glimpse ‘behind the can be practiced. scenes’ of each game featured, showing the kind of challenges which were • Turning Moments into Games faced by the writers involved. Several of the games featured involve looking not just at successful games for inspiration, but at everyday moments and experiences that can be enhanced. Next Steps 6
Various opportunities exits to take the findings from this research further:
• Widen the research by adding more in-depth interviews with various stakeholders, documenting the results on video so that the findings can be disseminated in a different, engaging way (see diagram).
• Commissioning accessible, detailed resources for writers to use and access online in a variety of different subjects, from process to actual writing exercises, containing links to work opportunities and the gaming/ writing for gaming industry.
• Integrate more video gaming writing opportunities into Spread the Word’s box office programme, or via development of targeted professional development projects.
• Developing partnerships with games developers, national networks (i.e. Ideastap) and the literature sector (e.g. other regional writers’ development organisations, Arts Council England, British Council, Arvon, Apples and Snakes, The Writing Platform, The Writers’ Guild, TLC) that consolidate a national offer for writers to develop key skills in a practical way, and source further paid opportunities, perhaps in the development of a writer-led game. REPORT
“Blue Toad Murder Files” Methodology 8
Desk Research Interviews Journey Mapping Insights & Report The first stage in the project The next stage involved identifying The results from the interviews The maps were then used to reviewed some of the existing a range of games which each were visualised as a “Writers’ develop a series of insights into studies which have been already presented a different perspective Journey” map. This tool structured the writing process - insights conducted in this area. Whilst on how to integrate high-quality the data gathered into a series of which applied to all of the games not intended to be an exhaustive writing. This was used as the key moments in the project, each involved which could be shared overview, this survey allowed for basis for inviting some of the of which detailed a particular task with aspiring writers eager to a contextual background to be writers, producers, and developers or experience faced by the writer. learn more about this continually created for the work, situating involved to share their experiences The maps show who was involved; expanding medium. This the insights gathered within prior in an interview, one which focused describe what duties were report is designed to share and knowledge whilst ensuring the on the skills and knowledge undertaken; and indicate how this contextualise these insights, whilst study did not simply re-cover old needed to make the project a stage fit within the development also indicating opportunities for ground. These works also helped success. process. The maps were also used next steps. form the basis for the interview to show how projects came about, script used in the fieldwork. and in some instances, what opportunities they led to.
REVIEW EXPLORE MAP SHARE Desk Research 9
Next Gen: Transforming the UK into the world’s leading talent hub for the video games and visual effects industries 1 Next Gen, published in early 2011, Whereas Next Gen focused primarily investigated the skills needed to on the teaching of STEM (Science, support the UK’s video games and Technology, Engineering and visual effects industries. It argued that Mathematics) skills, this study seeks Next Gen. both of these industries “combine to uncover the importance of creative Transforming the UK into the world’s leading talent art and digital technology, and rely writing when developing games. It hub for the video games on a highly specialist, yet flexible, will do so by working with developers and visual effects industries workforce that can adapt to furious in order to chart and analyse the role A Review by Ian Livingstone and Alex Hope rates of technological change”, creative writing skills play in typical making several recommendations for development cycles. how the UK education system could support these needs. One intended benefit of this approach is that it will complement the findings It cited a recent fall in the UK games of Next Gen in relation to STEM industry’s global development skills with an understanding of how ranking, together with the need of traditional Arts & Humanities subjects both industries to continually source can be orientated towards the needs talent from overseas, as evidence that of the gaming industry. schools and universities were not It’s also hoped that it might begin to Little Big Planet 2 adequately conferring on students copyright Sony Computer Entertainment the computing and artistic skills address the criticisms made of the needed. skill-base within the UK jobs market “Next Gen”, NESTA, 2011 by highlighting opportunities for It also pointed out that both young people with existing creative writing Conducted by Ian Livingstone and Alex Hope people and teachers would benefit skills within a sector they may have from a greater awareness of the little prior experience of. opportunities that exist in these fields. Desk Research 10
Next Gen has previously been used as the potential links between video the basis for a workshop intended to games and existing creative writing THE CrEaTivE build on the report’s recommendation industries. This is the gap which indusTriEs KTn to “support better research-oriented this project will begin to address, university/industry collaborations”. building where possible on some of EurOPEan GaMEs the findings already identified by the WOrKsHOP rEPOrT The European Games Workshop, previous research highlighted here. a collaboration between the
20 March 2013 Creative Industries KTN, Science In doing so, it mirrors two of the and Innovation Network, Arts & proposed outcomes for the European Humanities Research Council, TIGA Games Workshop: and ICT KTN, was held at Nesta in March 2013. The workshop brought together developers and researchers • Identify specific areas for from the Arts & Humanities in order collaboration to support the future to explore current challenges and development of the video games promote interdisciplinary solutions. industry
The workshop was used to scope • Identify suitable support models and define a series of AHRC funded to enable meaningful knowledge networks which were targeted at transfer/exchange in this space the issues identified. Though wide- The attempt to identify opportunities ranging in their focus - for instance for creative writers will thus be examining possible applications of complimented with a focus on how games in museums and hospitals, they might be supported when or the potential for games to affect seeking to apply their skills and social change - none of these experience within the field of video networks were explicitly targeted at games. Case Studies
“Zombies, Run!” Overview Sherlock: The Network 12
Designed as a companion to the popular BBC TV series, Sherlock: The Network casts players as a member of the detective’s trusted “Homeless Network” spread out across London. The game is structured around 10 interlinked cases, details of which are sporadically relayed to player by actors reprising their roles from the series. This specially-created audio and video content sees Benedict Cumberbatch, Martin Freeman, and Mark Gatiss (the three main actors from the TV series) reprising their roles from the series, outlining tasks they’d like the player to undertake, whilst also providing insights into the game’s larger narrative - one which was carefully constructed in order to compliment the story told in the TV series. The tasks assigned to the player take the form of a series of games; mathematical puzzles asking them to decode a certain numerical sequence; an image unscrambler in which they reconstruct a shredded picture; traffic games in which they have to construct a route across London to the next crime scene. Each case completed takes the player deeper into the overarching narrative, whilst the speed and accuracy with which they complete each task can be Sherlock: The Network (2014) shared via a global leaderboard. Developer: The Project Factory Writer: David Varela The game is playable on most smartphones and tablets, with the first two Platform: Android / iOS cases being free to download and play from the leading app stores. Price: Free (First two cases) http://www.sherlockthenetwork.com/ pROFILE David Varela 13
David’s route towards writing for video experience which helped him develop games has been fairly unique, with the into a more “rounded” writer. first job he secured after graduating with a degree in English involving Today, he’s used to walking into writing light-entertainment for cruise situations where the job title ships and hotels. Two years spent advertised doesn’t always tell the full working in an environment where story about the role he’ll be taking he’d often be called upon to perform a on. Being able to work out what the range of different duties - from casting team needs in any given instance is to directing - prepared him well for a key aspect of his success; on some “Being able to get your hands working within the often-chaotic games he’ll end up working more as an editor, producer, or even as a diplomat, dirty is crucial when working on structures of small games developers and technology start-ups. smoothing relations between the a game - you never know what various people involved. David later worked freelance for a you might end up doing, purely As befitting his varied output, David because nobody else is able to” corporate speech-writing company, whilst also developing his own work now has no less than three agents. One in his spare time. He wrote two looks after his TV, Radio, and Drama standalone dramas for the Afternoon work; another handles his non-fiction Play slot of Radio 4, and has since writing; whilst the third - and most forged a career working on a wide recent - exclusively deals with video range of different interactive media games. David Varela projects. Case Study: Sherlock: The Network Perhaps one reason for his success Role: App Writer in this regard is the range of different mediums, audiences, and tones he became familiar with working for such a diverse range of different outlets - Profile David Varela 14
“Getting onto the Young Writer’s program at the Royal Court was an education - literally. I got into the Young Writers Festival through there, and it was about this time that I got my first play commissioned by Radio 4. This was all in my own time - a way around the fact that there probably wasn’t much career progression available for writers in the cruise ship market.”
“I’ve often been brought in as a writer, but ended up doing as much Project Management as actual writing. It’s not necessarily that I even had experience of this: in a small team, when it’s all hands on deck, everyone has to just do what they can to make the project work”
“Writing for games can be an odd combination sometimes: you’re often working remotely, but you still have to be aware of and fit in around other priorities. Story is often not the top priority in most games. If you want to work on your own, be a poet or a novelist” KEY Worked Worked WRITER’S JOURNEY Contact with with Via SHERLOCK: THE NETWORK directly indirectly Interviewee: David Varela, Writer
narrative outline Outline of each “case” narrative breakdown script writing monetising localising One of David’s first The narrative David developed is With the high-level overview A big part of Sherlock: The In the very last week of The success of the TV series responsibilities was to work gradually revealed to the player having been approved, and an Network’s appeal was that it development, The Project abroad - and in particular the directly with the writers of the over the course of 10 individual outline for each of the 10 cases would incorporate exclusive Factory’s Marketing Department audience of 65m it reaches15 TV series, Steven Moffat and cases. Each of these needed developed, David next had to video footage filmed especially decided the game would be in China - encouraged the Mark Gatiss, to produce a high- to be planned out in detail, produce a detailed “narrative for the game. This meant writing best switched to a ‘Freemium’ developers to create a localised level, two-page outline which developed around a series of breakdown” for each case. These a series of short scripts for the model - the first two cases would version of the game, which for would describe in broad terms mini-games that had already were a combination of script and cast of the TV series, with one be free to play, with a fee then David meant a series of rewrites the plot of the game. It was been created and were being walkthrough, describing in detail challenge here being the fact that charged to unlock the rest. aimed at changing various crucial that this both kept the repurposed for this project. the exact path players would neither Benedict Cumberbatch cultural references to make them tone and “feel” of the TV series, take through each case; what nor Martin Freeman had Statistics however showed that more universally understandable. whilst also not contradicting (or This meant David had to tailor characters they would come into previously acted in a video many players were finding the indeed duplicating) plotlines each case around the puzzles contact with; what tasks they game - where characters often second case overly difficult, He also helped adapt several of for the third season which was which were to be incorporated, would be given; which games address the player directly. and as such this needed to be the mini-games to make them in production at the time. whilst again liaising with these would be based around. rewritten in order to entice more more accessible to the Chinese Hartswood Films - this time with It was again crucial therefore players to purchase the full market, which in this instance After several drafts were sent Producer Sue Vertue - to ensure These were produced in a way for David to maintain a close game. Such statistics continue meant refocusing them on back and forth, David was that the story he developed was that would be legible for both the working relationship with Sue, to be tracked and monitored, visual rather than verbal cues. eventually allowed to see the in keeping with the tone of the Project Factory design team, who who advised him on the level of and are used to inform future highly-confidential scripts for the TV series, and also possible to would be tweaking and adapting expository detail that should be writing and development. upcoming series - and developed complete in relation to the actors’ the games included, and Sue attached to each script (namely: the game’s story around these. schedules and the sets available. Vertue, who was able to secure hardly any). The script presented the resources needed to film to the actors in this sense the scenes David had written. needed to be quite different to that given to the developers.
TV Series Steven Mark Sue Rob Game Design Others Production Sue Rob Game Rob Moffat Gatiss Vertue Barnes Team Actors & Crew Writers, Producer, Producer, Crew Vertue Barnes Marketing Barnes Involved TV Series TV Series Game Department Sue Rob Vertue Barnes
Film scripts from TV Show; brief Narrative outline; selection of Case outline Narrative Breakdown; feedback Statistical report on player experi- Brief: rewrite cases relying on spe- Brief from game developers games to be included from show producers ences; brief from marketing dept. cific knowledge of British culture
2 page outline describing overall Outline for 10 individual cases, “Narrative Breakdown”: combi- Filming Script Revised structure for cases Revised version more suitable for Result plot of the game describing how plot is gradually nation of script and walkthrough deemed “too difficult” international audience revealed describing players’ experience Pre-Production Development Post-release Overview The Black Crown Project 16
The Black Crown Project is a web-based “investigative epic”, which casts its players as employees of the bizarre Widsith Institute. Predominantly text-based, the game cultivates a highly-surreal atmosphere, with players gradually learning more about an elusive figure named Miasma Eremite. Free to play, the game also allows players to purchase a virtual currency, used to both increase the pace at which they can progress through the “main” story, whilst also unlocking a series of related “branches” which Alexis Kennedy Rob Sherman Dan Franklin become available at certain points. (Failbetter Games) (Writer) (Random House) Constructed using a modified version of Failbetter Games’ ‘Storynexus’ platform, the game is in one sense a publishing experiment, exploring how the work of a talented writer of speculative fiction can best be showcased. It intentionally blurs the lines separating book and game, in the process harking back to the popular text-based adventures of video games’ early years. The game has been described by its writer, Rob Sherman, as being “designed to be traversed as a constellation - hubs of light leading to weaker, yet still integral stars”. It presents players with a series of interlinked prose fragments, complimented with a range of fantastical objects - all The Black Crown Project (2013) written in the same unsettling, visceral, “biopunk” style. Piecing these together gradually reveals more of the world the player inhabits, the literary Developer: Random House Group / Failbetter Games foundations of which are key to the game’s appeal. Writer: Rob Sherman Platform: Browser-based Price: Free (Additional content purchasable) http://www.blackcrownproject.com/s pROFILE Dan Franklin 17
Dan has a wide range of responsibilities These factors encouraged Dan to at Penguin Random House. His role experiment himself through his role at as Digital Publisher sees him working Random House. The recent financial on everything from ebook and app success of 50 Shades of Grey meant development, to author portals and the company was more inclined to even audiobooks. take a risk on something where the immediate return on investment He grew up with an interest in gaming, wasn’t especially clear, and The Black one which peaked around 10 years Crown Project was born. ago with Grand Theft Auto: Vice City - a “You need to be able to explain game which, for Dan, demonstrated One interesting result of this project the potential of “sandbox” narratives was the difficulty mainstream what something is in simple which afford players a large degree of media had in covering it. Despite terms, or the idea has to be agency. being produced by the largest general-interest book publisher in simple, and you need to be Since then, he’s kept an eye on tough on it until it’s clear.” the world, and despite being based the industry from afar, and has predominantly around the work of a noticed in the last few years a real talented and exciting young writer, explosion in creativity. He noticed the project was invariably covered that predominantly text-based games in technology, rather than book such as Fallen London were proving sections. to be both commercially and critically Dan Franklin successful; games such as Dear Esther This mirrored what Dan thinks could and Papers Please seemed to be have been improved about the project: Digital Publisher, Penguin Random House evolving what the format was capable one thing he would do differently next of; blockbuster titles like The Last of time is ensure there’s a simple, one- Case Study: The Black Crown Project Us were proving to be large-scale, sentence explanation for precisely Role: Producer / Editor breakout cultural phenomena. what they were trying to create. Profile Dan Franklin 18
“Five years ago ebooks were in their infancy, and they’ve now matured to around 25% of our revenues. That wave of excitement has broken now in a sense. The real challenge now is about how we connect writers with their readers. How do we define those readers? What tools and digital strategies do we use to make that happen?”
“I think the impact of Minecraft has been massive. In education, in learning, in world-building. It’s had a direct blowback onto publishing too, as the books are in the children’s Top 10. You see that kids are so into that, and I think it’s a brilliant, creative environment.”
“I just thought having seen the way that text gaming was reinventing itself digitally, I got the sense that gamers are very amenable to different types of experiences. A lot of them are readers and are invested in that, and I wondered if there was a crossover reader from the other way round: if we could bring a more curious reader into games. Although I don’t think we have KEY Worked Worked WRITER’S JOURNEY Iterative with with Development THE BLACK CROWN PROJECT directly indirectly Interviewee: Dan Franklin, Producer
STAND OUT write storylets learn the platform Brief the designers Writer in Residence The tutor for Rob’s Creative The Black Crown project was The BCP was created on Story Another of Rob’s responsibilities Subsequent to the game’s Writing MA first introduced constructed via a series of Nexus, a platform built by Fail was to brief another set of release, Rob has since gone him to Dan. It was one of the “storylets”: short sections of Better to suit their own narrative developers, Popleaf, on the on to become the British19 projects created for these studies prose which are linked via a style. It was crucial therefore creation of “Miasma”. These Library’s first ever Interactive however that really made him series of choices presented to to work with the developers in were segments of texts that Fiction Writer-in-Residence. stand out: a “story in a suitcase”. the player. These storylets were order to ascertain any changes would be visualised as actual This also follows his work for Creating this case as a physical written by Rob, and edited by which might be needed in order documents by two designers, Shelter, who commisioned object - one people could use Dan, in a process which was to tell this story effectively. meaning that as well as writing him to create a Twine game to put together a narrative more iterative than the standard the text, Rob had to prepare a based upon the housing by looking at the objects it author/editor relationship. This entailed learning what this series of briefs detailing what crisis called The Spare Set. contained - demonstrated Rob’s particular platform was capable these Miasma would look like. ability to create a story that The storylets had to draw of, before working with Fail Funded by CreativeWorks would be pieced together by people into the world the Better directly (spending one This process was very much London’s entrepreneur-in- the reader in a non-linear way. game was presenting, but day a week at their studio) to one of negotiation: there will residence scheme, Rob will be also encourage them to spend prioritise and iterate any changes always be limits as to what a the attached digital writer for Dan asked Rob to “write up” money; this process, known as that might need to be made. designer or an artist is capable the upcoming exhibition Lines this project to see if he’d be able “monetising”, meant developing of achieving within the time in the Ice which looks at arctic to produce written content at intriguing sideplots that players and budgetary constraints exploration expeditions. The the standard he was looking would want to purchase, as that are at work, and part of a critical acclaimed garnered by the for - as indeed he could. well as structuring the “main” writer’s job is to discern what it’s BCP has, in this sense, opened narrative in a manner that would possible to create - not just what up several new opportunities. incentivise them to keep playing. would benefit the narrative.
Others Dan Rob Sam Dan Rob Rob Rob Fail Better Popleaf Franklin Sherman North Franklin Sherman Sherman Sherman Rob’s Creative Producer Writer Involved Writing MA tutor
Show an ability to present narra- Develop a narrative with a singular Ascertain what the platform is ca- Write a brief for several objects Brief tive in a novel format, and pro- literary style that worked with Sto- pable of, and prioritise any chang- mentioned in the narrative to be duce high-quality written content ry Nexus, the platform being used es needed visualised by designers
“Story in a suitcase” MA project, Series of tightly-edited “storylets” Bespoke version of Story Nexus Visualisations that match the text Result and subsequent written version that together form a larger narra- with added functionality specific in terms of tone and style tive and several sideplots to The Black Crown Project Pre-Production Development Post-release Overview Blue Toad Murder Files: The Mysteries of Little Riddle 20
Blue Toad Murder Files is an episodic murder mystery puzzle game, the first instalment of which was released in 2009. The first “season” of the game is now playable via all major internet browsers with the first episode - of 6 in total - being free to play. Each episode sees the player being asked to solve a particular crime, with the games structure interspersing short animations with a series of different puzzles. The animated sequences introduce a range of different characters, several of whom are suspects for the crime under investigation; various alibis and motives are offered, with the puzzles helping the player ascertain which of these can be trusted. In terms of style, the game seeks to actively court an audience not traditionally associated with video games. It’s focused instead upon fans of various murder mystery novels and TV shows, from Miss Marple to Midsomer Murders. From a writing perspective, Blue Toad thus demonstrates how the ability to write for a diverse range of different audiences can be of increasing benefit to those seeking to forge a career in the industry. The initial brief for the project was clear: create a setting, characters, and atmosphere that’s within Blue Toad Murder Files (2009-) the tradition of a genre already firmly established as part of the cultural Developer: Relentless Software Platform: Browser-based landscape. Price: Free (First episode) http://www.bluetoadmurderfiles.co.uk/ pROFILE Andrew Eades 21
Andrew is co-founder and CEO This focus has continued with their of Relentless, a successful games latest game, Blue Toad Murder Files. developer based in Brighton. Their Andrew noticed that Cluedo! seemed most successful series to date has to possess a similar long-term appeal been Buzz!, a multi-million selling quiz to Trivial Pursuit, and believed this was franchise spanning 12 games which due to a combination of its setting - won a BAFTA award in 2006. murder mysteries being an instantly accessible format to a wide range Part of the inspiration for Buzz! was of audiences - as well as its capacity the longevity of a game now nearly to bring people together in a social “People like games - they just 35 years old: Trivial Pursuit. Andrew setting. noticed that one of the key strengths of might not like spending £400 on the game - and perhaps the foundation This social focus is at the core of the a console to be able to of its continued appeal - was the way it games Relentless produce. Games play them” brought friends and families together, which require expensive equipment providing a way for them to interact. in order to play, or complex controls in order to master, are inherently Having one person ask questions of exclusionary. Thanks to the prevalence another is “interactive entertainment” of tablets and smartphones however, in a similar way to how video games this barrier has in part been removed; are often defined. Promoting such games have entered many homes by interactions between people was stealth, as it were. Andrew Eades something Relentless sought to achieve with Buzz!; just like the board The challenge now is to produce Co-Founder & CEO, Relentless Software game from which they were drawing social games that mirror those that Case Study: Blue Toad Murder Files inspiration, they sought to develop a traditionally bring people together. As title which was focused primarily on a such, Relentless productions speak social situation. the “language” of TV or board games rather than that of video games. Profile Andrew Eades 22
“Trivial Pursuit is a social game because the killer part of it is the fact that people ask questions of each other. That’s why it’s brilliant. It made people look at each other and play together. Buzz! was always designed to kick off these kinds of social interaction.”
“From the outset Buzz! was about Christmas Day. Somebody has this new Playstation, the family are sitting down after eating a huge dinner, and that’s when you crack open Monopoly or Trivial Pursuit. We’d give them a new option: ‘it’s just like a TV game show, except you get to take part’”
“There are other examples too, other games we could have taken inspiration from: if we’d looked at Pictionary we could have come up with Draw Something; if we’d focused on Scrabble we might have made Words With Friends. Just making a facsimile of a board game on screen doesn’t really work, but if you can find the core mechanic then you can go from there.” KEY Involved in the WRITER’S JOURNEY Worked with project but had little/ writer directly Blue Toad Murder Files no contact with writer Interviewee: Andrew Eades, CEO
PITCHING FOR THE WORK DEVELOPING A STORY CREATING THE script writing trailer future episodes The job of writer for the game Once hired, the writer’s first CHARACTERS All 22 characters in the game The film-style trailer created to Relentless have subsequently went out to tender, with responsibility was to develop Another way in which Relentless were voiced by the same actor, promote the game was not in decided that for future episodes, applicants asked to pitch their a story based upon a specific sought to reach an audience Tom Dussek. Tom played a key this instance a responsibility of they will hire writers via Sidelines,23 ideas based on a brief written timeline. This detailed the beyond those who were already role in the creation of these the main writer. This was due an agency. representing writers by Relentless: they wanted amount of time players would familiar with video games characters, often improvising to the time-pressures involved; working in the interactive a murder mystery, set in an spend on each activity - 2 was through the characters dialogue based on an iterative it was far more efficient to industry. In this sense they’re English village, based around minutes watching an expository populating the village of Little interpretation of the script outsource the creation of the now outsourcing the recruitment a number of evocative yet animation, 3 minutes playing a Riddle. The idea here was that provided. One issue that arose trailer to another freelancer, process, providing the agency familiar characters, that would game - and the story had to be these characters would mirror at this stage was the manner who could complete most of the with a brief and then asking target the kind of demographic tailored around these timings. the “ensemble” cast of carry- in which several scenes had work independently by reusing them to put forward suitable usually attracted to Miss Marple on films, taking on different to be re-recorded after it was assets provided by Relentless. writers from amongst those and Midsomer Murders. Four such stories were roles within different mysteries decided (partly by Andrew, whom they represent. developed in total, matching as subsequent episodes in Relentless’ CEO) that they didn’t This was again a process They were looking for a writer the game’s “episodic” model the series are released. fit the overall tone which the involving pitches based on a capable of reaching these of development; the first case game was trying to establish specific brief: this time focused audiences, the idea being would be provided to players They had to be firmly rooted - an expensive process. on presenting the game in a light that the games tone, setting, for free (up until its climax), therefore within a very specific which made it seem accessible and humour could draw with subsequent mysteries tradition of English character- This proved the importance of to a range of audiences, whilst players more familiar with then available to purchase. It based comedy - a key aspect both detailing and staying within also bridging the gap between Cluedo than Super Mario. was crucial therefore to both of the writer’s brief. the original project brief, and also UK and US audiences. end the first case on an enticing ensuring that all the decision- cliffhanger, whilst developing an makers involved in the creative intriguing world players would process are kept aware of which want to spend more time in. stage the project has reached.
Others Tom Lead Andrew David Lead Lead Core Lead Core Involved Dussek Designer Eades Ferguson Designer Designer Team Designer Team Black Cube Voice Actor CEO Motion Design
Develop a scenario for a murder Develop a story in a classic mur- Create several characters, and Develop a script for the dialogue Create a trailer emphasising the Demonstrable experience of hav- Brief mystery, set in an English village, der mystery style around a strict, several locations in which these being recorded by a professional games’ “Classic British” sense of hu- ing written for games, and having with an ensemble cast. pre-defined timeline characters reside voice actor mour for both UK & US audiences successfully followed briefs
6 month freelance part-time con- Minute-by-minute walkthrough Narrative anchoring for each of Initial improvisations, and subse- Video trailer that parodies the A new writer for subsequent ep- Result tract describing players’ experience in the puzzles to be included in each quent re-writes and re-recording style of the TV show “Dallas” isodes provided via a specialist each episode episode agency Pre-Production Development Post-release Overview Inanimate Alice 24
Inanimate Alice is a browser-based work of interactive fiction, one which has gradually evolved into an award-winning digital literacy tool. It tells the story of Alice, a young girl of the near-future who grows up to become a designer at one of the world’s biggest video game development studios. Episode 1, first released in 2005, begins with Alice as an eight-year old girl living in China, with subsequent episodes taking her to Italy, Russia, England and beyond. Of the planned 10 episodes, four have been released, with the 5th and 6th currently in advanced stages of development. The game presents the player with a combination of text, video, animation and audio, asking them to piece together a narrative from these different elements. Though the player does interact with the story at various key points, like several of the other titles in this study, Inanimate Alice challenges preconceptions as to what the term “game” actually means. Recognised as an early example of “transmedia” storytelling, Inanimate Alice has been used in a variety of educational settings. Now part of literacy and digital curricula in both Canada and the USA, future episodes are being developed with this role more overtly in mind (its creators did not set out to create a digital literacy tool - the game’s status as one is the result of Inanimate Alice (2005-) teachers finding uses for it in the classroom by themselves). Created by: Kate Pullinger, Chris Joseph, Ian Harper Platform: Browser-based Price: Free http://www.inanimatealice.com/index.html pROFILE Kate Pullinger 25
Kate is an award-winning novelist Like several of the titles featured in who has long been at the forefront of this study, Inanimate Alice challenges experiments with digital fiction. From assumptions as to what the term 2002-2003 she was a Research Fellow at ‘game’ entails. Whilst containing the trAce Online Writing Centre based several game-like elements - and at Nottingham Trent University, and it indeed telling the story of a character was here that she first met Ian Harper, who is herself a games developer - its with whom she would later collaborate appeal derives at least partly from the to create Inanimate Alice. quality of writing it contains, and the success with which this is blended with “I’m more interested in Such collaborations have always been a part of Kate’s career, with her work other media in order to construct an narrative games that are closer crossing almost every media boundary: evocative, engaging, and “interactive” to literary forms than pure from theatre and film to opera and even world. gaming - even though that’s a dance. In challenging such conceptions field that’s becoming more and Her work with interactive media Kate’s work has garnered a great deal more merged and complex” has often had its roots in creative of critical acclaim, reaching huge experimentation, rather than audiences over prolonged periods. The being focused on the production of case of Inanimate Alice in particular commercial products in the traditional demonstrates how games can continue sense of the term “video game”. to evolve and adapt upon release, asking new questions based upon Kate Pullinger A good example in this regard is indeed the feedback and experiences of its Case Study: Inanimate Alice Inanimate Alice, a work of interactive players. Role: Writer fiction which combines the text she writes with images, sounds, music, video and animation in exploring the boundaries of new forms of storytelling. Profile Kate Pullinger 26
“Back when we first started working on Inanimate Alice we thought that ‘interactivity’ meant ‘games’. My definition of it has changed substantially since then.”
“The more commercial, industry arm of video games has never been a natural fit for me, as I’ve always felt writers are always secondary there - or maybe not even that. It happens too often that you’re brought in after all the interesting decisions as to story and structure have already been made.”
“I’ve always been involved in collaborating with other kinds of artists - it’s just something I’ve always done. Games was just another field to collaborate in really. I’ve worked in theatre, film, even collaborating with a choreographer a few times. It’s not just about learning the skills, it’s about learning how to enjoy working with others.” KEY Worked Worked WRITER’S JOURNEY with with inanimate alice directly indirectly Interviewee: Kate Pullinger, Writer
deciding to collaborate overall structure the story “bible” digital literacy arts council funding Inanimate Alice grew from a The story of Inanimate Alice is For each episode in the series, Widely acclaimed upon Inanimate Alice secured meeting between Kate and Ian intended to be told over the the first stage is the production release, what’s remarkable funding from Arts Council Harper, who had previously course of 10 episodes, the first of a detailed “Story Bible”. This about Inanimate Alice is its England. Having arisen in27 met as part of TRACE, an online of which was released in 2005. document - which can run from durability - and the manner in part from a desire to explore writing workshop. Ian presented Prior to this, Kate developed an anywhere between 12 and which this lingering, long-term new forms of online writing, Kate with a film script based outline of the overall story arc 20 pages - contains both the appeal has secured funding the game has evolved into around Alice as an adult, and which indicated the general focus script for that episode, as well for future episodes of the an archetypal example of proposed collaborating on a for each of these chapters, with as suggestions for the type of project. An example here is the transmedia storytelling. series of stories that would detail the finished narrative intended to images and music which could way the game has attracted her experiences growing up. cover Alice’s life from the age of accompany this narrative. the attention of teachers. This has allowed the team to 8 through to her mid-twenties. secure funding from those An opportunity to work with Each bible is iterated heavily as To capitalise on this, the bodies set up to promote such a different medium, these Compiled in a simple Word development progresses; Kate team commissioned Jessica innovation and experimentation; stories would also serve as document, a 10 page outline works closely with digital artist Laccetti, a blogger and in this sense, it demonstrates viral marketing for the film helped ensure that a work Chris Joseph, with the two of PhD candidate researching how a game can flourish itself; though the film is still which has already been in them working on a screen-by- transmedia education, to without following a “standard” yet to be produced, these episodic development for over screen basis to find the right write a series of teachers notes commercial model (the game stories have grown organically a decade maintains its focus. combinations of words, images for the game. An award from continues to be completely free into a critically acclaimed and sounds. The text at this the American Association of to play). The game has proved to and widely acknowledged point is constantly being pared School Librarians meanwhile be a huge success, and continues work in its own right. down, edited, and redrafted helped the team secure to grow - despite nobody to ensure a good fit with the funding for future episodes by ever having paid to play it. other media involved. capitalising on its suitability as a digital literacy tool.
Others Ian Ian Chris Chris Jess Involved Harper Harper Joseph Joseph Laccetti Producer Producer Director Director Educational Resources Developer
Write a series of stories based Create a narrative which episodi- Create a script which also includes Produce materials to assist teach- Brief upon a prospective film script cally details the various childhood suggestions for what multimedia ers seeking to integrate the game experiences of Alice content is needed into their lessons
A standalone outline for a narra- Top-level outline which describes Heavily iterated script in which An ward from the American Asso- RESULT tive based on the main character how each episode fits into the the elements involved have been ciation of School Librarians and from the script overarching narrative redrafted several times new potential funding streams Pre-Production Development Post-release Overview Zombies, Run! 28
Zombies, Run! is similar to the other titles in this study, in that it draws inspiration from a range of literary sources, using high-quality writing to help create an evocative and engaging world. It isn’t found in the games section of the app store however, as it was designed from the outset as an ultra-immersive fitness app. It follows other such apps in tracking distance, time, pace and calories burned when used whilst running. Where it differs however is the manner in which it integrates exercise within an overarching post-apocalyptic narrative; “runs” thus become “missions”, during which audio narration gradually reveals a detailed story, whilst the runs themselves are the means by which players collect the various materials and supplies that their character in the game needs in order to survive. These missions are now split into seasons; Season 1 comprises 33 missions in total, with hundreds more available as part of Seasons 2 and 3. A huge commercial and critical success, the game is now written by an entire team of writers, and has been consistently praised for the manner in which it uses a deep and engaging narrative to help motivate and inspire people trying to follow a structured exercise program. Zombies, Run! (2012-) As a game, Zombies, Run! integrates itself within players’ existing habits and Developer: Six to Start with Naomi Alderman routines. It shapes its narrative around the gaps between songs in playlists Writer: Naomi Alderman which players create themselves, and adapts its interactive sections to Platform: iOS, Android, Windows Phone whatever fitness level people are at - if people need to walk before they can Price: £2.79 run, the undead hordes can be avoided with a brisk stroll. https://www.zombiesrungame.com/ pROFILE Naomi Alderman 29
Naomi Alderman is an award- As the city existed in another winning novelist, who’s also reality however, the only manner written and co-created a number in which they could communicate of critically and commercially was via the internet. Players as successful video games. such had to follow the blogs of imaginary characters; consult the Winner of the Orange Award for websites of imaginary universities; New Writers in 2006, as well as solve various puzzles and uncover Sunday Times Young Writer of the numerous clues, all of which Year in 2007, Naomi was named “If I win a prize for one of my were created especially for the one of Granta’s Best Young British novels that’s a news story; if I game by its team of writers and Novelists in 2013. win one for one of my games it developers. isn’t” Between 2004 and 2007 she was Since then, Naomi has co-created the lead writer for Perplex City, an and written the hugely successful alternate reality game which was Zombies, Run!, and continued to shortlisted for a BAFTA award. receive great acclaim for both Much-lauded for the quality her literary and genre fiction. She of the writing it contained, the is currently being mentored by Naomi Alderman game offered a real-life reward Margaret Atwood as part of the of £100,000 for the first player Rolex Mentor and Protégé Arts Case Study: Zombies, Run! to successfully find “The Receda Initiative. Role: Co-creator & Writer Cube” a priceless artefact supposedly stolen from the titular city and buried somewhere on earth. KEY Worked Worked WRITER’S JOURNEY with with Zombies, RUn! directly indirectly
AGREEING A cONTRACT SECURING FUNDING Planning and Writing Casting Expanding the team Naomi co-created Zombies, Run! Aware that they were attempting Before even beginning to write Naomi was also intimately Zombies, Run! is now written by with Adrian Hon, a friend (and to develop something totally new Season 1 (which launched with involved in the casting process. a much larger team; a deputy former colleague on Perplex - and keen to avoid sacrificing 23 main story “missions”) Naomi The game has been consistently writer oversees 3 further staff30 City) who had founded his own creative control to any publisher sketched out an overarching praised for the quality of its writers, as well as guest writers studio. Adrian originally asked who might be persuaded to narrative which would gradually voice acting, and part of this such as Naomi’s mentor Margaret Naomi to be an employee, but invest in the game - Naomi unfold over several seasons. This can perhaps be ascribed to Atwood (who has also guest she was adamant that she would and Adrian took the decision ensured that in narrative terms, Naomi retaining control over starred as a voice actor). One only collaborate as a full partner; to crowd source Zombies, she was already prepared for casting decisions. She was able of these writers, who wrote 10 only by having a contractual Run! through Kickstarter. the massive success the game to make snap judgements when of the missions for Season 2, agreement could she ensure encountered upon launching. an actor auditioning for one was hired on the strength of her that the game she was helping This proved a huge success role in fact seemed perfect for “fanfic” work - unofficial “tribute” to create would not be sold to and far exceeded their original As for writing the missions another, and even invented roles pieces set in a particular story’s someone else - who could then target. Zombies, Run! for a themselves, here she turned for actors she was particularly universe which are created online change whatever they like. time held the record for the to popular TV writers such impressed by but who didn’t by fans of the original work. most funding secured through as Joss Whedon and Aaron quite fit the parts being cast. Their agreement also meant that the crowd funding platform Sorkin for inspiration. She Being engaged with the game’s Naomi maintained full creative and generated a great deal of consulted various guides as to In a game where immersion is audience in this way provides control over the project, with advanced publicity. What’s more, how to write around ad-breaks; key to the players’ enjoyment, insights into the type of writing Adrian taking full responsibility it provided a direct channel to an constructing mini cliff-hangers it was crucial that the writer which works: the most popular for any business decisions - an already highly-engaged audience, which keep people coming could have this level of mission in Season 1 contained agreement it was probably only whose hopes and expectations back after short interruptions involvement with how her a great deal of characterisation, possible to negotiate due to would prove to be a useful focal (in this case, the songs people work was to be performed which emphasised the point that their pre-existing relationship. point during development. listen to whilst running). writing about feelings and emotion was as crucial about writing exciting sequences of action.
Others Adrian Adrian Involved Hon Hon Voice Actors Deputy Writer Staff Writers Guest Writers Co-Creator Co-Creator
Create a running app that some- Develop the initial idea sufficient- Sketch out an overarching nar- Supervise auditions for voice Recruit additional writers in order BRIEF how makes running more fun ly enough to elicit interest from rative unfolding across several actors to produce further episodes more potential players seasons and dozens of episodes quickly
An app designed around a narra- Enough funding to create the A script for Season 1 along with New roles created for most im- An expanded writing team pro- RESULT tive which integrates players’ exer- game, secured directly from its a clear plan for how the narrative pressive candidates, as well as ducing content that remains con- cise into a story about zombies prospective audience will subsequently develop further final say on casting decisions sistent with the game’s style Pre-Production Development insights
“The Black Crown Project” developing Core skills Insight 32
Practicing and Perfecting Key Skills Many of the games require similar skills from their writers: the ability to develop a non-linear narrative; experience creating branching storylines that converge at key points; knowledge of how to convey a story through an episodic structure. What’s notable however is that these are all skills that can be developed - and indeed demonstrated - using a range of free-to-use tools. Writers keen to explore games as a medium can do so with little experience, few skills, and zero expenditure, simply by practicing with tools that are already available.
Learning the Tools Two tools in particular were recommended by several of the writers interviewed for this study: Twine (twinery.org) and StoryNexus (storynexus.com). Both of these tools allow people to practice and perfect the skills outlined above, are free to use, and come with a wealth of explanatory material designed to help beginners get started.
Discovering Limitations Becoming familiar with what it’s possible to achieve with these tools is an advantage for any writer subsequently pitching for work: The Black Crown Project was actually developed using StoryNexus, and (as can be seen in the case study) a key aspect of the writer’s role on the project was liaising with the developers about any changes which needed to be made to the platform. Knowing exactly what it’s possible to do with the tools and resources available is crucial for any writer working on a game. The more platforms someone has experience with, the quicker they’re able to find this out. building a Portfolio Insight 33
Sharing Work is Easy One of the benefits of using the platforms outlined on the previous page is the ease with which the interactive stories created with these tools can be shared. Both allow writers to easily provide a link to their work, which is crucial for demonstrating that they possess the skills needed to write for games effectively.
“Interactive” is Broadly Defined These platforms aren’t the only way to exhibit these skills however. As the example of The Black Crown Project shows, familiarity in constructing non-linear narratives can be demonstrated via objects as obscure as a suitcase whose contents tell a story about its apparent owner. An “interactive” story does not have to be a digital one.
Show a Range of Styles It’s also important to remember that games are increasingly seeking to target much broader audiences. When recruiting a writer for Blue Toad Murder Files, Relentless were looking not just for someone with the skills outlined on the previous page, but for a writer capable of using these to develop a narrative in a style mixing elements of Miss Marple, Midsomer Murders, and the Carry On films. Games are increasingly broadening the range of audiences they target, and high-quality genre writing is one way of achieving this; writers who can show an aptitude for such styles are likely to be in increasing demand. collaborating Insight 34
Learning to be a Team Player None of the games analysed in this study were produced by a person working alone. What’s more, none of the games saw a writer working independently from the rest of the team, producing a script on their own which is handed over as a finished product for other people to then develop. In all instances the writers were working closely with others, producing and iterating written content in tandem with various other aspects of the games being made.
Iteration is Key The key to any successful collaboration is the ability to iterate: to redraft, revise, and rewrite content whilst working in close teams to tight deadlines. All of the written content analysed in this study was subjected to an intense process of editing, discussion, and development. Writing for a game is often a process of negotiation, as content is tailored around constraints and priorities which might change markedly during the course of development. Being able to quickly adapt to such shifts, producing and re-producing work to tight deadlines amidst constantly evolving priorities is crucial.
Practice Makes Perfect Collaborations can start anywhere. Inanimate Alice grew from a shared online writing workshop, and was originally envisaged as a viral marketing campaign for a film. In the first instance, collaborating simply means connecting. games are moments Insight 35
Broadening the Medium Blue Toad Murder Files arose from the desire to recreate a moment: a family sitting down on Christmas Day to play a game of Cluedo together. Zombies, Run! grew from the desire to create a running app, one which would make running more fun, and motivate people to keep at it. Both of these games then are responses in some sense to specific, everyday situations - both took everyday moments and experiences as inspiration. This can be the key to making a game: simply decide upon a moment you’re keen to improve, enhance, or otherwise recreate.
Consider New Audiences It could be said that these games have been successful due to the way in that they use good writing to broaden an experience, making it accessible to a wider audience. People not traditionally fond of games might be attracted to one which is closer to the murder mysteries they enjoy on television; others might have a far stronger interest in post- apocalyptic narratives than they do in professional sports or athletics, and thus be attracted to a fitness app based around the former rather than the latter.
Focus on Moments Good ideas can come not just from thinking about why people play games, but also when they might play them. Taking Christmas morning, or a run in the park as a starting point are just two examples of moments that can inspire. Adapt & Interact Insight 36
Thinking Long-Term What exactly games “are” is still open for debate. Several of the games in this study, in overtly seeking to challenge preconceptions as to what interactive narratives are able to say - and indeed how they’re able to say it - have proven to be continually successful over a prolonged period of time. They’ve grown and evolved over this period, with new episodes and versions being created that seek to build on what’s been learnt from players and critics. Games in this sense are a more “living” construct; they can change and adapt in line with the emotions and experiences they inspire.
Interacting with Audiences Both Inanimate Alice and Zombies, Run! have inspired thriving “fanfic” communities - players who enjoy the games so much they write their own narratives set in the world they present. In the latter case, a writer was subsequently hired to produce content for the game itself on the strength of the fanfic narratives she had produced. This is another way to add to a portfolio, and even to pitch for work: nothing demonstrates an ability to write for a game like a concrete example a writer has been inspired to produce. appendix
“Sherlock: The Network” about the team 38
Luke Kelly Luke is a PhD student at Birkbeck, University of London. HIs thesis looking at the links between video games, cinema, and literature is due for completion in September 2015. Prior to returning to academia Luke spent several years at the Design Research agency STBY, working on a range of innovation- and design-themed projects. [email protected]
Laura Kenwright Laura is Spread the Word’s Audience Development Manager, responsible Funded via a grant from the for developing new and nurturing relationships with current audiences. Creativeworks London “Researchers in She has worked with a diverse range of audiences within the arts sector Residence” program. and joins the team from the Arts Award and Artsmark team at Trinity College London. She has previously worked at the National Literacy Trust and as a local authority arts officer. [email protected]