Place the screenwriter in the game development team

Hello, my name is Maria Kochakova, I am the screenwriter of the Skyforge project in the Allods Team. This article summarizes the two years of my work as a game screenwriter. All this is the harsh realities of the life of computer game writers, something we encounter daily. The categorical form is dictated by the importance of the content.

Computer game script

The narrative (narrative) part of the game consists of the setting, plot and text.
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The setting is the world of the game, its laws and realities. Examples of the setting: post-apocalypse, fantasy medieval, cyberpunk ...

The plot is a sequence of events that add up to the story. It happens that the same story can be told in different settings. It happens that the setting has a dramatic effect on the plot. The need for the plot is most dependent on the genre of the game. For some genres, the plot is not required.

The script is the form in which the plot is expressed. Usually the script looks like a list of scenes with a description of what is happening and dialogs. Script writers call people who know how to tell stories in the form of a script — the rest of the document is ready for work.

Text is not the optimal form for presenting the setting and plot of the game. Text is an auxiliary tool. Remember that the text may not read. There are games with a plot and without text (Machinarium). But the text can be made a source of fun and even USP (Deponia, Bard's Tale).



The plot of the computer game is not necessary, but adds involvement, the atmosphere.

The plot may be USP of your game, and may interfere.

The plot is only one of the components of the success of the game. Do not overestimate it. But you should not underestimate the power of the plot.

The decision on whether your game needs a story, and if so, to what extent, you need to take a balanced and prior to the development. If you want to tell a story, then you need a plot. If you want to provide a service, then perhaps the plot is not needed, or the plot will become the same service as the other components of the game.

Some of the players want to see the plot in the game, but most often the players do not want to read.

Problems with the narrative arise in two cases:

1. When the screenwriter does not understand the specifics of his work - because of inexperience or because of an incorrect installation. In this case, the screenwriter acts inadequately: fidbek takes painfully, makes raw script decisions, is lazy, overestimates his role on the project, etc.
2. When the team does not understand the specifics of the work of the screenwriter - due to prejudice and negative experience of cooperation. In this case, the team gives out an inadequate feedback, unreasonably interferes with the script, demands the impossible, underestimates the role of the screenwriter, etc.

Problems should be treated with the magic power of enlightenment - both the writer and the team.

Computer game screenwriter

Computer game writer is a profession. Like any other profession, there is a set of special theoretical knowledge and practical skills.

The knowledge and skills of the script writer of computer games are acquired as a result of special training and work experience.

Professionalism includes not only a set of skills, but also professional ethics - the attitude to their work, to the project, to colleagues, to work situations.

On the project, the screenwriter is responsible for the narrative and the conformity of the narrative with the vision of the game.

The narrative, as we remember, is the setting, plot and text.

Vision (vision) is the essence of the project, the top bar, the idea of ​​what kind of game should be at the output. The screenwriter is not the creator of the vision, but, along with the artlead, is his keeper. Ideally, the scriptwriters and artists together monitor the compliance of the game with a vision.

The work responsibilities of the screenwriter depend on the project. The larger the project, the narrower the responsibilities and the higher the degree of specialization. In a small team, one person can perform the functions of a screenwriter, a literary editor, and even a community manager (writing news, announcements, holding contests, etc.). It all depends on the abilities. Nothing wrong with that. No one has died from an extra working skill.

Professional ethics of a computer games scriptwriter include work attitudes, project attitudes and team attitudes.

Attitude to work

Feedback perception

The great danger for the screenwriter is in the perception of his work as part of himself. When they evaluate the work, it seems to the screenwriter that they evaluate him as a person. Therefore, the screenwriter may react unnecessarily emotionally and negatively, immediately leaving for deaf protection.

1. If feedback is adequate (polite) and is not taste, but reflects the project’s realities (there is no necessary mechanics, it’s impossible to show the plot with available means, etc.), then the scriptwriter should learn to perceive the review as a clarification of the TOR and calmly make the required editing.
2. If the feedback reflects only the tastes and views of the evaluator, then he has nothing to do with the work, and, therefore, can go through the forest (unless it is the customer’s feedback, then this is the specification of the TK, not the feedback, see clause 1).
3. If feedback is inadequate (impolite), then it can go through the forest, even if it is the customer's feedback. Let's respect each other.

An awkward moment when a screenwriter falls in love with an idea

1. There are no, and cannot be, favorite ideas in the work of a screenwriter of computer games, there are optimal scenario solutions. If the solution ceases to satisfy its needs, it is replaced with a more optimal one. As Hemingway used to say: “You need to kill your loved ones.” In other words, the position “I see it so” is not about the writers. We are all clear. Almost math.
2. The risk of falling in love with an idea is always there. You just need to understand that no one is insured, and treat this as a failure in love - you will cry a little and pass. A new one will appear.
3. Favorite ideas, unfortunately, are not only the writers, but also customers. To kill the idea of ​​the customer, we need a good reason. You must be firmly convinced that the idea has outlived its effect and is no longer optimal. Approach the murder as carefully and carefully as possible. It is strongly recommended to transfer the arrows to the realities of the project and carefully hide the corpse so that it does not surface in the spring.

Scenario solution



Scenario solution - the main tool for the screenwriter. This is the best possible plot that best meets the requirements of the project.

1. It is necessary to check your scenario decisions very carefully in order to give a “justification” if necessary: ​​why and why such a decision was made, what it gives to the project and what problems it solves.
2. Finding the right scenario solution is the path through the swamp. One wrong step, and the whole storyline will fall down. In no case can not make unweighted scenario decisions, the so-called decision-from-baldy. Laziness will drown in the swamp and the plot, and your reputation.
3. The more information you have about the swamp (project), the more successful the way (solution) you can find. Therefore, it is strongly recommended to ask the road (info and feedback) from other team members. Many heads are better than one. But the choice of the path for the screenwriter. This is his area of ​​responsibility.
4. It would be good for the team to understand at what cost the scriptwriter is given his script decision (if this is, of course, a labor screenwriter, not a screenwriter). The swamps of the plots are strewn with gray hair of scriptwriters. Respect their work!

Vigilance in lora

The scriptwriter’s shoulders link all elements of the game (sometimes even purely gameplay conventions) into a logical and coherent lore.

1. It is recommended to read a lot, watch and play not only for fun, but also to enhance the skill "Erudition". Some of the most interesting setting decisions were already made to us by a million incredibly cool science fiction writers. Our task, in addition to creating a new one, is not to lose the knowledge of our ancestors and pass them on to the next generation. Also, if the screenwriter can give a couple of examples of a similar scenario decision from world culture, it will be easier for him to “sell” his idea to the authorities. "If it worked in" Startrek ", then we will fit."
2. If plot creation is a swamp way, setting up is a battle with the Lerna hydra. For each answered question on the world order, two new ones emerge. Practice logic and do not produce entities - tie the stumps of the neck together.

Attitude to the project

You need to know the project.

1. You need to know the content to use it and reuse it. The writer is recommended to remember that the hour of work of the artist, modeler and animator in the total costs more than the hour of work of the screenwriter. Making a screenwriting decision, the screenwriter spends the project’s money. Such is the price of creativity.
2. Need to know the gameplay and mechanics. It is correct that the script and gameplay do not try to kill each other, entering the game from different ends of the ring, but act together, making the project more interesting. It is a misconception that stories can be told only by text. Story gameplay - this is the ideal of a computer games scriptwriter.
3. Quality control. The screenwriter not only “writes” the script, but also looks at how the script falls into the game at all stages of development. Is everything as planned? Do the players understand what is going on in the game according to the plot? No one except the screenwriter knows how the plot he conceived should look in the game. Only a screenwriter can catch scenario bugs, which he himself made, other members of the team may simply not know that these are bugs, and QA has enough work without a script.

Conclusion: Scriptwriters, play your game!

Attitude to the team

The team must know and, if possible, love.

1. Well, when the screenwriter imagines the strengths of the team members and can use them when creating the plot. If the artist best draws a pony, perhaps it makes sense to write a pony in the plot. If the level designer makes labyrinths best, perhaps it makes sense to write a labyrinth into the plot. Otherwise, the screenwriter risks that the labyrinth will fit into the plot without his help. This is about how to sew a leg to the face without anesthesia, yeah.
2. Well, when the screenwriter imagines the weaknesses of the team members. Perhaps, if the level designer doesn’t get along with labyrinths, do not enter a maze into the plot. A doomed attempt to overcome someone else’s incompetence is fraught with tears at the funeral of a favorite idea.
3. Script writers, adapt to the command. These are people whose hands you will enter into the game plot. It is necessary to act at the same time, and not to assert itself at the expense of the project.
4. There is a subtle point. Sometimes it happens that a team member offers a better solution than a screenwriter. Here the screenwriter should not go on about the pride and seek the adoption of his decision, by all means. The task of the scriptwriter is to choose the optimal solution, even if it is not his solution. This is called professionalism.

Script writers, remember that the main thing is the project, not the ego. In co-authorship with other people hidden abyss of interesting ideas and original solutions.
Writers should not take the team as enemies, who put a spoke in the wheels of his creative genius. Live communication is not only feedback, but also an opportunity to convince yourself that your decision is correct.

It is worth appreciating the interest of the team in the plot and the desire (albeit not always appropriate) to participate in its creation. If they do not care - then it is worth worrying.

Conclusion

I have a dream - a professional community of script writers of computer games.



The professional community is first and foremost the transfer of experience and training, the second - communication and assistance to each other. Assistance in finding successful solutions, in finding references, in supporting knowledge of various universes. One person cannot embrace all thematic content, but together we can create a fundamental base that will enable us to make interesting high-quality game scenarios.

The purpose of this article is not to discuss the need for plot in games. I want to talk about the specific work problems of the writers.

For example, in my practice there was a painful case, when I took up the project, without really entering a vision. Having no idea about the target audience, reference games and what should happen at the exit, I selflessly sparred the script with great pleasure. As a result, the game subsided precisely in line with the expectations of the Central Asian Party (a classic mistake!). The setting lost its focus, came out blurry and ambiguous, sometimes too hard, sometimes too childish. It was a shame for the time spent and ashamed in front of the team. Damage to the project could have been avoided by having preoccupied with the Vision-dock and having thoroughly discussed it with the authorities.

Let's share the experience. Wellcome to the discussion: tell in the comments about your work as a screenwriter or working with a screenwriter. Negative experience will help us not to repeat the mistakes of predecessors, and a positive one will give an example to follow.

This is the first article on the script of the planned two. Next time I will tell you exactly how we work on the Skyforge script (without spoilers, of course).

Other materials can be viewed on the Skyforge developers website and in our Vkontakte community .