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Interesting Points That You Should Pay Attention To When Writing Video Game Scripts

Interesting Points That You Should Pay Attention To When Writing Video Game Scripts

The Key To The Success Of A Video Game Is The Scenario In Which The Development Team Works. So If You Hire The Best Audio And Video Special Effects Specialists And Prepare The Best Soundtrack, But The Game Is Based On A Poor Scenario, You Will Face A Major Commercial Failure. 

Video Game Scripts, To solve this problem, you should be familiar with video game scripting techniques. Colin Campbell makes some interesting points about video game scripting techniques on the Polygon site. Colin Campbell’s experiences with game storytellers have interesting points that we translate from his own language to Persian concerning fidelity.

My first attempt at scripting a video game began with social journalist Marina Ginesta, who died in 2014 at 94. Although he had a prolific life, much of his fame came from social media coverage and a famous photo taken of him on the roof of a hotel in Barcelona.

So I decided to use that image as the first building block of my game. Since I did not have much experience in this field, I decided to enroll in an online class called storytelling for video games. This class was held in six sessions and taught me all the tips I needed to write an interesting story.

 There was no talk of coding or drawing in that class, and all six sessions were devoted to writing a story.

The professor at the time was John York, author of Into the Woods. A book writes about the impact of stories. He also has classes in novel writing, theater, screenwriting, and storytelling for television drama series.

He has spent most of his career in British television and has held important positions in major UK television and news agencies. “Games create a special challenge because of their interactivity and emphasis on unique visual effects,” York told me. “If developers invest part of their time in writing, it will take them to higher levels.”

He has assistants in the training class who specialize in video games.

Carolyn Marshall, for example, is the CEO of Interior Night Studios, working on a story game for Sega.

Marshall previously worked at Quantic Dream Studios and was the lead designer for Beyond: Two Souls. Quantic Dream is the most ambitious studio globally for interactive storytelling and character-based gameplay, with the studio’s latest production, Detroit: Become Human, selling over 2 million copies.

The main difference between storytelling for movies, novels, and video games is that games make audiences feel more natural and realistic because they are interactive. In contrast, movies and TV series cannot convey that feeling.

When you play the game, you play the role of the real character of the game and do things based on personal thoughts. While watching movies, you are the only viewer. So the journey that gamers go on is the journey that the main character leaves behind.

This creates its own challenges and opportunities.

It was Two Souls. Quantic Dream is the most ambitious studio globally for interactive storytelling and character-based gameplay, with the studio’s latest production, Detroit: Become Human, selling over 2 million copies.

The main difference between storytelling for movies, novels, and video games is that games make audiences feel more natural and realistic because they are interactive. In contrast, movies and TV series cannot convey that feeling.

When you play the game, you play the role of the real character of the game and do things based on personal thoughts. While watching movies, you are the only viewer. So the journey that gamers go on is the journey that the main character leaves behind.

This creates its own challenges and opportunities. It was Two Souls. Quantic Dream is the most ambitious studio globally for interactive storytelling and character-based gameplay, with the studio’s latest production, Detroit: Become Human, selling over 2 million copies.

The main difference between storytelling for movies, novels, and video games is that games make audiences feel more natural and realistic because they are interactive. In contrast, movies and TV series cannot convey that feeling.

When you play the game, you play the role of the real character of the game and do things based on personal thoughts. While watching movies, you are the only viewer. So the journey that gamers go on is the journey that the main character leaves behind.

This creates its own challenges and opportunities.

Quantic Dream is the most ambitious studio globally for interactive storytelling and character-based gameplay, with the studio’s latest production, Detroit: Become Human, selling over 2 million copies. The main difference between storytelling for movies, novels, and video games is that games make audiences feel more natural and realistic because they are interactive. In contrast, movies and TV series cannot convey that feeling.

When you play the game, you play the role of the real character of the game and do things based on personal thoughts. While watching movies, you are the only viewer. So the journey that gamers go on is the journey that the main character leaves behind. This creates its own challenges and opportunities.

Quantic Dream is the most ambitious studio globally for interactive storytelling and character-based gameplay, with the studio’s latest production, Detroit: Become Human, selling over 2 million copies.

The main difference between storytelling for movies, novels, and video games is that games make audiences feel more natural and realistic because they are interactive. In contrast, movies and TV series cannot convey that feeling.

When you play the game, you play the role of the real character of the game and do things based on personal thoughts. While watching movies, you are the only viewer. So the journey that gamers go on is the journey that the main character leaves behind.

This creates its own challenges and opportunities.

The main difference between storytelling for movies, novels, and video games is that games make audiences feel more natural and realistic because they are interactive. In contrast, movies and TV series cannot convey that feeling. When you play the game, you play the role of the real character of the game and do things based on personal thoughts. While watching movies, you are the only viewer.

So the journey that gamers go on is the journey that the main character leaves behind. This creates its own challenges and opportunities. The main difference between storytelling for movies, novels, and video games is that games make audiences feel more natural and realistic because they are interactive. In contrast, movies and TV series cannot convey that feeling.

When you play the game, you play the role of the real character of the game and do things based on personal thoughts. While watching movies, you are the only viewer.

So the journey that gamers go on is the journey that the main character leaves behind.

This creates its own challenges and opportunities. When you play the game, you play the role of the real character of the game and do things based on personal thoughts. While watching movies, you are the only viewer. So the journey that gamers go on is the journey that the main character leaves behind.

This creates its own challenges and opportunities. When you play the game, you play the role of the real character of the game and do things based on personal thoughts. While watching movies, you are the only viewer. So the journey that gamers go on is the journey that the main character leaves behind. This creates its own challenges and opportunities.

Focus on better user interaction

The first exercise in the class is to build the main character. York asked me to specify the genre of the game in my text presentation. When he saw my story, he became more interested in the character at the story’s heart than how he played the game.

York believes that games are the beginning of escaping a long history of stereotypes and prejudices about the main character and tries to teach such an attitude to his students.

“I’ve seen a lot of simple, clichéd characters like James Bond in video games,” says York. The studios that follow this view look for a safe and profitable scenario because they think this character’s model communicates better with the users.

But I think this attitude is wrong. Interaction does not occur in this way. The game’s character must create so that it has flaws, and you can understand them and overcome them.

How to write a game story?

Storytellers face a big problem. You need to be curious about writing a story game and why people do certain things, not what they do. There are usually several action sequences in novels, and the stories focus on dialogues and relationships, and this rule can also be true of video games.

Most storytelling games, such as Telltale Studios, constantly introduce action elements that focus on emotional problems and practical and physical puzzles. But we have begun to see exceptions such as Florence and My Child Lebensborn, which are almost entirely focused on the story and theme.

Novels and games basically have a common meaning because they allow us to live in the role of other people. All stories are rooted in the same format. York says: “What the template is and why we should follow it includes our courses.”

Traditionally, games are about life in the body and the physical characteristics of the main characters. Mario jumps, Solid Snick sneaks up, and Lara climbs the cliffs. Personality traits and story backgrounds are a sub-theme or merely an attempt at marketing.

These games do not have stable characters, and their motives are hidden.

If you look at the statistics of single-player games, half of the players never finish them because the game’s story is difficult. According to Raptr statistics, out of ten players, only one player has completed the final mission of the first Red Dead Redemption. Mario jumps, Solid Snick sneaks in, and Lara climbs the cliffs. Personality traits and story backgrounds are a sub-theme or merely an attempt at marketing.

These games do not have stable characters, and their motives are hidden. If you look at the statistics of single-player games, half of the players never finish them because the game’s story is difficult.

According to Raptr statistics, out of ten players, only one player has completed the final mission of the first Red Dead Redemption. Mario jumps, Solid Snick sneaks in, and Lara climbs the cliffs. Personality traits and story backgrounds are a sub-theme or merely an attempt at marketing.

These games do not have stable characters, and their motives are hidden.

If you look at the statistics of single-player games, half of the players never finish them because the game’s story is difficult. According to Raptr statistics, out of ten players, only one player has completed the final mission of the first Red Dead Redemption.

Carolyn Marshall, CEO of Interior Night Studios, believes that a good story can be a factor in their success and appeal in most action-thriller games. “Players care about the characters in the game and the important elements of the story,” he says. The fact is that we can learn a lot from the real stories of the past centuries and rewrite all those events in a way that is compatible with the games.

“It not only helps to keep history alive but also shows future generations how people lived in the past centuries and what problems and challenges they faced.” Marshall believes that game designers should meet the challenge of increasing the complexity of storytelling.

Today’s technologies such as animation, artificial intelligence, and dynamic narrative systems have made it possible to create deeper, more effective, and intelligent characters. We all agree that Lara Croft is now a more complex and interesting character than 25 years ago.

The Tom Ryder reboot trilogy is also made to tell Lara Croft’s growth as a character.

The new generation is looking for believable characters, lacking and interested in learning. York points out in his classes that game stories and line stories follow the same pattern but are not the same concept. They need special approaches.

Writing stories for games is hard work because it has its own challenges and problems. For example, you have to write a different story for each genre, and even in an action game, there are situations where the story’s main character has to be sad, happy, or bored. All of these must be taken into account.

I like to write about people and emotions. So I think storytellers need to think about identifying people’s feelings and tastes. It is based on this attitude that the main character of your game comes to life. Let us tell a simple story based on this view.

Imagine a person named Olivia Spinoza who is in her early thirties.

He wears clothes and works in a factory and has to work late into the night. He lived in Nazi-occupied Paris in 1942 and, along with what he was doing, thought of liberating France and fighting the Nazis.

You will now be asked to write a clear image for this character. The image you are about to create should reflect your or her characteristics well. Your game can be a shooter or an action-thriller.

I like adventure style and games like Noir A Case of Distrust. A game that has visual dialogues and puzzles that allow gamers to discover a great secret.

We now intend to portray Olivia in war-torn Paris while conversing with fictional characters like Simone de Beauvoir, Jean-Paul Sartre, and other resistance members.

It turns out that my desire to create the story of Olivia in a popular game was wrong. When I shared the idea of ​​Olivia’s storytelling with professors in the field and what Olivia was going to do, they were confused and wanted to know about her motivations.

 It’s important to me that the story should not be another game about killing people.

I want to impose strict restrictions on Olivia’s character to not wander in Paris and kill the Nazis. The game must build in a realm that is practically feasible and commercially successful. One thing to keep in mind as a storyteller is that your story has a chance to attract investors in the real world.

Narrative bows

Sometimes the story of video games tends towards the author’s ambitions, the designer’s goals, and the gamer’s desires. The popular Doom game in 1993 managed to attract the attention of gamers due to its skillful design and graphic innovations. Nineteen years later, in 2016, along with other elements, a great element in the storytelling emerged from a three-act pattern in a show.

Or a classic movie followed. The game’s unnamed protagonist challenges to close the gates of hell and had to solve a series of crises that mostly involved the mass killing of monsters. In the end, he succeeds in defeating the antagonist and overcoming the initial challenge.

He does not display many personality traits, but you should know that he is not Hamlet but interacts with people who have motives and flaws that he did not see in the first version. Could not.

Overwatch is another successful shooter title that is a modern sequel to the patterns that Doom and similar examples founded. Overwatch is filled with characters such as Tracer, Di Wa, and Hanzo, each with a story background and character that directly impacted the game’s success.

All great game characters have three important characteristics.

They want something, need something, and show the flaw addressed in the story. So to get started, we need to focus on Olivia’s wants, needs, and shortcomings.

Her resistance group leaders task Olivia to kill a Nazi officer inside a stronghold. What he wants to do is complete his mission. Still upset. He has spent his whole life killing people and has not received any satisfaction or reward.

He seeks to break away from this violent life and adhere to his desire to defeat the Nazis and build a better world. His flaw is that he is unable to understand his own frustrations. From a young age, he acquired extensive skills as a fighter, but on the way to becoming a skilled assassin, Olivia denied her fundamental humanity.

Stimulus events

Typically, game storytelling courses focus on review, creativity, and analysis. Students watch video clips, play games, and read story synopses of various games in these courses. In the following, they express their views on the ideas that respond and those that are not interesting.

As a storyteller, you have to look at the motivations, antagonists, and stimulus events in a huge range of games like Candy Crush, Ico, Evolve The Crew, and Red Dead Redemption.

One element in game design that training courses emphasize is the relationship between the player and the story’s main character. There is always a contradiction between the mission assigned to the player and the writer’s intentions.

How these two concepts relate to each other is difficult, but you will have an extraordinary opportunity to understand the difference correctly. Some games, such as multiplayer games, offer characters with blank slates made by the player and must be filled. However, these stories move towards a narrative model.

It is based on heroes, anti-heroes, a provocative incident, crisis, and untying. Untying can be in the form of completing a mission or going to the next level, or finding a new weapon.

These games introduce themselves as open-world or sandboxes, but myths have been used in their construction.

At the time of writing, you should focus on examining the classic three-screen structure of stories and how this structure can implement in video games. The best source of inspiration for this is the detailed story screens of games like Inside and Life is Strange.

These games introduce themselves as open-world or sandboxes, but myths have been used in their construction. At the time of writing, you should focus on examining the classic three-screen structure of stories and how this structure can implement in video games. The best source of inspiration for this is the detailed story screens of games like Inside and Life is Strange.

These games introduce themselves as open-world or sandboxes, but myths have been used in their construction. At the time of writing, you should focus on examining the classic three-screen structure of stories and how this structure can implement in video games.

The best source of inspiration for this is the detailed story screens of games like Inside and Life is Strange.

In this regard, you should pay attention to whether video games are separated from linear forms due to interactivity or not. To understand this, it is better to go to the literature and entertaining movies such as Macbeth and Jaws and compare them with games. It shows you how linear structures work in video games and how games can help change those structures.

Salvation and defiance

It is better to go back to our project and try to apply what we have learned. It is a good idea to express the main format of the story in one word. My story about Olivia is about the salvation of this character.

The story is about his relationship with deadly violence. An internal transformation that transforms this character from a militant to a pacifist. We have seen a story many times before in movies, but it is rarely used in a video game. Defining an emerging pacifist character creates interesting challenges at the heart of a game.

As Olivia travels, it is difficult to find things that a player can do. You should not use long and tedious dialogues in this regard, and instead, you should use scenes to create better missions. According to this view, Olivia’s mission is to kill the evil police but inadvertently kill her husband. While fleeing the police station, Olivia is forced to kill two guards who blocked her way to cross the barrier.

The guards were guarding and interrogating a man who had left the house in the middle of the night and was trying to reach the presence of the resistance forces. This incident is the trigger of the story.

The person is opportunistic.

He asks Olivia to pave the way for her to join the resistance forces. He then plans to provide Olivia with a safe house, but with one condition. He asks Olivia not to kill anyone else during his mission.

This person explicitly tells Olivia that although he is grateful for his freedom, he thinks of saving their lives instead of killing them. The guards were guarding and interrogating a man who had left the house in the middle of the night and was trying to reach the presence of the resistance forces. This incident is the trigger of the story. The person is opportunistic.

He asks Olivia to pave the way for her to join the resistance forces. He then plans to provide Olivia with a safe house, but with one condition. He asks Olivia not to kill anyone else during his mission.

This person explicitly tells Olivia that although he is grateful for his freedom, he thinks of saving their lives instead of killing them. The guards were guarding and interrogating a man who had left the house in the middle of the night and was trying to reach the presence of the resistance forces.

This incident is the trigger of the story. The person is opportunistic.

He asks Olivia to pave the way for her to join the resistance forces. He then plans to provide Olivia with a safe house, but with one condition. He asks Olivia not to kill anyone else during his mission. This person explicitly tells Olivia that although he is grateful for his freedom, he thinks of saving their lives instead of killing them.

This condition is a kind of disagreement between the two characters in the story, although Olivia inwardly believes in such a view. Contrary to these conflicting views, the justification for violence for the sake of purpose meets Olivia’s need.

In addition, a challenge is created for the player during the game. Killing may solve some problems quickly, but in the long run, it has bad effects. In this case, the stealth agent is added to the game, and the gamer is forced to use the principle of stealth to keep his promise.

Olivia and the stranger then go to different parts of Paris and try not to be hidden from the patrol.

In this way, they have to go to different parts of Paris and face dangerous challenges to reach their destination. We have a unique opportunity to show the city of Paris so that the player can see Paris’s famous neighborhoods, streets, and shops.

On the way to the destination, missions are arranged that create practical problems that illustrate the differences between the two characters.

The structure of a video game is like an exit.

In this regard, we must look for a way to display this exchange physically. Physically, the process of writing is the act of pasting words together and outputting text. But refining words can hardly be considered the ultimate goal.

Writers need to think about the pictures because that is the reader’s concept when reading the story. So you have to think in the language of words, and instead of drawing a picture and writing based on it, first, write a text and draw a picture for it.

Stories and history

Normally, all major games in the world use a concept called storytelling and non-storytelling. In the opening games, the enemies arrived without any motivation, internal conflict, or backup plan. The player was shooting at them, they were shooting at the player, and everyone was satisfied.

Action games were born this way. At the same time, textual adventure games emerged. Games like Zork, The Hobbit, and A Mind Forever Voyaging had a purely fictional narrative involving characters, motivations, flaws, and twists. These games were clever, thought-provoking, and economically profitable.

Thirty years later, these different genres merged to create action-adventure games. The role-playing genre emerged from textual adventure games and created a new style of games with a new combination that included fighting and killing enemies and between scenes or conversations between characters.

In the ’90s, stories took games seriously.

The game developers enjoyed the stories and wanted to implement the scenarios in the best possible way. Companies then began hiring writers to add fascinating artistic aspects to the games.

Spin-off novels have been able to add appeal and complex structure to popular game series such as Halo and Assassin’s Creed. The missions took the form of short stories, with simple details in which the hero was rescued, or a bomb defused.

Today, game development studios are considered the key to success. Interestingly, celebrities like Neil Drakeman of The Last of Us development team and Dan Hauser of the Red Dead Redemption team introduce themselves as game writers and producers or directors.

Not bad to know when Square Enix made Tom Reeder’s reboot game, it decided to send storyteller Rihanna Perchett for interviews.

Diverse groups

As a writer, you should think about writing short stories. To be more precise, you should consider more transparency, interaction, drama, and fun, and in the end, do not forget the excitement. Action games are fascinating, but humans are looking for something different.

Gamers want to get the feel of the best books and movies. Today’s games are very successful in this way.

last word

We have to present our game stories with full details and fully interactive elements as a final word. In our fictional story, Olivia and the stranger both accept each other’s beliefs to save the people and the city.

Olivia meets with the police chief, and it is the player who decides whether she will survive or die. The stranger falls into the hands of the Nazis. Olivia enters the Nazi facility, but when she sees the stranger, she realizes that he has been tortured so much that he cannot escape. The stranger begins to beg Olivia to release him from further torture.

 Now it seems that the last person that Olivia will kill in her life is the stranger, which again depends on the player’s choice.

While writing the story, you will learn many points that shape the story, and you will be able to make the current game process attractive based on them and figure out an impressive ending. Games should have a bit of a narrative format and multi-stage.

Lastly, don’t forget that the game’s writers are not just storytellers. They are kinetic designers. Like screenwriters, they have to write the words with pictures in mind, but at the same time focus on the emotional issues of the story because the story is about the characters in the game.

Olivia’s story can be considered as a short story about how to do game storytelling.