214 - Writing

[matt]

Neverending Nightmares was a challenging project to write because the characters were meant to be symbols you could project yourself on. With the next game, I am taking a different approach and focusing on telling a story with developed characters. In this diary, I talk about my approach.

[evilkinggumby]

Sounds interesting. I don't really agree with you on the notions of conflict/climax being about revealing more about the characters, but I'll wait to see more specifics of how you use that idea in the next project before I come to any decisions.

I don't think there was a "twist" or any major shocking reveal in Gone Home, not in the typical sense. The real pivotal moment is going to vary from player to player, depending on if it is realising what the true reason for the empty house is, whether the pseudo horror setting that is there and slightly implied by the trailers is actual a real thing or just perceived, or about the main characters learning about her sister and some details she may not have known prior to that night's activities. Since a lot of details were scattered and the player needed to piece the puzzle together, what directions the player chose in terms of exploration could reveal any of those in any order, allowing each moment to be almost a mini-twist or reveal.

my only suggestion at this point to really think about is the sub-textual plot for the entire story. after all is said and done, what (under the surface) do you want to say to the player so they walk away from the game thinking about an idea?

When considering overall plot subtext early on, it can help as it will pepper the entire project whether you actively think about it or not, and that is a good thing. Not considering it means you could accidentally be saying a lot unintentionally, or very little, despite having a long and detailed experience. That is one of many details to good storytelling.

[matt]

Can you explain a bit more what you mean by:
I don't really agree with you on the notions of conflict/climax being about revealing more about the characters, but I'll wait to see more specifics of how you use that idea in the next project before I come to any decisions.

I think the basic structure would be similar to Neverending Nightmares or Silent Hill 2. You don't know the full back story, journey through horrible things that reveal more about the character until the ending says what the "real" story is. At the very least, it worked well in Silent Hill 2 - most people would agree. Perhaps Neverending Nightmares was too open ended, but I think the Silent Hill 2 formula is a solid one.

Perhaps you'll disagree, but I think we had plenty of subtext in Neverending Nightmares. I think we had more subtext than actual story. haha

[evilkinggumby]

Perhaps you'll disagree, but I think we had plenty of subtext in Neverending Nightmares. I think we had more subtext than actual story. haha

When I suggested what I did about sub-text it was not a dig on NeN but just a "keep it up" for the next game. Jees it's like you think everything I say is an attempt to slam on your game. LOL

In regards to the writing, Like I said I want to wait before really getting into it as I don't think I have a full understanding of what YOU meant in the video, and it'd be better to see it implemented to know if my take is right or wrong. No sense getting into it now when I could be totally off and just upsetting you about nothing. To touch on it slightly, I will say that it sounds like your saying the point of conflict/climax is to reveal more about the character, whereas I personally see conflict/climax as obstacles and challenges the character has to overcome as they move towards that moment of growth and change as a person within the story. Characters that don't grow or change within a story often fall flat (or rather, the story can fall flat) due to what feels like stagnation. If a character feels like they have changed, significantly, through the story because of the events, challenges, successes and failures, then the story as a whole feels like there was a point. You had this somewhat with NeN as by the end the character finally faces something he has been trying to avoid/forget/ignore.

Many will say that what I am explaining, vs what you are saying, is not all that different. And they aren't except in the motivation of the creator. To focus on revealing more about the character means you are focused on having the player/viewer understand and learn more about the character, and your motivations are going to be driven by that focus. What I am explaining doesn't necessarily consider the viewer/player, it focuses on the story and character and if THAT is solid and well done, the viewer/player should be able to pick up on things and digest them however they feel. Direct vs indirect I guess. Neither is WRONG or RIGHT, but in regards to story and game design, it will remain to be seen which will be the most effective and evocative. I suspect you may end up with the better idea as you can best cater to the gamer and mold the game around them. What I prefer is giving the player some benefit of the doubt in regards to intelligence and ability, so not catering but rather creating a game/experience that stands on it's own feet without crutches or catering. Again, neither is right or wrong necessarily. Just what we each prefer.

[matt]

I think we are more or less on the same page. My ultimate goal for the narrative is that through the content in the nightmares, not only does the player learn more about the character, but the character learns about him/herself and changes as a result. I agree that static characters are boring and don't make for an interesting narrative.