GWSIG tutorial submission
International Game Developers Association
|| Game Writers SIG || Current Initiatives ||
Submission Form
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Be sure to complete all steps in the submission process. Please use ASCII characters only. Do not copy-paste formatted text from a word processor. All Fields Required.
Presentation Information
Game Design Track As production values approach the spectacular, design becomes vital to distinguish and define new games. Our toolset for doing this is growing(physics systems, facial expressions, advanced lighting, online play)but we are only beginning to see exciting examples of their use. Choosing a focus, selecting mechanics, and building a well tuned experience around them remain the designers' goals. Learning to do so while coping with ever-changing game systems, fickle consumer interests, and rising expectations is the challenge.
Any aspect of game design is a valid talk topic, but we are hoping for submissions exploring in detail some of the big challenges of modern design. Successful talks often pick topics applicable to a large range of games, present ideas concretely, draw from experience, and offer telling examples.
We are looking for talks on a all aspects of game design, but particularly hope for submissions that explore the challenges and gameplay ramifications of the systems discussed above. WE WOULD LIKE YOU TO SUBMIT TALKS ON ANY OF THE TOPICS BELOW.
However, as always, if you feel we’ve missed something that’s very relevant for Game Designers in 2005, we would look forward to the submission of your abstract. For instance, subjects such as:
Level building and mechanics tuning in larger and more simulated worlds with less scripted AI's.
Non-MMP use of connectivity: online feature additions, proximity handheld wifi, telephony.
Using the new capabilities we have, getting ready for systems in next generation of consoles.
Approaching narrative and character depth in gameplay, as we focus more on entertainment.
Breaking the linear relationship between machine capability and asset creation.
Difficulty tuning, Metrics, Analysis, Tuning. How do we know if we are doing a good job?
Presentation Title What makes a good presentation? http://www.gdconf.com/abstracts/faq.htm
Our Proposed Submission:
Writing for Games
Presentation Format
- 2-Hour Lecture
- 60-minute Lecture
- 60-minute Panel
- 60-minute Roundtable
- Full-Day Tutorial
Our Proposed Submission:
Full-Day Tutorial
Audience level
- Please Select -
- Beginner: No special knowledge or experience.
- Intermediate: Basic familiarity or some experience.
- Advanced: Requires experience and familiarity with subject.
- All: Open to All Levels
Our Proposed Submission:
All: Open to All Levels
Presentation Abstract
- Please provide a description of your presentation, as you would have it appear in the the conference program, in 300 words.
Our Proposed Submission:
The craft of the game writer is unique and distinct from the movie screenwriter, novelist or playwright. There are demands and techniques that must be mastered, and limitations that must be overcome, both at a technical level, and in terms of the budgetary implications for games development. What is cheap for a film can be very expensive for a game, and conversely games can often achieve what is expensive for a film within the bounds of conventional development.
There is a growing awareness throughout the games industry that as we move deeper into the mass market, it is not acceptable for a game to feature sophomoric dialogue, plotting and story elements. There is a need for game writers, something that the publishers have already recognised, and that consequently developers are being forced to accept.
Writing for games is a skill with a whole new set of challenges and possibilities - it can also be the difference between an award-winner and a quick trip to the bargain bin. The mass market contains audience clusters for whom the story, narrative or emotional content of the game is as important or more important than challenge, and the games industry is increasingly having to accept that a “great game” with a lousy story or setting is doomed to have only niche market success.
This tutorial discusses the basics of the craft of game writing, as well as best practices and advice that will be invaluable for those starting down the path of game writer, or planning to work with game writers on future projects. It is an essential primer to the newest addition to the game development community’s skillset.
Intended Audience and Prerequisites
Please describe what section of our audience would best benefit from this session? Is prerequisite knowledge necessary for understanding the content of the session? (Please write in third person, present tense.)
Our Proposed Submission:
This tutorial is both a primer for people who find writing for games is a new part of their job, as well as veteran writers who would like to discuss best practices. Although structured in an educational fashion that will benefit people new to the art, it is also constructed to include discussion and debate within the tutorial group.
Those who are not planning to be game writers, but wish to learn to integrate with game writing, will also benefit from the session (such as producers and programmers from developers with smaller teams). The goal of the tutorial is to impart the wisdom of some of the industry’s most successful game writers and simultaneously to advance the craft of game writing by effectively discussing the key issues that affect narrative in games.
What is the idea takeaway from this presentation?
Please describe, in five sentences, what tangible ideas will be taken away by the attendee? Or, in other words, what will they learn? (Please write in third person, present tense.)
Our Proposed Submission:
- Identifying and practicing the basic skills of the game writer – dialogue, cinematics, business skills etc. all covered. - Fundamentals of narrative design – understanding the interface between the game design and the game story, and how to enhance the game by narrative elements without diverting budget to expensive cut scenes. - Master the duality of game narrative – the story must be part of the game, and the game must be part of the story; a strong story will not prop up a weak game, but a weak story can mar a strong game. - Learn to work positively with other people’s Intellectual Property (IP) – licensed properties define certain limitations which can bring focus and clarity to a game that original IP often lacks. - How to integrate a game writer into a development team – both the main team and the game writer can be seamlessly integrated with sufficient awareness of the issues involved.
Presentation Syllabus (abstract/outline)
Your chance to describe your submission in greater detail to the Advisory Board. Absolutely no proposal will be considered without a syllabus.
Please write in third person, present tense.
Please limit submission to 250 words (maximum 2,000 characters).
Our Proposed Submission:
Each section below consists of a brief presentation, plus exercises for the group to undertake, and discussion on the points raised. It will be a fully participatory tutorial in which the attendees will contribute to the proceedings as well as learn from the experts leading the tutorial.
Part 1: What is game writing?
Discussing the basic elements of game writing - Stories, Dialogue, Cinematic scripts, Documentation – and also differences from other media.
Part 2: Narrative Design
A comprehensive review of the boundary between game design and storytelling – how game goals and narrative goals differ, and the many different narrative structures at use within games.
Part 3: Game Writer Techniques
Writing quality dialogue and constructing high-impact cinematic cut scenes.
Part 4: Fitting the writer into game projects
The nature of game documentation, and learning to work a game writer into a development team.
Part 5: Working with Intellectual Property
The many different kinds of IP and the advantages and disadvantages of working with it. How to stay on the good side of the IP license holder, and please everyone with the results.
Part 6: The Business of Game Writing
How to become a game writer – and how to find a game writer, and the relative costs and fees involved.
Conclusion
Summarising the key points, and discussing the main support for the game writing community.
Submit a brief biography (150 words/2000 characters)
SpiralLobster: We've got to split this length between us!!!
Our Proposed Submission:
All tutorial leaders are members of the IGDA Game Writers Special Interest Group, and two are members of the executive panel.
Chris Bateman is Managing Director of International Hobo, and critically acclaimed for his game writing and game design, including Discworld Noir and Ghost Master.
Sande Chen is a freelance writer/game designer. She has won several awards, been nominated for a Grammy, and contributed to several key industry books.
Richard Dansky is the head writer at Red Storm Entertainment in charge of the Tom Clancy properties, and has been involved in games for over a decade.
Mary DeMarle is a freelance writer-designer whose career spans more than 15 years. She is most famous for her work on the award winning Myst series of games.
Coray Seifert is a producer at Large Animal Games and a game designer/writer at Blade Edge Software, as well as a lecturer in game design and writing.
Industry Credits/Certificates
SpiralLobster: Again - we have to share, so edited highlights only!
Our Proposed Submission:
Selected credits only are provided - to list the complete set would exceed the size limit.
Chris Bateman:
- Masters Degree in Artificial Intelligence/Cognitive Science
- Discworld Noir (1999, Adventure): Lead Game Designer, Script writer
- Ghost Master (2003, Sim): Lead Game Designer, Script writer
- Kult: Heretic Kingdoms (2004, CRPG): Lead Game Designer, Script Writer
Sande Chen:
- M.F.A. in Cinema-Television, University of Southern California
- Scooby Doo (2002)
- Siege of Avalon (2001)
- Terminus (2000)
- Grammy Nominated for Music Video Direction
Mary DeMarle:
- Myst III: Exile (2001, Adventure): Writer, Game Designer
- Homeworld 2 (2003, Strategy): Script writer
- Myst IV: Revelation (2004, Adventure): Writer-designer
Richard Dansky:
- Ghost Recon: Island Thunder (2002, FPS)
- Rainbow Six 3: Raven Shield (2003, FPS)
- Far Cry (2004, FPS)
Coray Seifert:
- The Path to Zenrai (2002, MMORPG): Writer
- Informant (2003, FPS/Sim): Designer/Writer
- Galaxy Conquest (2004, Strategy): Writer/Designer
- RocketBowl? (2004, Action): Game Designer
The submitter agrees to provide all relevant presentation materials to Game Developers Conference 2005 (GDC 2005) by the stated deadlines. The submitter also agrees to be available to present his/her session during any day of the conference (Monday, March 7 — Friday, March 11, 2005).
Comments [Hide comments/form]
Um, not to be nitpicky, but in one place it looks like Sande won a grammy, and in another place it looks like she was "only" nominated for one. (please know that I'm saying this with the deepest respect for that accomplishment). -- WenDeth (2004-07-09 16:39:15)
I believe it's "just" nominated (!).
