| Writing a video game script offers a challenge | | | | Write interactions with non-player characters |
| that goes well beyond the normal realm of writing. | | | | Your game will probably involve interaction with |
| But it is also something that can be tremendously | | | | non-player characters (NPC's). You should write |
| rewarding in the scope of its creativity. Here are | | | | out the dialogue and flowchart the choices the |
| some guidelines and tips for writing a video game | | | | game player can make. These interactions are |
| script. | | | | often critical to the story and they can take the |
| Today's video games are based in complex | | | | player on very different paths toward the |
| worlds and they tell stories. No longer does a | | | | conclusion of the game. |
| player simply advance through repetitive screens | | | | Write Cut scenes |
| slaying goblins and ghouls in a quest toward the | | | | Cut Scenes are short animations or movies that |
| goal. A player now expects to progress through a | | | | come before or after major plot points in your |
| world where there is a rich history and a plethora | | | | story. A cut scene should always be written to |
| of decisions to be made. This adds to the | | | | enhance or describe the story. A cut scene is also |
| complexity of writing a video game script and it | | | | a reward given to the player for achieving a |
| also adds to the richness of the creativity | | | | major milestone in game play. |
| involved. | | | | Writing the actual storyboard script |
| The first thing you need to think about is that | | | | This is the final step in the whole video game |
| writing a video game script is that it is not the | | | | script writing process and it is the most detailed. |
| same as writing a movie script. The two | | | | You do this step last because you need all the |
| processes are similar and you do write a movie | | | | supporting materials to understand and describe |
| like script for your video game but that is only | | | | this correctly. This part is very similar to that of a |
| part of the process. There is a whole host of | | | | movie script. You progress through each scene of |
| accompanying materials that you need to write | | | | your story and you detail all the necessary |
| for your game script. Here is an overview of | | | | information. Here is an example: |
| what you need to write and why. | | | | Scene 1: |
| Write An Executive overview of the story in | | | | Location: A dark cathedral with stained glass |
| prose | | | | windows. An NPC is kneeling before a stone |
| This is the most important part of your game | | | | casket in the center of the main room |
| script and this is what will sink or float your script. | | | | Music: background music of an organ playing |
| This overview has to tell a compelling and unique | | | | introduces the scene but subsides |
| story and it should tell the complete story from | | | | Characters: Main player, NPC named Thomas, |
| the opening scene of the game through the | | | | seven were creatures |
| major steps all the way to the completion of the | | | | Player Goal: Discover the location of the |
| game. An overview like this can be almost any | | | | underground lair |
| size and it would be very easy for this to be ten | | | | Action: Player must initiate discussion with |
| written pages or more. Remember that today's | | | | Thomas, upon first contact we activate cut scene |
| video games are very complex and the stories | | | | (1) where Thomas morphs into a were-creature |
| can be very complex. This overview is also the | | | | and summons his were-minions. Main character |
| most important part of the script. You would | | | | must battle the were-minions then re-initiate |
| shop this to game developers to see if they are | | | | discussion with Thomas. |
| interested in developing it into a game. | | | | Flowchart: No decisions made at this point: If |
| Write a History and Background of the world | | | | battle is completed Thomas reveals the entrance |
| Video games are complete worlds and game | | | | to the underground lair and player advances to |
| designers need to know what the world is like and | | | | that level. If player is defeated in battle revert to |
| what kind of history it has. This will help the | | | | death cut scene (11) and move to try again |
| designers to visualize what the world will look like. | | | | screen. |
| Create a Flowchart for the entire game | | | | Notes: Player is locked in the cathedral and there |
| Your game is going to be very complex and | | | | is no exit. The only viable way out is to initiate |
| there will be many decisions that the player will | | | | contact with Thomas. Random were-creatures |
| have to make and each decision opens up a | | | | can be activated if player explores cathedral |
| whole new path for the player to take. Creating a | | | | before talking with NPC. |
| flowchart is the best way to keep track of all the | | | | Scene End |
| possible paths through the game. | | | | When writing a video game script you have to |
| Create sub-quests and write a prose overview of | | | | remember that your primary audience is not the |
| each quest | | | | game player but the game developer and what |
| Sub quests can be simple or complex but each | | | | the developer needs is a complete picture of |
| one is a story in itself and you must tell these | | | | what your game is about. This means that you |
| stories. | | | | are not just writing a story but you are creating |
| Create character descriptions and bios for all the | | | | a world complete with a tone, sounds, characters, |
| major characters in the game. | | | | story, plot, and subplots. To successfully |
| Game designers need a complete picture of the | | | | communicate this to the developer you need to |
| characters in the game. Many of the non-player | | | | use a whole set of creative tools and this is |
| characters you create will pop up time and time | | | | where video game scripts depart from normal |
| again. And their story is woven deeply into the | | | | scripts and open up a whole realm of creative |
| fabric of your world. You need to describe this | | | | possibilities. |
| relationship in detail to the game designers. | | | | |