The play is a literary form that comes down to us from Ancient Greece intended for performance. Used as a production tool to create a perceived story space on stage, it consists of characters, dialog, action, and setting. It is a form that was adapted for motion pictures then called the "screenplay". While not particularly different than its stage play ancestor, the screenplay is intended for use on linear theatrical productions such as film and television. I chose to adapt it to games for purposes of strengthening game story. While games have their design documentation, often a 'bible' of information or a presentation intended to communicate a cohesive vision, the screenplay acts as a method to create a common story vision among widely disparate development pipelines within game development, with the aim of creating a better user experience. While not a concept I claim to originate. It is a form that I have forged wholly on my own, with attention to what makes a game screenplay unique.Part 1: Cinematics
Linear cinematic segments, while potentially altered by the player, or selected in a meaningful non-linear fashion via gameplay, are no different than traditional screenplays. As the first screenplays did not veer too far from stage plays, with minimal sets, and high caliber, sometimes over-the-top, characters. So to the game screenplay is still akin to the screenplays of film. Example 1 (below) is from my first game screenplay for "Company of Heroes: Opposing Fronts".
Example 1: Game Screenplay Cinematic Sequences
Part 2: Gameplay
There are various elements that a game screenplay must address that are not found in its predecessors. First and foremost are the non-linear activities associated with modern gameplay. While multiplayer games do not have a linear scope or one that tends to focus on storytelling, single player modes or games, tend to have a linear story which is parsed and delivered between non-linear gameplay segments. For just such segments I created a header for nonlinear gameplay segments, to indicate that what the reader is looking at is not a predictable segment, in at least the notion that the player can choose to do any number of things to resolve a particular problem, be it combative or otherwise.
The example above consists of 3 gameplay segments and acts as a simple indicator that the player has to solve the problems described prior to advancing through the game. It gives the play designer room to create memorable moments within this non-linear segment, while allowing them the luxury of knowing what action the gameplay segment is to transition from and to.
Part 3: Non-linear dialog and action
Action and dialog variation, are vital to an interactive system. While screenplays for films may offer alternate lines (known as Alts) intelligent game systems might select a different state for an non-player character (NPC) depending on variable player actions. Alternate lines can provide a rich texture for replay-ability and suspension of disbelief.
Example 3: Game Screenplay Gameplay Sequences
While certainly not a prescription for all game writing situations, I find the solutions presented above as adequate to meet the needs of writing for mature AAA-titles. Moving forward I truly believe we as an industry need such standardization to create compelling game story experiences. I invite all game writers, novice and expert alike to join me in creating this new and exciting format.
There are various elements that a game screenplay must address that are not found in its predecessors. First and foremost are the non-linear activities associated with modern gameplay. While multiplayer games do not have a linear scope or one that tends to focus on storytelling, single player modes or games, tend to have a linear story which is parsed and delivered between non-linear gameplay segments. For just such segments I created a header for nonlinear gameplay segments, to indicate that what the reader is looking at is not a predictable segment, in at least the notion that the player can choose to do any number of things to resolve a particular problem, be it combative or otherwise.
Example 2: Game Screenplay Gameplay Sequences
The example above consists of 3 gameplay segments and acts as a simple indicator that the player has to solve the problems described prior to advancing through the game. It gives the play designer room to create memorable moments within this non-linear segment, while allowing them the luxury of knowing what action the gameplay segment is to transition from and to.
Part 3: Non-linear dialog and action
Action and dialog variation, are vital to an interactive system. While screenplays for films may offer alternate lines (known as Alts) intelligent game systems might select a different state for an non-player character (NPC) depending on variable player actions. Alternate lines can provide a rich texture for replay-ability and suspension of disbelief.
Example 3: Game Screenplay Gameplay Sequences
While certainly not a prescription for all game writing situations, I find the solutions presented above as adequate to meet the needs of writing for mature AAA-titles. Moving forward I truly believe we as an industry need such standardization to create compelling game story experiences. I invite all game writers, novice and expert alike to join me in creating this new and exciting format.
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