Poetic art installation at the Memorial Art Gallery, NY. (Photo by Hudson Graves on Unsplash.)
Recently, I had the delightful experience of joining Syd (aka thechosengiraffe) for an interview on her stream (available to watch here). Together, we played Minecraft and discussed game development, poetry, and the writing life. Syd is a wonderful interviewer and her skills led us in a fantastic conversation.
One of the questions asked by the chat was whether or not I would ever consider blending poetry into one of the games I make — and I answered that I had not considered it. As much as I love both poetry and games, I didn’t have any concepts that made sense to me. And I also could not come up with many examples of games that incorporate poetry on the spot.
After the interview ended, I couldn’t stop thinking about the question. What games did I know off that included poetry? I found a few examples that specifically comprised either an interactive poem or the use of actual poetry in the gameplay.
The Game Writing Guide: Get Your Dream Job and Keep It by Anna Megill is a wonderfully practical guide to understanding how to build and maintain a career as a writer in the games industry. Her advice — which is based off interviews with dozens of writer mentors, as well as her own experience writing for games such as Fable, Control, and Dishonored, among others — runs the full gamut, from job hunting, writing resumes and cover letters, building a portfolio, and interviews to moving up within the company once you have the job and leadership roles.
All of this advice is delivered in simple, well-organized, and straightforward manner — with little dashes of humor sprinkled in — making the book easy to ready and follow. Where Megill is less confident in her commentary, she admits so upfront and presents insights of other mentors or other avenues for seeking this information.
With so many folks vying for writing jobs at the moment, I thought I’d highlight a few of the takeaways I found particularly helpful thus far. Each of these bits of advice are primarily on the job hunting side of things (as opposed to the job keeping side), since I’m still at the stage of looking for full-time work in games.
Let me be real: 2022 was another tough year in a variety of ways that I won’t get into. Lately, I’ve been trying to focus on the things I’m grateful for, rather than dwelling on the negatives. So, please allow me to highlight some of the fantastic, wonderful, and exciting things that I experienced or discovered over this last year.
1. I completed two tiny video games — What Lies Underneath and Bluebeard: An Interactive Tale. Each I constructed with different game making tools, representing different kinds of gameplay and storytelling, and I am proud of the work I did on both.
2. . . . and all of that hard work paid off, since the games I made earlier in the year helped me snag my first freelance work in the games industry. I am currently working a contract writer for Lost Lake Games on a project I can tell you nothing about.
And I am also working with Patrick Knisely, a solo dev in charge of One Frog Games. Together, we are working on building the story, world, and scenes, which will be incorporated into the gameplay for a platforming game tentatively titled Monochrome Heights (play the demo).
3. I sold my fourth poetry chapbook, titled Necessary Poisons, which will be published by Interstellar Flight Press later this year. I’ve been working on this collection of strange little poems since 2016, and I’m so grateful and delighted that it has finally found a home. (A cover reveal and release date will be be coming soon.)
If you want to get into the profession of game development, the first thing folks in the industry will tell you is to start making games. Fortunately, there is an abundance of tools available for artists, designers, writers, and other creators to dive into the process and craft of making games. The first games you create don’t have to be perfect, nor do they even have to be good. The point is to just learn from your successes and failures, and then continue making games.
My journey into making games comes from my passion for storytelling. I’m fascinated by how games can create unique interactive narratives that cannot be experienced in a strictly linear format. When I thought about making my first game, I wanted to draw on my existing skills as a writer and create a text-based game built that allows the player to make choices as they move through the narrative. Hoping it will help other first-timers, here are a few of the lessons I learned on the journey of making my first game, Bluebeard: An Interactive Tale.
Sometimes you need to move at a slow and steady pace towards progress, dipping your toes in the pool and inching in little by little until you’re used to the chilly water — and sometimes you need to just launch yourself off a rock, plunging straight into the center of the lake with the hope that you’ll make it back to shore.
Guess which one I’ve been doing over the last month or so.
I’ve realized for a couple of years now that I wanted to write and build narratives for games. And so, I’ve been learning about the art of game narratives, which is beautifully varied and complex — ranging from heavily scripted games like The Last of Us to completely wordless experiences like Journey, with a vast number of other variants along the outskirts and in between.
While I’ve been exploring game narratives, I have also been toying around with making interactive narratives myself. Or rather, I have been noodling on a single interactive text, a Twine* adaptation of the classic French folk tale, “Bluebeard.” Having written a retelling of the story, in which I explored a number of alternative endings, I figured it would be a relatively straightforward process to add gameplay choices that branch off to each of those endings.
Spoiler: It was not that easy.
After a period of struggling — not only over the process, but also due to the frustrations of trying to maintain a creative life amidst daily obligations — I realized I needed an extra push to help me get to done. Fortunately, I stumbled across The “Finish It” Narrative Game Jam** in May. The focus of the jam was to complete an in-progress narrative game or interactive fiction project between May 12-31. This seemed like a perfect way to push myself toward finishing my current project, and I immediately signed up.
A day or so after signing up for the Finish It Jam, I was told about the Greenlight Jam by a game writing friend. The Greenlight Jam featured a unique format, having multiple deadlines over the course of about a month (May 16th to June 19th), focused on the various stages of game design, from ideation to prototyping, production, and final release of the game. Drawn in by this concept, I had an Ah, what the hell moment and signed up before even considering the fact that the two jams overlapped or the incredible amount of work that would be involved.
