Kristina Olsson

games already, my role is to help
create and write the story, and
to facilitate discussions between
us, the narrative team, and the
other disciplines. I have written
character biographies, narrative
treatments and asset lists (a list
of objects we request the art team
to create to help tell the story, like
photographs). I write scripts, sit in
on voice actor auditions and ensure
all narrative documentation is upto-date
for the rest of the team.
Creating a
living, breathing
experience is
integral for the
aspirations of
Earthlight as a
virtual reality game.
The narrative team on Earthlight
works closely with the design team
to ensure we have all the dialogue
we need, not only to tell a good
story, but also to guide the player
through their astronaut training. For
example, if the player wanders off
the path they are meant to follow,
we must ensure we script dialogue
that encourages them to get back
on track. If they drop an object
important to a puzzle, we must
ask them to pick it up. These are
called ‘fail-states’ in the gameplay.
To make an immersive experience
for the player, we try to capture as
many fail-states as possible. Other
characters around our protagonist
would surely say something if she
is moving away from her objective
or dropping things. The trick is to
write fail-state dialogue in such
a way that it doesn’t feel clunky
when mixed in with the rest of the
narrative dialogue.
I never imagined myself writing
for virtual reality, but having
experience with games made me
aware of the storytelling power
of a 3D space. Creating a living,
breathing experience is integral for
the aspirations of Earthlight as a
virtual reality game. As a narrative
designer and writer, it’s part of my
job to place players in environments
they can explore while stationary.
From discussions with technicians
and designers, I learn what is in my
toolbox to tell story. For example,
when I know it’s possible to trigger
events such as a voice-over, or when
the player looks at a key narrative
object like an antique ring, I can script
the dialogue related to that object.
The challenge of VR is that, for the
most part, it’s a passive, seated
experience where the audience
is an observer. Moving in the VR
world is tricky until the technology
allows us to move safely around
our living rooms - and it’s on the
way! The player in Earthlight can
influence their environment to a
certain extent, which isn’t always
the case for VR experiences, such
as those displayed at the Melbourne
International Film Festival this year.
Locating ways for the player to have
meaningful impact in the virtual
world is integral for those who
wish to bring agency, the control a
player has in the game world, to VR
storytelling. How we go about doing
this will vary from project to project
and will evolve with the technology.
In game development, there should
be an ongoing dialogue between
the narrative team and the rest of
the team about what is needed,
and technically possible, to tell a
good story. From a dialogue system,
to gameplay, to level design, and
keeping in mind the creative vision
of the project, I’ve learned to
involve myself as much as possible
in the early stages. My skills as
a storyteller—pitching, writing a
synopsis, scripts, character profiles,
storyboarding, plot structure—have
served me well on my foray into
games. I’ve learned to execute
them in different ways to suit these
collaborative workplaces and
interactive mediums.
In game
development, there
should be an ongoing
dialogue between the
narrative team and
the rest of the team
about what is needed,
and technically
possible, to tell a
good story.
Writing for games is technical,
iterative and collaborative. Writing
for virtual reality is the same, and
as a medium, is gaining some
traction as it is on the way to being
accessible by the consumer. I’m
excited to see games use their
power for immersion and empathy.
I want to see them challenge
constructed identities, the way we
see ourselves and each other. I want
stories, in any medium, to allow us
to play and shift because I believe
that’s what makes good storytelling.
Write lots of things.
Brooke Maggs is a freelance writer,
narrative designer and producer
working in games and writing fiction.
Recently named in the top 100 most
influential women in games, Brooke
has talked about games and writing
a bunch of panels at festivals and
conventions. She loves brunch, the
beach and succulents. She’s here:
brookemaggs.com & @brooke_maggs
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