When Lisa and I were taking Kenneth Koch’s writing class at Columbia a long time ago, we learned two things: (a) develop a writing style by writing in other people’s styles (b) you will never run out of words. Writing a game is a master class; I’ve got to write in different voices and different media.
Originally we were just going to have audio flashbacks for Arthur, because Arthur’s main issue is someone who never comes on stage in the present, while Miss Thigh High’s issue is clear and present, and the Mad Scotsman has a special friend to talk to. But Sam asked for audio flashbacks for them, too, so I wrote the Mad Scotsman’s memories this week. They’ll have to go into the game in robospeech or temp voice or something, as the fellow who voices the Mad Scotsmen disappears Monday to the wilds of Alberta till just before Christmas; apparently where he is, there are not high quality sound studios. (Everyone now carries a pretty decent microphone in their pocket; but you still need a professional quality sound studio to get clean audio without a “boxy,” “roomy” quality of reverb.)
Other work: figuring out how to bring the player up to speed on the Garden District faster; writing clever journal entries and objectives in the game’s voice for about half the game; and editing Arthur’s nightmares. Oh, he will have nightmares. He was going to have cinematic nightmares, but with our animators working their fingers to the bone and Clara frantically editing Uncle Jack, now it’s audio nightmares.
Labels: We Happy Few