Complications Ensue: The Crafty Game, TV and Screenwriting Blog
Complications Ensue:
The Crafty Screenwriting, TV and Game Writing Blog


April 2004

May 2004

June 2004

July 2004

August 2004

September 2004

October 2004

November 2004

December 2004

January 2005

February 2005

March 2005

April 2005

May 2005

June 2005

July 2005

August 2005

September 2005

October 2005

November 2005

December 2005

January 2006

February 2006

March 2006

April 2006

May 2006

June 2006

July 2006

August 2006

September 2006

October 2006

November 2006

December 2006

January 2007

February 2007

March 2007

April 2007

May 2007

June 2007

July 2007

August 2007

September 2007

October 2007

November 2007

December 2007

January 2008

February 2008

March 2008

April 2008

May 2008

June 2008

July 2008

August 2008

September 2008

October 2008

November 2008

December 2008

January 2009

February 2009

March 2009

April 2009

May 2009

June 2009

July 2009

August 2009

September 2009

October 2009

November 2009

December 2009

January 2010

February 2010

March 2010

April 2010

May 2010

June 2010

July 2010

August 2010

September 2010

October 2010

November 2010

December 2010

January 2011

February 2011

March 2011

April 2011

May 2011

June 2011

July 2011

August 2011

September 2011

October 2011

November 2011

December 2011

January 2012

February 2012

March 2012

April 2012

May 2012

June 2012

July 2012

August 2012

September 2012

October 2012

November 2012

December 2012

January 2013

February 2013

March 2013

April 2013

May 2013

June 2013

July 2013

August 2013

September 2013

October 2013

November 2013

December 2013

January 2014

February 2014

March 2014

April 2014

May 2014

June 2014

July 2014

August 2014

September 2014

October 2014

November 2014

December 2014

January 2015

February 2015

March 2015

April 2015

May 2015

June 2015

August 2015

September 2015

October 2015

November 2015

December 2015

January 2016

February 2016

March 2016

April 2016

May 2016

June 2016

July 2016

August 2016

September 2016

October 2016

November 2016

December 2016

January 2017

February 2017

March 2017

May 2017

June 2017

July 2017

August 2017

September 2017

October 2017

November 2017

December 2017

January 2018

March 2018

April 2018

June 2018

July 2018

October 2018

November 2018

December 2018

January 2019

February 2019

November 2019

February 2020

March 2020

April 2020

May 2020

August 2020

September 2020

October 2020

December 2020

January 2021

February 2021

March 2021

May 2021

June 2021

November 2021

December 2021

January 2022

February 2022

August 2022

September 2022

November 2022

February 2023

March 2023

April 2023

May 2023

July 2023

September 2023

November 2023

January 2024

February 2024

June 2024


Sunday, December 04, 2016

All of us creative types have things we're naturally good at, and things we've learned to do, and things we aren't that good at (yet). This creates a creative trap: when approaching a project, we often work on the part we understand best — the part that scares us least.

So if you're good at plot, you write the plot first, and then fill in the characters later. If you're good at characters, you write up the characters and then feel your way towards a plot.

In game design, there's a tendency to work on the parts of the game that are "well understood," whether those are combat mechanics, or environment, or story, or whatever.

I worked on a game whose entire success hinged on whether some very advanced AI tech would work. The studio, however, hired a slew of people to build environments and animations.

I understand the impulse. You want to have something to show for it. If you're working on a very advanced, invisible back end, what can you show your investors? So you make some lovely environments. Also, it's relatively easy to hire people who can make lovely environments — compared to people who can make an expert system based on new research.

Of course, if you know what you're doing, it could be a valid decision to work on well-understood parts of the game, if you know in advance that they're going to take a long time to hone. Well-understood doesn't mean simple or fast, it just means you know the processes you're going to use. When we started with combat, it had something to do with how finicky combat is to implement convincingly.

Likewise, if you're a character-based writer and you simply have to inhabit the characters before you can move on to the plot, then it might be crucial to your own creative process that you start with the characters.

But working on the part that you feel comfortable with can become a trap.

By working on the parts that you're comfortable with, you necessarily reduce your options on the part that scares you.

Every creative choice you make on a project takes away some future choices. If I set a project in Germany in 1933, then it is very hard to choose a Mongolian steppe warrior as my main character. If I did set a project in Germany in 1933, and chose a Mongolian steppe warrior as my main character, then I pretty much have to tell a science fiction story.

So if you make a bunch of decisions on the easy stuff, you're restricting your range of choices for the hard stuff. That's bass ackwards. You want as much room as possible when you're doing the hard stuff, since you can probably handle a restricted range of choices on the easy stuff.

In other words, don't paint yourself into a corner on the easy stuff.

What happens if you do paint yourself into a corner on the easy stuff is either (a) you accept a poor solution on the hard stuff, because you don't see any good way to do it; or (b) you rip up a bunch of stuff that was working, because otherwise you can't make the hard stuff work.

In game development, if your game hangs on a fresh new gameplay mechanic, then try to get that working before you put any environments into the game. Spearhead, for example, created a three-on-three science fiction soccer game. The first playable build was pretty much dots chasing another dot around a grey box; but the fun was already there.

In screenplay writing, if you're weak on characters, then consider writing only the faintest of sketchiest of plot outlines, and then really spending some time thinking about what characters could most interestingly inhabit that plot — as opposed to working out a really detailed plot and then trying to shoehorn some characters into it.

Or, if you're good on characters but weak on plot, take some relatively simple characters, and build a fairly detailed, surprising-yet-inevitable plot around them before you move to fleshing them out.

You get several benefits from this. One, you develop your creative muscles. If you are good at situps but bad at pushups, and you do a bunch of pushups, you will have stronger biceps, and now you can do both pushups and situps.

Two, your creative project is strong both in the area you find hard and the area you find easy, instead of just in the area you find easy.

Three, when you're working on stuff that scares you, you will often make more interesting choices than you would if you were working on stuff you understand well. Creativity is usually a dance between structure and improvisation. If you force yourself to improvise, you'll come up with stuff you might not otherwise have thought of.

Four, if you work on the hard stuff first, and utterly fail, you haven't wasted any time on the easy stuff. The finicky AI tech never really worked, and the studio was left with a whole bunch of bespoke environments and animations. If you really hate writing a character based screenplay, then after you've banged some characters around for a few weeks, you might just toss the project and go write some hook-driven action thriller where you can get away with snappy banter in the place of actual characterization. If you really cannot write an interesting plot, then you'll find that out when you attempt to plot out your suspense thriller, and you can chuck it and go write that achingly personal coming of age story.

So: work on the part that scares you first!


Post a Comment

This page is powered by Blogger.