WHF Update - Dirty World

The other night at the bar, one of the company founders asked me to name one of the things I like most about the game. One of the things that came to mind is how we are telling the story of the world.

What we try to do in We Happy Few is “pull” narrative: we try to provoke the question in the player before we present the answer. I call it “pull” because the question pulls the player into interrogating his or her environment to find the answer.

Our narrative is “dirty.” Most of the stories we tell through lore and through encounters have relate at most tangentially with the player character’s overall goal. NPCs aren’t there to serve your story. They’re there to serve their stories; it’s only an accident that their story intersects with yours. When you meet them, they’re in the middle of something important to them, and they have somewhere else to be after meeting you.

To me, this feels more like real life. No one is on Earth to serve your life story. They are there to serve their own life story. Even your Mom, who loves you, is living her own story. It may be her goal to see that your life is a good one, but that is still her goal, not your (related) goal. To add to this notion, quite a few of our NPC stories intersect with each other. You are not the nexus of all that is interesting. Some NPCs hate each other. Some love each other. Some love and hate each other. Such is life.

In other words: we are hardwired to turn our experiences into story. Which means that, by giving the player chunks of narrative content that could add up to a story, we allow him or her to tell themselves their own story. To my mind, the Holy Grail of game storytelling is: get the player to tell the story, rather than telling the player the story.

The individual chunks of narrative need to be linear in order to bear meaning – Arthur’s story isn’t choose-your-own adventure. But I aim to give you spaces in between the cutscenes which you can fill in. I’m only showing you the peaks; you fill in the rest of the mountain.

That’s my goal, anyway: to let the narrative breathe.

Rest of the update

Don't Go West, Young Man

Q. I live in Montreal and I have no desire to move to Toronto (in part because I hate Toronto but mostly because I love Montreal).

I hear that!

Q. At this point my portfolio consists mostly of big-budget features, which have made the rounds in some of the American screenplay competitions. I'm trying to make sure that I'm on the right path.

Should I continue doing what I'm doing:

Writing feature specs, sending targeted queries to producers and agencies in LA and Toronto, until one of them lands me a sale or a job. 

Or, seeing how Canada is mostly a TV industry (as far as writers go), would you recommend that I try writing some TV specs and pitching them to Toronto agencies instead (like your blog suggested). Just keep in mind that I frequently watch and study a lot more movies than I do television, and feature-writing has always been my primary interest. With that being said, if TV writing is the only way to make it down here, I am open to shifting my focus.

Honestly, I’d recommend you write games. You live in one of five world meccas for game development. Games hire writers all the time. I hear about game jobs pretty often.

Montreal is a backwater of a backwater for writing features. Canada barely has an English language movie business. (French is a different story obviously.)

TV writing is a better business but you can’t do it from Montreal. You have to be in Toronto. Ideally, you go to the CFC Prime Time program. Most of the graduates from there find something to do in the business, though not all writing, and there’s no guarantees.

Or go to LA if you want to work in the real business. This is the golden age of television writing. There are so many scripted series going into production these days.

Kids today mostly don’t want movies and they don’t even watch TV that much. They play games.

... I am not really sure how you get into writing games. There are people who have advice about that and I’ve blogged about it. But my own particular path depended a lot on having written a hit film, so it’s not an easy path to follow.