{"id":1711,"date":"2021-11-10T14:25:29","date_gmt":"2021-11-10T14:25:29","guid":{"rendered":"http:\/\/mycours.es\/gamedesign2021\/?page_id=1711"},"modified":"2021-12-03T20:42:05","modified_gmt":"2021-12-03T20:42:05","slug":"creating-characters-and-writing-dialogues","status":"publish","type":"page","link":"http:\/\/mycours.es\/gamedesign2021\/creating-characters-and-writing-dialogues\/","title":{"rendered":"Creating characters and writing dialogues"},"content":{"rendered":"<p><span style=\"font-weight: 400;\">Videogames writing &#8211; and dialogue in particular &#8211; is often pretty bad compared to other narrative media like cinema, TV, literature, theater, or animation. Here are some common reasons:<\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Storytelling is subordinated to the game mechanics. The story has to retroactively justify the player actions (killing, solving puzzles, etc) instead of driving them. For example extreme, generalized violence doesn\u2019t leave room for moral subtlety resulting in <a href=\"https:\/\/clicknothing.typepad.com\/click_nothing\/2007\/10\/ludonarrative-d.html\">ludo-narrative dissonance<\/a> &#8211; a perceives dissonance between the narrative component and the gameplay.\u00a0<\/span><\/li>\n<\/ul>\n<p><iframe loading=\"lazy\" title=\"New Video Game - SNL\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/nEDKVNoE2ws?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Writers are brought in at a later stage of the development process and don\u2019t have the chance to shape the narrative and the characters, they are only expected to put words in pre-defined boxes.<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><\/li>\n<\/ul>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Dialogues serve only an expository function, and characters are there to \u201cserve\u201d the player. This results in an ATM style of dialogue in which the NPCs (Non Playing Characters) are mere repositories of information.<\/span><\/li>\n<\/ul>\n<p><iframe loading=\"lazy\" title=\"Shenmue - Sailors Part 1\" width=\"840\" height=\"630\" src=\"https:\/\/www.youtube.com\/embed\/dQa3yGXzGls?start=99&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">A long tradition of sloppy translations and localizations of foreign, in particular Japanese games (a problem that seems shared even by <a href=\"https:\/\/www.nbcnews.com\/news\/asian-america\/translators-experts-weigh-squid-game-subtitle-debate-rcna2568\">Korean hit series Squid Game<\/a>)<\/span><\/li>\n<\/ul>\n<p><iframe loading=\"lazy\" title=\"Zero Wing - Introduction\" width=\"840\" height=\"630\" src=\"https:\/\/www.youtube.com\/embed\/vfwqvUPIRkg?start=50&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The narrative structure doesn\u2019t offer opportunities for psychological depth, focusing instead on clearly communicated, binary moral choices like do the \u201cgood\u201d thing vs do the \u201cbad\u201d thing.\u00a0<\/span><\/li>\n<\/ul>\n<figure id=\"attachment_1712\" aria-describedby=\"caption-attachment-1712\" style=\"width: 840px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-1712\" src=\"http:\/\/mycours.es\/gamedesign2021\/files\/2021\/11\/Bioshock-1-Medical-Wing-First-Little-Sister-1024x640.jpg\" alt=\"\" width=\"840\" height=\"525\" srcset=\"http:\/\/mycours.es\/gamedesign2021\/files\/2021\/11\/Bioshock-1-Medical-Wing-First-Little-Sister-1024x640.jpg 1024w, http:\/\/mycours.es\/gamedesign2021\/files\/2021\/11\/Bioshock-1-Medical-Wing-First-Little-Sister-300x188.jpg 300w, http:\/\/mycours.es\/gamedesign2021\/files\/2021\/11\/Bioshock-1-Medical-Wing-First-Little-Sister-768x480.jpg 768w, http:\/\/mycours.es\/gamedesign2021\/files\/2021\/11\/Bioshock-1-Medical-Wing-First-Little-Sister-1536x960.jpg 1536w, http:\/\/mycours.es\/gamedesign2021\/files\/2021\/11\/Bioshock-1-Medical-Wing-First-Little-Sister-1200x750.jpg 1200w, http:\/\/mycours.es\/gamedesign2021\/files\/2021\/11\/Bioshock-1-Medical-Wing-First-Little-Sister.jpg 1920w\" sizes=\"auto, (max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px\" \/><figcaption id=\"caption-attachment-1712\" class=\"wp-caption-text\">Bioshock &#8211; murder little girls for a power up or save them?<\/figcaption><\/figure>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Voice acting is disjointed and stilted due to cumbersome motion capture technologies. Actors don\u2019t have a chance to react to each other, workshop their lines, or improvise.<\/span><\/li>\n<\/ul>\n<p><iframe loading=\"lazy\" title=\"LA Noire - Tech Trailer\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/aL9wsEFohTw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><em><span style=\"font-weight: 400;\">LA Noire was considered groundbreaking in terms of performance capture, it was still pretty awkward and uncanny.<\/span><\/em><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Natural dialogue patterns like cross-talk, interrupting each other are technically hard to implement with voice acting or text. Flows and rhythms are interrupted by player choices. There is a trade-off between narrative agency and smooth storytelling.\u00a0<\/span><\/li>\n<\/ul>\n<p><iframe loading=\"lazy\" title=\"Oxenfree - Full Playthrough\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/Bi81q_ok_M8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><em><span style=\"font-weight: 400;\">Oxenfree employs a sophisticated real time dialogue system. Unfortunately it\u2019s mostly used in the first 20 minutes.<\/span><\/em><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Many common narrative devices can\u2019t be used due to a commitment to a continuity of time and space and a single playable character. If you are constantly following a protagonist you can\u2019t leverage an asymmetry of information between characters, which is the basis of a lot of humor, suspense and drama.<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">(Eg. Oh no! the protagonist doesn\u2019t know the monster is around the corner!)<\/span><\/li>\n<\/ul>\n<p><iframe loading=\"lazy\" title=\"Disco Elysium The Final Cut - Full Game Longplay (No Commentary)\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/B9Xkep2SVWs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><em><span style=\"font-weight: 400;\">Disco Elysium deploys literary techniques like flow of consciousness, (semi)omniscient and unreliable narrators through a cast of internal characters\/RPG skills.<\/span><\/em><\/p>\n<h2><span style=\"font-weight: 400;\">Dialogue Writing Workshop<\/span><\/h2>\n<p><span style=\"font-weight: 400;\">In this workshop we\u2019ll try to give our characters unique voices through a variety of screenwriting techniques and exercises.<br \/>\nKeep in mind: writing dialogue requires a lot of practice, a lot of research, and even some innate psychological intuition. This is just a series of bullet points to avoid some common pitfalls and give a minimum amount of depth to your characters.\u00a0<\/span><\/p>\n<ol>\n<li style=\"font-weight: 400;\" aria-level=\"1\">\n<h2><span style=\"font-weight: 400;\">Define the characters<\/span><\/h2>\n<\/li>\n<\/ol>\n<p><span style=\"font-weight: 400;\">Choose two or three characters from your game to be part of a dialogue. The conversation can be part of the game as it is now or hypothetical, as an exercise in characterization.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">For each character write down:<\/span><\/p>\n<p><b>What do they want?<br \/>\n<\/b><span style=\"font-weight: 400;\">A character should have a goal or need to fulfill, the need should propel the story forward and come in conflict with other characters\u2019 goals. The overarching motivations should be broken down at the level of the individual interaction. What are they trying to get from each other?<\/span><\/p>\n<p><b>Who are they?<br \/>\n<\/b><span style=\"font-weight: 400;\">Gender, age, race, wealth, nationality, job, education, ideology, unique habits, friends, family, time period&#8230;<br \/>\n<\/span><span style=\"font-weight: 400;\">Not everything will emerge over the course of the game but it will help ground the character in a social and historical context. This basic information should inform names, visual design, affectations, accents.<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"Astrologaster: iOS \/ Android \/ PC Gameplay Walkthrough Part 1 (by Nyamyam)\" width=\"840\" height=\"630\" src=\"https:\/\/www.youtube.com\/embed\/m9RBMZQuOWI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><em>Astrologaster&#8217;s protagonist is inspired by a real historical figure and everything its characters&#8217; do or say is informed by their class and habits and beliefs of Elizabethan\u00a0England.<\/em><\/p>\n<p><b>What\u2019s their background\/backstory?<br \/>\n<\/b><span style=\"font-weight: 400;\">Again, not everything will surface in your story but having a better understanding of what happened to the character, how they became what they are, will help you conceive more complex and credible characters&#8230;<\/span><\/p>\n<p><b>What are their personality traits?<br \/>\n<\/b><span style=\"font-weight: 400;\">Write as many descriptive words for their personality (eg. blunt, subtly manipulative, talkative, etc). The Myers Briggs personality indicator is really bad pseudoscience but it can be a useful schematization for the purpose of character creation:<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-1713\" src=\"http:\/\/mycours.es\/gamedesign2021\/files\/2021\/11\/MyersBriggsTypes-1024x576.png\" alt=\"\" width=\"840\" height=\"473\" srcset=\"http:\/\/mycours.es\/gamedesign2021\/files\/2021\/11\/MyersBriggsTypes-1024x576.png 1024w, http:\/\/mycours.es\/gamedesign2021\/files\/2021\/11\/MyersBriggsTypes-300x169.png 300w, http:\/\/mycours.es\/gamedesign2021\/files\/2021\/11\/MyersBriggsTypes-768x432.png 768w, http:\/\/mycours.es\/gamedesign2021\/files\/2021\/11\/MyersBriggsTypes.png 1200w\" sizes=\"auto, (max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><b>What are their flaws?<br \/>\n<\/b><span style=\"font-weight: 400;\">Flawed characters are a must in contemporary TV and movies not only because they are more realistic and relatable, but also because their journey is very often about struggling or coming to terms with their flaws, becoming better people or trying to do so.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Eg. Matrix\u2019s Neo and Shinji Ikari have to believe in themselves to become the hero, and that\u2019s what drives the story.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Follow up: where do their flaws come from? Was the character hurt or traumatized? What\u2019s a convincing backstory for this important trait.<\/span><\/p>\n<p><b>What is their strength?<br \/>\n<\/b><span style=\"font-weight: 400;\">Great characters, especially protagonists, show strength of will. In all their flaws they are willing to make difficult choices.<br \/>\n<\/span><span style=\"font-weight: 400;\">Eg. Elliot is willing to go to any length to save his friend E.T.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Follow up question: what\u2019s the force that drives them to make tough decisions?<br \/>\n<\/span><span style=\"font-weight: 400;\">Follow up question: how is that strength leading your character toward danger and hardship?<br \/>\n<\/span><span style=\"font-weight: 400;\">A classing dramatic question: what\u2019s the worst possible thing I can throw at my protagonist?<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"Shadow of the Colossus (2018) \u2013 All Cutscenes (Game Movie) 1080p HD\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/U8rn9BZXaKY?start=342&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><em>Pretty classic motivator: hero wants to revive girlfriend, makes a morally dubious deal with supernatural entity.<\/em><\/p>\n<p><b>How can you introduce the character?<br \/>\n<\/b><span style=\"font-weight: 400;\">What\u2019s a character-defining moment that immediately reveals some aspects of their personality and background?<\/span><\/p>\n<p><span style=\"font-weight: 400;\">E.g. a messy student in a comedy could be late for class, bumping into people and dropping papers. A rich protagonist could dress elegantly and drink Champagne, the <a href=\"https:\/\/www.studiobinder.com\/blog\/save-the-cat-beat-sheet\/\">hero saves the cat in the first scene<\/a>\u2026\u00a0<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"Facade POSITIVE VIBES ENDING (no commentary)\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/XW5fcQqqPoY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><em>We hear the couple in Facade having an argument even before seeing them. If you knock at the door Trip immediately put up a &#8220;facade&#8221; and welcomes you.<\/em><\/p>\n<p><span style=\"font-weight: 400;\">These examples are in the realm of tropes and stock characters, so what\u2019s a strong, more unique entry for your main character?<\/span><\/p>\n<p><strong>What are they doing, right now?<br \/>\n<\/strong>It&#8217;s very common in games to see NPCs just hanging around waiting for the player to show up. Give them a reason to be where they are, an activity, a purpose.<\/p>\n<ol>\n<li style=\"font-weight: 400;\" aria-level=\"1\">\n<h2><span style=\"font-weight: 400;\">Define the dramatic question<\/span><\/h2>\n<\/li>\n<\/ol>\n<p><span style=\"font-weight: 400;\">A story (and a story driven game) should have a <\/span><i><span style=\"font-weight: 400;\">central dramatic question<\/span><\/i><span style=\"font-weight: 400;\">. Write yours down. Examples:<br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">Is Odysseus going to make it home from Troy?<br \/>\n<\/span><span style=\"font-weight: 400;\">Will Romeo and Juliet ever be together?<br \/>\n<\/span><span style=\"font-weight: 400;\">Will Michael Corleone save his family?<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The dramatic question should reverberate in each scene. Each scene, including the dialogues, should have a smaller dramatic question. If they don\u2019t they may feel unnecessary or boring.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Will Odysseus outsmart the cyclop?<br \/>\n<\/span><span style=\"font-weight: 400;\">Will Romeo and Juliet kiss?<br \/>\n<\/span><span style=\"font-weight: 400;\">Is the Mafia deal going to be made?<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Write down yours for this dialogue.<\/span><\/p>\n<p>&nbsp;<\/p>\n<ol>\n<li style=\"font-weight: 400;\" aria-level=\"1\">\n<h2><span style=\"font-weight: 400;\">Define the character\u2019s arc<\/span><\/h2>\n<\/li>\n<\/ol>\n<p><span style=\"font-weight: 400;\">Almost all character-driven storytelling involves some kind of change. The main characters \u201cdevelop\u201d over time: they conquer their fears, overcome obstacles, address their flaws, find their place in the world etc\u2026 This journey is referred to as the character arc.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Think about the transformation you\u2019d like to see in your character and identify the key moments in which they gradually get to that point.<\/span><\/p>\n<p>&nbsp;<\/p>\n<ol>\n<li style=\"font-weight: 400;\" aria-level=\"1\">\n<h2><span style=\"font-weight: 400;\">Define their relationship<\/span><\/h2>\n<\/li>\n<\/ol>\n<p><span style=\"font-weight: 400;\">Characters rarely exist in isolation. Think in terms of the relationship between your characters, and relationship arcs, rather than only as individual characters and character arcs.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">How do the characters know each other?<br \/>\n<\/span><span style=\"font-weight: 400;\">What\u2019s the power relation between them and how is communicated in the dialogue?<br \/>\n<\/span><span style=\"font-weight: 400;\">How can you challenge or shift the power relationship over the course of the dialogue?<br \/>\n<\/span><span style=\"font-weight: 400;\">Imagine your characters at a party, would they get along?<br \/>\n<\/span><span style=\"font-weight: 400;\">Imagine the characters in a difficult situation together (eg. on a sinking boat, having to confess an affair). How differently would they react?\u00a0<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"Katamari Damacy Full HD gameplay on PCSX2\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/PVVW41iAu5A?start=1402&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><em>Katamari Damacy wouldn&#8217;t be as memorable without the protagonist&#8217;s relationship with his hard-to-please father.\u00a0<\/em><\/p>\n<p><iframe loading=\"lazy\" title=\"Night In The Woods - Full Game Walkthrough Gameplay &amp; Ending (No Commentary Playthrough Longplay)\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/KAurdQwlreY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><em>NITW is not just about the coming-of-age of the protagonist Mae but also about how her relationships with friends and family changes over multiple encounters.<\/em><\/p>\n<ol>\n<li style=\"font-weight: 400;\" aria-level=\"1\">\n<h2><span style=\"font-weight: 400;\">Define the conflict<\/span><\/h2>\n<\/li>\n<\/ol>\n<p><span style=\"font-weight: 400;\">The dialogue should present some form of conflict. If the characters completely agree or one character is just there to provide exposition or bits information, it can result in a classic Bad Videogame Dialogue.\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Some types of conflict:<\/span><\/p>\n<p><b>A direct argument<br \/>\n<\/b><span style=\"font-weight: 400;\">If two characters are fighting they are likely to be in an emotional mode of dialogue: contradictory, emotional, not well articulated.<br \/>\n<\/span><span style=\"font-weight: 400;\">You can have diverging intensity between dialogue modes, one character can be upset and the other indifferent, reassuring or apologetic.<\/span><\/p>\n<p><b>Struggle against circumstance<br \/>\n<\/b><span style=\"font-weight: 400;\">Eg. stranded in a desert island, locked out of the apartment.<\/span><\/p>\n<p><b>Internal conflict<br \/>\n<\/b><span style=\"font-weight: 400;\">There is an unfulfilled desire. Find a way to externalize it, in words and actions, but not directly. The character may not realize what they really want or not be ready to confess it. That\u2019s why it\u2019s internal.<\/span><\/p>\n<p><b>Avoiding a negative outcome<\/b><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">Eg. I have to break up with my partner without hurting their feelings, avoid embarrassment. I have been caught lying and I have to justify myself&#8230;<\/span><\/p>\n<p><b>Confusion<br \/>\n<\/b><span style=\"font-weight: 400;\">Where am I? What\u2019s going on? (eg Matrix, dropped in a foreign land, fish out of water setup). The confusion can\u2019t last for too long or it can be frustrating to the viewer\/player.<\/span><\/p>\n<p><b>Flirting<br \/>\n<\/b><span style=\"font-weight: 400;\">Not necessarily a conflict but a good way to practice <\/span><b>subtext<\/b><span style=\"font-weight: 400;\">: communicating hidden feelings or motivations without expressing them directly.<\/span><\/p>\n<p><b>Persuading \/ Manipulating<br \/>\n<\/b><span style=\"font-weight: 400;\">A milder kind of conflict, that presumes different initial goals or a disagreement.\u00a0<\/span><\/p>\n<p><b>Dilemma<br \/>\n<\/b><span style=\"font-weight: 400;\">The characters have to make a choice but all the options are bad.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The conflict should not reappear in the same terms over and over. The characters should not have the same argument repeatedly, the conflict should change or evolve. Each subsequent conflict should change the character somehow.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Pick one or more conflicts that make sense for this dialogue.<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"Neo Cab Gameplay (PC HD)\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/csr3xXAt8QM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><em>Every passenger conversation in NeoCab presents some type of conflict, often involving differing opinions on the cyberpunk city you live in. There is an internal conflict between what you would like to say and what you shouldn&#8217;t say in order to not lose the client, and conflict incorporated in the game logic, your character&#8217;s mood and stress level can block certain dialogue options and preclude some story branches.<\/em><\/p>\n<ol>\n<li style=\"font-weight: 400;\" aria-level=\"1\">\n<h2><span style=\"font-weight: 400;\">Define the stakes<\/span><\/h2>\n<\/li>\n<\/ol>\n<p><span style=\"font-weight: 400;\">Make sure that is clear to both characters and the player what\u2019s at stake in the scene. If something happens or is said, what are the consequences, what could be happening next. What are each characters\u2019 ideal outcomes?\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In real life most conversations are not high-stakes. Movies and games are more likely to represent extraordinary moments, days in which the character\u2019s life will change forever.<br \/>\n<\/span><span style=\"font-weight: 400;\">Some example of consequences:<\/span><\/p>\n<p><span style=\"font-weight: 400;\">A decision is made<br \/>\n<\/span><span style=\"font-weight: 400;\">A question is asked<br \/>\n<\/span><span style=\"font-weight: 400;\">Information is revealed<br \/>\n<\/span><span style=\"font-weight: 400;\">Momentum or tension is built<br \/>\n<\/span><span style=\"font-weight: 400;\">A character\u2019s viewpoint changed<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Beware of completely resolving conflicts between characters, as it might reduce dramatic fuel.<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"1979 REVOLUTION: BLACK FRIDAY Full Game Walkthrough - No Commentary Gameplay (PC)\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/kr5kRpZNJEE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><em>Not all choices in 1979 are truly branching but the high stakes are always clear.<\/em><\/p>\n<h2><span style=\"font-weight: 400;\">Let\u2019s start writing!<\/span><\/h2>\n<p><span style=\"font-weight: 400;\">You will write your conversation on your discord. Each team member will roleplay as one of the characters.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Indirect dialogue (the teacher told him to study harder), thoughts (I instantly fell in love with him), and narrator voice (they hated each other immediately) are all valid techniques, just make sure agree beforehand of what modes and formats are \u201callowed\u201d.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Over the course of the exercise I\u2019ll throw in some challenges you can integrate in the next lines of the dialogue.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">If the conversation appears resolved or there\u2019s nothing left to say, just start a new one with different premises or characters.<\/span><\/p>\n<p><b>Some more tips and checkboxes:<\/b><\/p>\n<p><b>No monologues<br \/>\n<\/b><span style=\"font-weight: 400;\">Write in very short sentences with lots of interchange between the characters. People rarely do monologues in regular conversation.<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"A Short Hike - Full Playthrough \/ Longplay \/ Walkthrough (no commentary)\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/p6UDqtlmJpk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><b>Does it sound like something people would say?<br \/>\n<\/b><span style=\"font-weight: 400;\">It can be awkward but try to say your lines out loud before pressing enter.<\/span><\/p>\n<p><b>Avoid stating the obvious<br \/>\n<\/b><span style=\"font-weight: 400;\">Particularly in respect to things the player\/audience can see or hear. Avoid repeating the same bit of information twice.<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"A Scene From Troll 2\" width=\"840\" height=\"630\" src=\"https:\/\/www.youtube.com\/embed\/HyophYBP_w4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><b>Do characters have unique voices?<br \/>\n<\/b><span style=\"font-weight: 400;\">Can you take a character line and give it to another character? Or are they speaking with the voice of the author or as a generic archetype like \u201cthe cop\u201d.<\/span><\/p>\n<p><b>Are the characters speaking for themselves?<br \/>\n<\/b><span style=\"font-weight: 400;\">Is the character saying what \u201cthey\u201d want to say or what you want to say? Is the character expressing their own feelings or are they saying what\u2019s needed to move on with the scene, to get to the story point?<\/span><\/p>\n<p><span style=\"font-weight: 400;\">This is harder to do in games because of the utilitarian nature of players\u2019 interaction.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">(Adapted from Scriptnotes podcast ep. 37)<\/span><\/p>\n<h2><span style=\"font-weight: 400;\">Challenges and modifiers<\/span><\/h2>\n<p><b>Add subtext<br \/>\n<\/b><span style=\"font-weight: 400;\">Make a character express an emotion indirectly.<br \/>\n<\/span><span style=\"font-weight: 400;\">Players\/readers can be bored by dialogue that is too \u201con the nose\u201d. Don\u2019t ever have your characters say things like \u201cI am sad\u201d or \u201cLuke was sad\u201d. There are a million other ways to suggest that through words and actions. It\u2019s even more interesting and realistic when the characters are trying to hide their feelings.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Eg. A scene may be about a couple shopping at Ikea, but through their excessive argument over curtains you learn that their marriage is in trouble.<\/span><\/p>\n<p><span style=\"font-weight: 400;\"><a href=\"https:\/\/deadline.com\/wp-content\/uploads\/2020\/01\/parasite-script.pdf\">Take the dialogue from Parasite page 103<\/a>. The rich couple is talking about the smell of the working class protagonist.<br \/>\n<\/span><span style=\"font-weight: 400;\">The subtext is their classist disregard for the protagonist but it\u2019s much more compelling because they deny it\u2019s \u201cpoor people\u2019s smell\u201d.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Some dialogue modes that can carry subtext: passive aggression, flirting, overreaction, sarcasm, misunderstanding.<\/span><\/p>\n<p><b>Have your characters listen to each other<br \/>\n<\/b><span style=\"font-weight: 400;\">Have your characters actually listen, engage, interrupt and react to things said by each other, instead of each character just speaking because it\u2019s their turn.<br \/>\n<\/span><span style=\"font-weight: 400;\">Sometimes adding discursive markers like \u201cso\u201d, \u201cbut\u201d, \u201cright\u201d, \u201cwell\u2026\u201d helps connect dialogue lines.<br \/>\n<\/span><span style=\"font-weight: 400;\">\u201cSo, it\u2019s like Uber for golf carts.\u201d &#8211; completing a thought.<br \/>\n<\/span><span style=\"font-weight: 400;\">\u201cWhat\u2019s more, there\u2019s no evidence he even read the book.\u201d &#8211; the \u201cwhat\u2019s more\u201d helps connect with what has been said before.<br \/>\n<\/span><span style=\"font-weight: 400;\">\u201cNo, you\u2019re right to be concerned.\u201d &#8211; the \u201cno\u201d means: yes, I see what you are saying.<\/span><\/p>\n<p><b>Add another sense<br \/>\n<\/b><span style=\"font-weight: 400;\">Your characters have a body and perceive stimuli beyond the audiovisual information shown to the player. Add a non-random note about something the player can\u2019t perceive. It can be an interior feeling resulting from an emotional state. And yes, <a href=\"https:\/\/www.sensorytrust.org.uk\/blog\/how-many-senses-do-we-have\">there are more senses than the famous 5<\/a>.<\/span><\/p>\n<p><b>Yes and&#8230;<br \/>\n<\/b><span style=\"font-weight: 400;\">Mention\/reveal a bit of information about the character or the world that wasn\u2019t previously defined. Force your teammates to respond to it.<br \/>\n<\/span><span style=\"font-weight: 400;\">It\u2019s the famous rule of improvisational comedy: accept what another participant has stated (&#8220;yes&#8221;) and then expand on that line of thinking (&#8220;and&#8221;).<\/span><\/p>\n<p><b>Undermine<br \/>\n<\/b><span style=\"font-weight: 400;\">Try to undermine the other character\u2019s line of thinking. Depending on the context it can be confrontational, manipulative, an interruption or an unwanted digression.\u00a0<\/span><\/p>\n<p><b>NPCs have questions too<br \/>\n<\/b><span style=\"font-weight: 400;\">To counter the NPC as an information ATM, make them ask a question to the player character.<\/span><\/p>\n<p><b>NPCs have lives too<br \/>\n<\/b><span style=\"font-weight: 400;\">Allow characters to exist offstage and not only to serve the player. Reference their background lives and interests, at least those aspects worthy of mention, in their dialogue\/character interactions.<\/span><\/p>\n<p><b>Add idiosyncrasies<br \/>\n<\/b><span style=\"font-weight: 400;\">Each person speaks differently and has their peculiar mannerism, sentence constructions and catchphrases related to their background. It can get gimmicky or exhausting if used too much (e.g. Yoda\u2019s way of speaking works only because he\u2019s not the protagonist).<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"JETT THE FAR SHORE Gameplay Walkthrough Part 1 - INTRO\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/TIFW9tZbW7Q?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><em><span style=\"font-weight: 400;\">Jett features a made up spoken language and subtitles using implausibly formal constructions and archaic terms, suggesting a difficult translation.<\/span><\/em><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Videogames writing &#8211; and dialogue in particular &#8211; is often pretty bad compared to other narrative media like cinema, TV, literature, theater, or animation. Here are some common reasons: Storytelling is subordinated to the game mechanics. The story has to retroactively justify the player actions (killing, solving puzzles, etc) instead of driving them. For example &hellip; <a href=\"http:\/\/mycours.es\/gamedesign2021\/creating-characters-and-writing-dialogues\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Creating characters and writing dialogues&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":5,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1711","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/mycours.es\/gamedesign2021\/wp-json\/wp\/v2\/pages\/1711","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/mycours.es\/gamedesign2021\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/mycours.es\/gamedesign2021\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/mycours.es\/gamedesign2021\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/mycours.es\/gamedesign2021\/wp-json\/wp\/v2\/comments?post=1711"}],"version-history":[{"count":3,"href":"http:\/\/mycours.es\/gamedesign2021\/wp-json\/wp\/v2\/pages\/1711\/revisions"}],"predecessor-version":[{"id":1719,"href":"http:\/\/mycours.es\/gamedesign2021\/wp-json\/wp\/v2\/pages\/1711\/revisions\/1719"}],"wp:attachment":[{"href":"http:\/\/mycours.es\/gamedesign2021\/wp-json\/wp\/v2\/media?parent=1711"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}