
Liliana.
Azmi-Galoczi
Career pathway
ILO: 10/12/19
For this section of career pathways, while I complete the career pathway research of a concept artist, I plan to complete this section as well with books that Lizzy has provided us, including the internet with job posts and blogs about the responsibilities of a game writer.
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From these tasks, I will learn about how a game writer works in the games industry and how they together with other members of staff across other departments.
SWOT analysis: Writing
Strengths​
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Creative
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I can get attached to the characters I’m creating
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Descriptive writing
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Structured sentences, similes & metaphors
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I descriptively write for the level designers and artists
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Communication
Opportunities​
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Learn creative writing with scene generators from websites
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Continue with my original story development
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Search Google Images to describe
Weaknesses​
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Still confused with semi-colons
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My characters can be cliché
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Think too much for what I’m creating - resulting to wasting time
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I find it hard to describe certain scenes to grasp the readers in the moment of the scene
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Compare myself to others
Threats​
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Other work to do and they’re a lot
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I don’t contribute to much writing in my free-time because of other work
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I’m more focused on art
Even though certain writers are part of certain departments such as character and/or environment development or marketing or story development, despite the departments, they all have to work closely with the artists and level designers, and perhaps marketing if the particular writer was employed for the marketing team.
Similarly, just like artists, writers would need a background of knowledge about games design so they can also effectively communicate with the team, as well as ensuring with each other that the story is in line with the production
The Google definition of how to become a game writer by Get In Media (date unknown) states:
A bachelor's degree or equivalent professional experience is required for this position at most established game studios. An education in creative writing or script writing is ideal for a game writer. Courses concentrating on fiction, conventions of storytelling, literature, and narrative voice are especially useful.
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The requirements to becoming a game writer stated here seems quite stern - similar to the skills and requirements listed by Capcom. But by what Gen In Media has stated, it seems understandable that to become a game writer, they would still need excellent English. However, in the information, it says “for this position at most established game studios” so even more understandable to why writers would need a “bachelor's degree or equivalent professional experience”.
Key responsibilities:
Despite that, their responsibilities during a project would consist of creating particular types of dialogue. Such as scripts for non-branching dialogue, where players can merely choose whether to speak to the NPCs or not where they say a few lines and end their own conversation there and then. Or scripts for branching dialogue/narratives, which consists of a larger team working together to communicate and plan over each choice the player chooses from the decisions the team have provided and branched together for the players to finalise in a certain particular consequence. Such as these, for example. Nowadays, this method replaced parser-driven dialogue, where players can manually type down their inputs and the machine would translate it for it to understand for it to be inputted into the game and proceed.


Below I found two job posts from Google Jobs:
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Google Jobs | Rebellion (1992) Games Writer / Narrative Designer [Online]. Available from: https://g.co/kgs/Fp7uRu [Accessed 13 December 2019].
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This job post by Rebellion has rather a small list of requirements to get hired:
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Collaboration across multiple departments, and writing and brainstorming with a team.
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Leadership and organisational skills and delivering the highest quality work on schedule.
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A passion for playing and making video games.
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Excellent understanding of what makes games fun and compelling.
Not only is the list small, but the requirements, personally, appear quite basic and easy to accomplish.
However, for experience:
We are looking for strong experience in the industry preferably having worked on an RPG title. Ideally you will have 2 or more years of production experience as a game writer, including interactive storylines. Other published fiction in any format (e.g. novels, short stories, comics, screenplays) would be advantageous but not essential.
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And responsibilities:
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Write and produce content for games including branching dialogue, main narrative and great characters.
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Manage and mentor external writers as well as nurturing internal talent.
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Be very involved in the entire creative process. Work with level designers, sound designers, animators, artists and engineers to realize narrative content and in-game story experiences.
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Keep coherent and accurate history of the lore of the story.
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Write and edit compelling and unique dialogue that brings our games to life.
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Successfully communicate ideas and plans to other members of the team and management.
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Produce other written game-related content like game manuals, hints, back-story, and character descriptions.
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With these lists, it now seems clear about the truth behind the requirements as these lists now appear with proficient tasks as a writer for games. Supposedly it’s easy to get hired by the checklist of requirements, however as long the applicants have what it takes to accomplish the responsibilities as well as hold the experiences of “having worked on an RPG title. Ideally you will have 2 or more years of production experience as a game writer, including interactive storylines. Other published fiction in any format (e.g. novels, short stories, comics, screenplays) would be advantageous but not essential.”.
Job posts:
In another job post by Feral Interactive:
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Google Jobs | Feral Interactive (1996) Computer Games Writer [Online]. Available from: https://g.co/kgs/heGa2J [Accessed 13 December 2019].
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The requirements to get hired seem more lenient than the other job. However, it appears that the computer games writer for this company is supposedly for the marketing department. These are the responsibilities:
The successful candidate will be responsible for originating and/or editing a broad range of materials for an assortment of very different audiences.
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In-game texts
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Game descriptions
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Press releases
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Game manuals
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News posts
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Screenshot and video captions
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Social media posts
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This list of adaptabilities proves how this job post leans towards writers for the marketing department. Market the games through “social media posts”, “news posts”, “game manuals”, etc. Nevertheless, with these responsibilities, it gives the applicants opportunities by what they can possibly already accomplish within this list for the company.
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In addition to this, the job posts also, of course, informs about the required skills and experience:
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Impeccable writing and proofreading skills.
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A strong portfolio of written work, either professional or personal.
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A proven ability to write in different voices across different brands.
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Excellent verbal communication and track record of working collaboratively.
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By the line “a proven ability to write in different voices across different brands”, this would mean that the writer has the ability to write in different styles. And by “voices”, they also have the ability to write in a particular style that is suitable for certain target audiences and tone of the projects.
However, as an overall, this job post is perhaps a rather lenient and supposedly a great opportunity for applicants to take this job as work experience to then progress into a more established games company as a proficient writer for games.
In terms of educational courses, I found a course from Udemy by Jenny Hide and Gwen Davies for £129.99 - which is quite expensive…
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Jenny Hide and Gwen Davies (2019) Game Writing: Storytelling through Video Game Design [Online]. Available from: https://www.udemy.com/course/game-worlds-storytelling/ [Accessed 13 December 2019].
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However, the course offers:
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Write and design games.
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Understand what’s unique about writing for games.
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How to create in-depth gameworlds.
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What contributes to a memorable narrative.
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How story is conveyed through games.
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How to develop your idea from conception through to story
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Not only does the course these benefits, but the course also teaches in-depth understanding of structures of writing, guidelines and models. Including effectively building the plot, building and developing types of characters and how to adapt with the planned genre and theme of the game, as well as the personality of the characters with the game.
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And for the requirements, it’s merely:
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Your preferred writing tools.
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A desire to entertain through story and games.
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Willingness to explore ideas and exercise your imagination!
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Just like the other Udemy course by Scott Harris who teaches character art, this list encourages writers who are confident in progressing into a career with the course by writing with their “preferred writing tools” and “a desire to entertain through story and games”, which is the majority of the people’s desire.

Educational courses:
Since the order to accomplish in becoming a writer for games in an established company requires a bachelor’s degree or some professional experience; Brunel University London teaches creative writing for games - as well as games design.
The course is taught by:
This course will help you to develop your creative writing skills and focus on how they relate to games design and game play. You’ll learn about the application of traditional story and narrative design and how it applies to games design and gameplay.
Your learning will come through lectures, workshops, seminars, play sessions and tutorials. You’ll also use the online forum to discuss, share and develop your knowledge. You’ll gain confidence in sharing your ideas, giving and receiving feedback and working individually as well as in a multi-disciplinary team.
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On the students’ first year, they’re first introduced to the fundamentals of games design and its mechanics, then through the year, they begin learning about drama, poetry, then fiction. I personally agree with this method of teaching as it’s a form of a warm-up for the students to understand the forms of the English language and literature in writing traditionally - which would then benefit for writing for games.
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Then in their second year, they begin to learn about the mechanics and economics, concepts and analysis of games design. Students are also offered optional courses of games development, game user experience and research, game genres, setting and world design, writing contemporary poetry, writing journalism, writing the short story, screenwriting, horror, sci-fi and fantasy, creative writing for therapeutic purposes, and life writing.
Even though some of the optional courses do not hold the background of writing for games, students could still take a different route in their career that could perhaps be related to games. However, for students taking any of the options that don’t appear related to games, can use the advantage of the courses to extend further knowledge about games in writing proficiently with a background of advanced skills. This is also an advantage for the students to use in their future projects in their third year and in their progressed careers in the games industry or any other career within the aspect of media.
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And finally, in their third year, the classes merge into a group by learning the compulsory courses about, theory of games design, commercial games, experimental games, games assets, game based learning, major game project, team project, traditional games, design, business and development, game analysis, people, communities and cultures, and creative writing special project. With these courses, they begin to further understand the concepts and responsibilities of a writer for games through these major projects.
For the optional courses, the courses are the same, except there are additional courses:
Psychogeography, creative industries, writing film and television, writing modern fiction, writing comedy, and performance poetry. Similarly, like in the second year, these are advantages to the students’ developed knowledge of the optional or compulsory courses they chose from the second year. For example, if a student chose to study horror, sci-fi and fantasy and then also chose writing modern fiction or writing film and television, the student would be well-developed for the creative media industry to create epic, fantastic films of one of the three genres.
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For students who have applied for this course and learning it will effectively learn how to write for games proficiently in a manner where they ready enough to face and join the games industry as a games writer.

In comparison to my SWOT analysis, I realised that my review is applied for character development, whereas this university course is writing for screen as a whole, such as movies, fiction and other forms of traditional writing, genres and games design. However, possibly the course does teach character development - but on a minor level since it’s about narration and storytelling for other departments to develop further to create the full game.
On the other hand, in comparison to the Udemy course, perhaps my analysis would be suitable for the course because it teaches character development, as well as creating a story around them in order to exceed an epic story and journey of the character. But also, the course is a great boost towards their careers they ideally planned.
Reference:
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Get In Media (2019?) Game Writer [Online]. Available from: http://getinmedia.com/careers/game-writer [Accessed 13 December 2019].
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Brunel London University (1966) Games Design and Creative Writing BA [Online]. Available from: https://www.brunel.ac.uk/study/undergraduate/Games-Design-and-Creative-Writing-BA [Accessed 17 December 2019].
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Brent Ellison (date unknown) Defining Dialogue Systems [Online]. Available from: https://www.gamasutra.com/view/feature/3719/defining_dialogue_systems.php?print=1 [Accessed 4 December 2019].
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Marc Holmes (2017) How soon will automation affect the future of concept art? [Online]. Available from: https://www.quora.com/How-soon-will-automation-affect-the-future-of-concept-art [Accessed 6 January 2020].
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Chris Solarski (2017) INTERACTIVE STORIES AND VIDEO GAME ART, 6000 Broken Sound Parkway: CRC Press.