Game has more writ­ing than epic ti­tle

The Northern Star - - GAMES & GADGETS - Royce Wil­son

WE, AS gam­ing en­thu­si­asts, of­ten talk about the lat­est “epic” game – usu­ally huge in scope, but oc­ca­sion­ally also epic in the clas­si­cal sense of the word, in­volv­ing mythol­ogy, bat­tles and maybe even ac­tual Gods in­volved some­where along the line.

The As­sas­sin’s Creed se­ries is be­ing billed as mark­ing the tran­si­tion from a lin­ear ad­ven­ture to a fully fledged RPG, with a group of games jour­nal­ists in­vited to try out a pre­re­lease ver­sion of As­sas­sin’s Creed: Odyssey in Syd­ney re­cently to see for them­selves.

My im­pres­sions from the preview were pos­i­tive, with re­ward­ing com­bat, ac­ces­si­ble con­trols and plenty to ex­plore and dis­cover – not to men­tion good writ­ing.

Ubisoft Que­bec scriptwriter Dan Bingham said the game had more than 30 hours of di­a­logue in it, mak­ing it longer than its orig­i­nal name­sake.

“We lit­er­ally have more lines of di­a­logue in the game than there are in The Odyssey,” he said.

So, how do you go about writ­ing the script for a game with more di­a­logue than one of the most fa­mous epics of all time?

“Ba­si­cally, I like to com­pare it to how a TV se­ries would be writ­ten over a whole sea­son,” Mr Bingham said, with “showrun­ners” chart­ing the ma­jor plot points and the writ­ers han­dling the de­tails.

“We broke it into episodes – cer­tain writ­ers be­came at­tached to cer­tain char­ac­ters and quests. There are no right or wrong choices – but they all have con­se­quences,” he said.

Here’s hop­ing.

Photo: Supplied

Games have long been a pri­mary form of art.

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