Game has more writing than epic title
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.
Games have long been a primary form of art.