February 2nd, 2009 by Alec McNayr

Video Game Writers Sound Off
The billion-dollar industry is providing new opportunities for writers, but don’t expect your traditional writing skills to translate: video gaming is a brand new medium.
By Robert Gustafson and Alec McNayr
As teenagers of the 1980’s, we spent hours every day poised in front of our televisions, but we weren’t watching cartoons or catching the latest after-school special. We were playing Nintendo. Our cultural experience featured Super Mario Bros., Mike Tyson’s Punch-Out, and The Legend of Zelda.
Twenty years later, the average age of video game consumers is creeping into the mid-thirties, and the “just for kids” world of video games has matured into a strong entertainment industry segment that, on any given week, can out-gross the movie box office.

With increased technological capacity and more sophisticated tastes, video game consumers are demanding better gameplay experiences, and are committing hundreds of hours to complete an individual game. Game producers are taking notice, and employing better and better resources to keep and maintain the gamers’ engagement: including storytelling.
Today’s pioneering video game writers are navigating a nebulous and ever-changing job market. Unlike traditional media, there are no standard titles or roles for video game writers. A writing credit can represent a spectrum of duties: the writer as the driving story force for the game, brought in at the beginning of a project, or the writer filling a last-minute need for scripting cinematics (film-like scenes that appear in-between levels) or barks (automated in-game dialogue between characters) just before the game goes to press.
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