Speculative Poetry and Fiction
Awesome news, friends! Monochrome Heights, a challenging platformer with a unique mechanic created by Patrick Knisely of One Frog Games, now has a demo available (which he also updated recently)!
I’ve been working with Patrick to help develop and write the narrative for this game, in which Happy the robot must climb a tower to defeat an old comrade before she destroys the last of humanity. It is so amazing to see Patrick’s hard work as this game comes together.
Recently, I had the delightful experience of joining Syd (aka thechosengiraffe) for an interview on her stream (available to watch here). Together, we played Minecraft and discussed game development, poetry, and the writing life. Syd is a wonderful interviewer and her skills led us in a fantastic conversation.
One of the questions asked by the chat was whether or not I would ever consider blending poetry into one of the games I make — and I answered that I had not considered it. As much as I love both poetry and games, I didn’t have any concepts that made sense to me. And I also could not come up with many examples of games that incorporate poetry on the spot.
After the interview ended, I couldn’t stop thinking about the question. What games did I know off that included poetry? I found a few examples that specifically comprised either an interactive poem or the use of actual poetry in the gameplay.
Good Bones is the first title from RETCON Games, a one-person game studio founded by Jes Negrón in 2019. The point-and-click adventure game looks to be a cozy horror tale that delves into serious subjects, such as grief, abuse, and revenge.
Negrón has been in the media development game for a long time, with almost two decades of experience as a writer, editor, producer, and designer of various media, including books and games. She has weathered the storms of these industries, particularly following her departure from Riot Games. Negrón and Melanie McCracken jointly filed a gender-based discrimination class-action lawsuit against Riot in November 2018. However, the resulting funds from that suit combined with Negrón’s passion for telling her own stories provided her with the foundation to start up RETCON Games and complete the development of her first solo title.
I had the opportunity to speak with Negrón about her recently launched game, Good Bones, and how she approached the development process.
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Sometimes you need to move at a slow and steady pace towards progress, dipping your toes in the pool and inching in little by little until you’re used to the chilly water — and sometimes you need to just launch yourself off a rock, plunging straight into the center of the lake with the hope that you’ll make it back to shore.
Guess which one I’ve been doing over the last month or so.
I’ve realized for a couple of years now that I wanted to write and build narratives for games. And so, I’ve been learning about the art of game narratives, which is beautifully varied and complex — ranging from heavily scripted games like The Last of Us to completely wordless experiences like Journey, with a vast number of other variants along the outskirts and in between.
While I’ve been exploring game narratives, I have also been toying around with making interactive narratives myself. Or rather, I have been noodling on a single interactive text, a Twine* adaptation of the classic French folk tale, “Bluebeard.” Having written a retelling of the story, in which I explored a number of alternative endings, I figured it would be a relatively straightforward process to add gameplay choices that branch off to each of those endings.
Spoiler: It was not that easy.
After a period of struggling — not only over the process, but also due to the frustrations of trying to maintain a creative life amidst daily obligations — I realized I needed an extra push to help me get to done. Fortunately, I stumbled across The “Finish It” Narrative Game Jam** in May. The focus of the jam was to complete an in-progress narrative game or interactive fiction project between May 12-31. This seemed like a perfect way to push myself toward finishing my current project, and I immediately signed up.
A day or so after signing up for the Finish It Jam, I was told about the Greenlight Jam by a game writing friend. The Greenlight Jam featured a unique format, having multiple deadlines over the course of about a month (May 16th to June 19th), focused on the various stages of game design, from ideation to prototyping, production, and final release of the game. Drawn in by this concept, I had an Ah, what the hell moment and signed up before even considering the fact that the two jams overlapped or the incredible amount of work that would be involved.
And I’m so glad I did.
Recently, I finished reading Character Development and Storytelling for Games by Lee Sheldon. The author has a long history of working both in the games industry, as well as in television and fiction — enabling him to draw directly form his own personal experience in a variety of mediums.
Sheldon’s book provides a significant amount of interesting detail about character creation (roles, traits, encounters, etc.) and the ways in which games differ from other storytelling mediums. He uses examples from a variety of sources, including classic literature, film, and television, as well as games, in order to provide evidence for the theories on storytelling, theme, and structure that he presents. He makes some interesting connections between these different mediums. However, sometimes his chapters are so heavy with references (many of which I’ve never heard of) that I sometimes found it somewhat overwhelming to process the lessons he is trying to impart.
My copy of the book was the first edition, published in 2004. While discussions of character and story are everlasting, when the book speaks about the future of games, it sometimes felt a bit out of date. Apparently, a second edition was published in 2013, which likely provides a more modern perspective and up-to-date cultural references.
Regardless, one section in particular presented me with a new way of thinking about story — namely, modular storytelling and how it can help blend gameplay and story into interactive narratives. And I was surprised to learn that classic literature could provide an early example of this kind of structure.