This is a book of ideas and of choices. Knowing which choices to make is not teachable. It’s part of that creative instinct we call talent whose secret voice guides us every time we sit down at the keyboard. All stories are not identical. They are shaped by all those unique facets of the human beings who write them. All any writer can do when he wants to share his knowledge with others is be as open and giving as possible; and hope others can learn from that. You hold in your hands most of what I know about writing for games and much of what I believe and practice no matter what kind of writing I’m doing. It is meant to inform, to instruct, and maybe even inspire. It is as much about game design as it is writing for games. The two are virtually inseparable. The book itself has been designed as a quest. We are all of us on a journey toward a destination for which there is no single road. --Lee Sheldon, Author

Outstanding, but not what I expected

Cons: The book seemed slightly long for what it was, kept reusing the same semi-obscure examples from the writer’s experience, and didn’t always go in the directions I wanted it to go (for example more detail on world building, settings, or individual story scenes would have been appreciated).

Pros: It didn’t matter that it didn’t go where I wanted it because it was still very entertaining and unexpectedly beneficial to follow the writer on his path. The book is solid from start to finish and doesn’t have a false air of superiority about it; everything is very practical and friendly. Definitely a good read that rewards the effort.

Excellent

This book is excellent. Sheldon is witty and insightful and his book is a joy to read. I can’t really think of anything negative to say, although I should perhaps mention that this book is pretty focused on RPGs and adventure games, since these are the genres which have traditionally relied most on story. Anyone interested in developing their understanding of storytelling in games should definitely pick this book up.

Breaking through barriers

I am working on forming a game development studio, and our team is in the middle of producing our flagship title, an RPG entitled "Revolution’s Dawn." I am the main writer of the script, and I just recently finished reading this book. Where I thought my duties as a writer were finished, I now see new openings to provide dialogue and sidequests to fill in the backstory, plot gaps, and other means of enrichment that I didn’t see before. Because of having read this book, my team and I can now take this game and bring it into the realm of what we intended it to be-a vehicle for telling a story.

While the title of the book is "Character Development and Storytelling for Games," the book really focuses more heavily on the latter. I was expecting the former, but by no means am I complaining! I have been able to break through blocks in my own role as a writer for this project.

If you are looking for the "right" way to write your story, you won’t find it here. What this book does instead is to open doors, and then let you decide whether to walk through them or not. And even then, you still have to choose for yourself what to do once you’ve walked through them. If you are looking for new openings in crafting your game _and_ writing your story(and synthesizing them both together), this is the book for you.

Very interesting, but could have been shorter

I really enjoyed this book, and I think it’s definitely worth considering if you’re interested in how stories can be told in video games. I’ve bought plenty of books about video game design and storytelling. (I’m a programmer who’s been making video games professionally for about 10 years -- I wish more people would include their personalbackground in their book reviews...) Some books on game design are written by people who obviously have more "static media" backgrounds like books or movies, and don’t understand the fundamental problem of making a story in a situation where the audience has freedom to do what they want. Another problem that a lot of people don’t understand is that people playing a video game don’t necessarily WANT a story, in the sense that they are playing a video game because of the interactivity, and not to watch a 10 minute cutscene to learn some back story. If they wanted to watch a movie they’d pop in a DVD.

I think the author really understands these difficulties. You want to make an emmersive worl, but you need to do it very quickly. So he talks about dialog, and how to convey as much information as possible in as few words as possible. He talks about how to get the player to sympathize with a chaacter, from the situation that characetr is in, to the design of the character art, to the words that the character says. All of the information is very practical, not like some books that leave you with a bunch of high-level nonsense that doesn’t work in a real game. I really appreciated that he wasn’t one of these "video games are mindless because they don’t tell a story" type of guys. Or acting as if video games need to learn how to tell a story in order to "grow up" like movies or TV have. In a straight up action game or fighter, you don’t need as much of a story as you do in a more adventure game. Playing a video game is a just a different experience, and the story has a different role, it’s NOT the holy grail like some people think. Rather than trying to tell you how to convert video games into novels, he describe ways that you can inject story without taking away from the inetraction. I think he makes a good case that in almost any game, you can introduce just a bit of characetr depth and relationships, without stopping for a ten minute cutscene, and it adds value to the game.

This author’s background was originally in TV, but he also has considerable experience in video games. I felt like he has a good background to be writing the book, and was speaking from experience.

The only negative comment about the book is that I found several of the chapters to be very similar. Like you’d be reading a chapter, and you’d think, "Hey, didn’t I just read this exact same thing a few chapters ago?" Actually, you didn’t, this chapter is covering a very slightly different topic. In other words, I think he could have consolidated a few chapters, which would have saved me some time. I suppose this makes it easier to jump around, since you don’t rely on information from previous chapters. But I found it a little repetitive.

All in all, a really good book for anybody interested in video game design or storytelling in general.

An excellent book for all writers

I’ve known Lee Sheldon for several years. He is one of the most pleasant and knowledgeable people I’ve met in the game industry, so I was very much looking forward to this book. Suffice it to say that I wasn’t disappointed.

Writing for games has a lot in common with writing for other media (e.g., character and theme) and a lot that is unique to itself. Lee does an excellent job of covering both aspects - so much so that I would recommend this book to writers with absolutely no interest in interactive media. (I’ve read my share of writing books over the years, and this one stands at the top of the heap.)

Of particular interest to me were chapters 3-6 on character and chapter 14 on modular storytelling, the most elegant way I’ve seen of organizing a linear experience into a non-linear structure. The book also does an excellent job of discussing storytelling in massively multiplayer games and provides extensive background material, much of which is intended to set up and justify Lee’s modular storytelling model - rather more background than necessary, actually, since you should be sold on the need for something like modular storytelling long before he gets around to explaining it.

The book’s does have a few faults. For example, a couple of the later chapters feel out of place, and the text is dusted with a handful of puzzling and sometimes repeated typos (Eowen? Kalishnakov?) But these are of little consequence and should not detract from your enjoyment.

Highly recommended.

almost didn’t read it...

because I started with the appendices, including an "oppinionated bibliography" - that almost had rushing off to the shelves (and the library and amazon) to grab a bunch of other books to read.

When I got down to reading the main work - it was just as captivating. He writes well, there are jokes mixed in and a good strucutre. Some minor typos/mis-references (a missing appendix c) and a bit overdone on the "define this word" stuff, but it doesn’t detrect from the overall message.

The best part? Make your rule then break it. If you willingly break a rule, chances are the result will be much better than if you happen to ignore it beacuse you are unaware of it.

Draws heavily on ideas from many fields, so the content has value outside of "pure" game design (ie for animation, machinima, role playing, adapting books to hobby-theater)