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Crossing the Dark Divide

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Archive for the ‘Games’ Category

There are a ton of reasons to love Borderlands, but one of the things I appreciate the most about the game is its commitment to a visual language. Where do I go next? What doors can I open? What can be destroyed? What can hurt me in the environment? What kind of attack does that enemy have? How do I defeat this creature? Conveying the answers to all of these questions (and hundreds more) relies heavily on establishing consistent visual cues. If some doors can be opened and others can’t, the locked doors should look different. If a force field is going to hurt me when I run into it, that force field better warn me ahead of time by looking (and even sounding) dangerous. Not earth shattering insight, but something that’s very easy to forget in the quest to innovate or make beautiful art.

Borderlands’ visual language includes many well-etablished conventions, including color-coding both loot (based on traditional RPG codes for rarity) and some enemies (based on the type of damage they deal: red for fire, blue for electricity, green for corrosive, etc.). But my favorite visual cue is the bright green light applied to every “treasure chest” in the game. While “Green Means Gold” has undoubtedly been used in other games, the consistency with which it’s used in Borderlands is impressive. Money, weapons, ammo, and other goodies can be found in a wide range of containers: lockers, red crates, small lock boxes, and even old washing machines and trash heaps. Built into every one of these (even the trash heaps) is some kind of bright green light. There’s a sense of glee (and maybe greed) when, after clearing an area of enemies, you look around and see a dozen green lights glowing from shadowy corners, through open doorways, behind fences, or on top of roofs. Each green light offers the promise of reward, ranging from a few bucks to a rare weapon you can’t wait to test out on the next group of enemies.

Seems like just a little thing, but often it’s the little things that prove most important. 

LucasArts debuted a trailer for The Force Unleashed II - a game I’m currently working on, alongside a ridiculously talented team - this past Saturday on the Spike TV VGA 09 broadcast. The announcement was followed by a press release and the launch of the official web site, where you can find the trailer and a powerful piece of key art. I can only confirm what’s in the press release and the trailer: Starkiller, the tortured protagonist from the original game, is back… And I’m thrilled to see him in action again.

Starkiller Returns! 

A few months ago, I did an interview with X360 Magazine about the experience writing Star Wars: The Force Unleashed, and storytelling in games in general. The material is being used for two separate articles on scriptwriting and storytelling, but the full transcript of the interview has been posted in two parts on the X360 site. Follow the links for Part One and Part Two. Thanks to Sam Roberts for providing some great questions! 

The "goodbye kiss" between Juno and the Apprentice was one of the most difficult to write and produce.

The "goodbye kiss" between Juno and the Apprentice was one of the most difficult to write and produce.

I recently had the privilege of writing a short ”Ask the Expert” <looks over shoulder> piece for Storylink. While you’re there, be sure to read the more insightful Q&A with Simon Kinberg, screenwriter for X-Men: Last Stand, Jumper, Mr. & Mrs. Smith, and the upcoming Sherlock Holmes flick. His writing process is especially interesting, but my favorite quote covers the heart of story:

I really believe all good stories start from the same place: interesting characters in an emotionally charged situation. For me, the difference between drama and genre is this: in dramas, you have relatable characters in a relatable situation, whereas in genre films you have relatable characters in an unrelatable situation (fighting ghosts or robots or giant sharks, etc…). But you have to relate to the characters.

And then read the interview with non-stop Jimmy Palmiotti!

“It’s as simple as having a planet of fire … and you want to keep the characters from burning.”