On February 20th Gamastura posted a list of gaming’s Top 20 Writers in recent times. The article was well received and six days later Gamasutra posted the audience response.
First of all, this is a huge and notable step forward. The writing niche in games isn’t nearly as big as others, such as programming and design, despite its important. I am not, however, trying to preach that story is the most important thing in a game. I think, in fact, it is not. If applied incorrectly, it can even hinder the game’s flow. Developing games is about creating and experience, not about summing up different parts and hoping they’ll form a nice result. If the story isn’t contextual to the interactive experience, it beats the point. If, however, it relates to the gameplay offered and enhances its potential, then its purpose has been fulfilled.
Storytelling is essential to the experience, but that also involves knowing when to stand down. Make your stand at the appropriate moment and context, however, and you’ll follow the example of games that wouldn’t have ever achieved the cult status they have today, were it not for their narrative. Yes, games such as Portal, Grand Theft Auto IV, God of War, Braid, and Call of Duty 4 wouldn’t have become so popular if they didn’t reveal GLaDOS’ instability, Niko’s immigration, Kratos’ wrath, time’s poetry, and the horrors of modern war, respectively.
Therefore, I’d like to pay my respects to all the writers mentioned, as well as those who weren’t. Industry notables or not, the act of writing and telling stories is most likely a passion that drives us and to be able to live and attain success through it is the dream of many. A lot of motivation in one’s career comes through the advice and knowledge shared by the experts. In that sense, I am thankful and encourage more comments through writing peers and professionals like Susan O’Connor, Drew Karpyshyn, Tom Abernathy, Andrew Walsh and Rhianna Pratchett among others who participated.
Do yourself a favor and check out the Original Feature and the Audience Response.
What I’ve written is is merely a foreword. If, at all.
Genesis is the second episode in the 
I have to admit it was a lot of fun writing for the game, all the way from cutscenes to dialog, and going through the experience of understanding that writers need to adapt. The point wasn’t to realize my wildest RPG dreams through the script, but combine both gameplay and story elements through the nuances of spoken words as best as possible. Next to that, nothing beats the thrill and satisfaction of seeing your written dialog turning into voice acting.
A large cast of varied and intriguing characters isn’t something new when the topic is Rockstar and its organized crime series Grand Theft Auto. The case isn’t different here, when the release of GTA4’s DLC is less than a month away. “The Lost and Damned” puts the player in the shoes of Johnny, a member of the biker gang, The Lost, who crosses paths with Niko, GTA4’s eastern european protagonist, a couple of times. The interesting element here is the development of the same setting (or scenario) through new characters and events.
World of Goo is no news for those who know what “indie games” are. In case you don’t, think of it as a nifty-wacky-weird-puzzle-physics game or, as one of its creators (Kyle Gabler) put it, “
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Vagrant Bard 