Upcoming Workshop: Game Writing Porfolio Workout

In addition to the Game Devs of Color Expo panel on diverse character design and representation in games on June 24, I have some upcoming workshops through PlayCrafting NYC, which are held at Microsoft NY in Times Square.

To learn more about me, you can read an interview I recently did with SciFiPulse: "Sande Chen discusses her career, teaching, and video game design."

The popular Game Writing Portfolio Workout, which had been on hold during the longer 4-week Game Writing Primer course, returns on Monday, June 26.  If you want to see what the life of a free-lance game writer is like, come to this workshop for a deep dive into typical game writing tasks. You'll be writing continually, so be sure to bring a laptop or notepad.

Here's what a former student has said about Game Writing Portfolio Workout:

"This is so far one of the best Playcrafting workshops. The teacher was funny, incredibly knowledgeable and shared the best insider secrets!"

As always, Playcrafting NYC, which offers classes and events related to game development, offers Early Bird tickets, but if they sell out (and they have in the past), you'll have to pay full price. 

Come and write!
Game Writing Portfolio Workout
Date:  Monday, June 26, 2017
Time: 6:30-8:30 PM

Each session is different and dynamic.  Existing story ideas are welcome, but not necessary, because writing prompts during class are intended to generate leads. 

Upcoming Panel at Game Devs of Color Expo

I'm pleased to announce that I will be moderating a panel about diverse character design and representation in games at the 2017 Game Devs of Color Expo on Saturday, June 24, 2017, which will be held at New York City's historic Schomburg Center for Research in Black Culture.  Panelists are graduate student Amaryah Shaye Armstrong, Tanya DePass of I Need Diverse Games, writer Yussef Cole, and game designer Dina Abou Karam.  In addition, there will be panels on music, sound, and choreography in game design, polishing and launching your game, and surviving the game industry.

Tickets are still available, including a low-cost student option!

Come see games from around the world at the arcade and listen to microtalks about breaking-in, crowdfunding, indie games, and VR game development.

I last talked about this topic at the Different Games Conference in 2015 and I am eager to explore more of these diversity issues on this upcoming panel.

The details!

Game Devs of Color Expo
Saturday, June 24, 2017, 2:55 PM 
Diverse Character Design and Representation in Games 

Five games industry professionals will further the case for diversity in character design during this panel. Topics to be discussed will include the portrayal of dark skin in games, representation of Arabs in video games, queer people of color in games, whitewashing, and cultural appropriation.

Childhood Game Creations

In this article, game designer Sande Chen reflects on her childhood game creations and how they aided in her career.

The advice I often give to aspiring game designers is to join a game jam like Global Game Jam to meet other like-minded individuals and make a game.  Game designers aren't solo "idea people" who direct the game development process. Aspiring writers are urged to write, not to get others to write for them, and aspiring game makers should try to make games.

But if there aren't game jams near you, you can certainly learn on your own. There are many game creation tools out there, even ones directed at children. I have seen Scratch games that mimic the mechanics of high-end AAA games.

One of my childhood doodles.

For a recent feature on Polygon, "Veteran Game Developers Reveal Their Childhood Creations," I was asked to reflect on my childhood games and how the process of making them aided me in my career.  I have often spoke about making text-based adventure games at panels and interviews.  Prior to the text-based adventure games, I had programmed spelling, grammar, and vocab quizzes. I was familiar with computer programming so it presented no problems when I decided to make the games.

To me, the text-based adventure games felt like a natural extension of my creative writing pursuits.  The interactivity and branching narrative of text-based adventure games didn't seem foreign to me because of the games I played and the Choose Your Own Adventure gamebooks I was reading.

Besides digital games, I was fond of drawing elaborate mazes, writing crossword puzzles, and modifying multiplayer tabletop games like mahjong.

While I didn't expect to working in game development after college, I can see how my early interest in games led me to where I am now.  Fresh out of film school, I wanted to be where the frontiers were in new media and writing.  I had grown up with these interactive and non-linear stories and I had created my own.  I decided that I wanted a career in game development.

Sande Chen is a writer and game designer whose work has spanned 10 years in the industry. Her credits include 1999 IGF winner Terminus, 2007 PC RPG of the Year The Witcher, and Wizard 101. She is one of the founding members of the IGDA Game Design SIG.

In 2 Days! Designing Games For Impact

My class, Designing Games For Impact, continues on Monday, May 22.  In the previous classes, we have concentrated on emotional impact and persuasive techniques.  As I alluded to in recent articles, "VR: The Ultimate Empathy Machine?" and "Issues About Impact," we'll be discussing the quality of empathy and impact we are trying to achieve.  For us to even think about measuring impact, we need to first agree what it is we want! You'd be surprised how often goals can get mixed up and target audiences can be overlooked.

Whether you are an entertainment developer who wants to add another layer to gameplay and story or an activist or educator who wants to reach out through video games, together we'll discuss different methodologies to achieve your goals.

As always, Playcrafting NYC, which offers classes and events related to game development, offers Early Bird tickets, but if they sell out (and they have in the past), you'll have to pay full price. 

The details!
Designing Games For Impact
Date:  Monday, May 22, 2017
Time: 6:30-8:30 PM

About Me 

Sande Chen is the co-author of Serious Games: Games That Educate, Train, and Inform. As a serious games consultant, she helps companies harness the power of video games for non-entertainment purposes. Her career as a writer, producer, and game designer has spanned over 15 years in the game industry. Her game credits include 1999 Independent Games Festival winner Terminus, MMO Hall of Fame inductee Wizard101, and the 2007 PC RPG of the Year, The Witcher, for which she was nominated for a Writers Guild of America Award in Videogame Writing. She has spoken at conferences around the globe, including the Game Developers Conference, Game Education Summit, SXSW Interactive, Serious Play Conference, and the Serious Games Summit D.C.

When It's Not Punny Anymore

In this article, game writer Sande Chen explains why puns, cultural references, and jokes in games are not always appreciated.

[Warning:  This article contains spoilers for The Secret of Monkey Island and Game of Thrones.]

As writers, we love our wordplay, our rosy-fingered dawns, our puns, alliterations, similes, and metaphors.  They can breathe life into an otherwise dull descriptive passage.  However, culturalization experts in games know that localizing these efforts can be a difficult process.  A lot can get lost in translation, especially if a game's solution hinges upon this wordplay.  A very famous example comes from The Secret of Monkey Island, which not only had to be altered to avoid offending Japanese dairy farmers, but also stumped Brits who had no idea what were monkey wrenches. (They are called gas grips there.)

Professor Clara Fernández-Vara points out in her article, "The Secret of Monkey Island: Playing Between Cultures," that the phrase "red herring" has no added meaning in Spanish as it does in English.  In another passage, she explains why the "root beer float" joke falls flat because there is no root beer in Spain.  Understanding these cultural references would have aided in her gameplay.  Unfortunately, the cleverness of the wordplay was not able to be conveyed through literal translation.

Recently, in my Game Writing Primer class, we discussed the character Hodor and the circumstances of his Hodor-ing that came to light in the Game of Thrones episode, "The Door."  It's certainly an a-ha moment when heard in English, but how did the other languages fare? Some translators had it easy.  "Hold the door" sounded like Hodor in their languages.  Others were able to find similar Hodor sounds but for different phrases such as "Block the horde" or "Don't let them go outside!"  But in some countries, like Japan, the wordplay was simply too difficult a task and was not included in the translation.

Although books, movies, and TV shows are routinely translated and subtitled, it's different in a game when a narrative puzzle can depend on a pun the player does not understand.  Even when it's not gameplay sensitive, I still tell my students to carefully consider localization efforts when writing a game.

Sande Chen is a writer and game designer whose work has spanned 10 years in the industry. Her credits include 1999 IGF winner Terminus, 2007 PC RPG of the Year The Witcher, and Wizard 101. She is one of the founding members of the IGDA Game Design SIG.

Upcoming Workshop: Sci-Fi, Fantasy, and Horror Writing

Hi! We're now in the second week of the longer PlayCrafting NYC course, Game Writing Primer, and I am looking forward to playing all the story-based games produced in the course. Since it's been a while since the last Writing For Sci-Fi, Fantasy & Horror Game Worlds, I'd thought it would be fun to do this workshop again.

If you're interested in science fiction, fantasy, and/or horror and want to populate your game world with monsters, creatures, aliens, fantastical beasts, and otherworldly cultures, you can benefit from this participatory workshop. Tickets sold here.

As always, Playcrafting NYC, which offers classes and events related to game development, has Early Bird tickets, but if they sell out (and they have in the past), you'll have to pay full price.

 

Come and write!

Writing For Sci-Fi, Fantasy & Horror Game Worlds

Date:  Monday, May 1, 2017

Time: 6:30 PM - 8:30 PM 

Place: Microsoft NY, 11 Times Square

About Me

My background is a mixture of theatre, film, journalism, economics, and writing.  I received a S.B. in Writing and Humanistic Studies (now the major of Comparative Media Studies) at MIT and then I specialized in Screenwriting at USC's School of Cinematic Arts.  My first published game as a writer was on the epic space combat RPG, Terminus, which won 2 awards at the 1999 Independent Games Festival.  Afterwards, I worked on the episodic fantasy series Siege of Avalon, MMO Wizard101, and the dark fantasy RPG, The Witcher, for which I was nominated for a Writers Guild of America Award in Videogame Writing. I am a founding member of the IGDA Game Design SIG.

Serious Games vs. Gamification

In this article, game designer Sande Chen illuminates the differences between serious games, edutainment, and gamification. 

Recently, I read an e-learning industry expert's opinion on "games disguised as a teaching method" and why the tried-and-true colorful comical characters of edutainment might work better for Pre-K. Studies on distraction and attention do point out that young children have difficulty focusing, but I wonder, does edutainment distract children more than it educates? And while there are no doubt popular sites serving up chocolate-covered broccoli, I think it's important to note that there is a distinction between game-based learning and edutainment-type games or even gamification.  Not all educational games are drill and practice, i.e. "games disguised as a teaching method." 

An example of a leaderboard

In 2013, at the Serious Play Conference, I explained the differences in the presentation, "What's in a Name? Serious Games vs. Gamification." Serious games, and all its variations on a name, such as social impact games, games for good, persuasive games, learning games, etc, is not a term interchangeable with gamification. There is confusion and understandably so, because both appear to be methodologies that incorporate gameplay mechanics to increase user motivation, to solidify learning objectives, and to encourage overall engagement.

However, while serious game makers use game technology, processes, and design to solve problems or explain issues in traditionally non-entertainment markets, gamification experts are interested in the motivating power of game elements, like leaderboards, badges, and a points system, usually as a way to promote engagement with a product or service.  These game elements would be tacked on without regard to an overall game. There may be no game at all. For instance, on a gamified site, a user might receive 30 points or a badge for posting a note on the site's forums as a way of onboarding. On a learning site, a child may have to do 10 math problems for a badge or prize.

Edutainment is merely dressing up what would be a problem set, usually with an animated cartoon character. Math Blaster even has math problems inside the game, which the student would have to solve in order to save the galaxy. It doesn't explain the math problems or explain why there are math problems in space or how math problems save the galaxy. In short, the gameplay itself is not about math, but window dressing to make a math problem more palatable.  This is very different from a resource management game like Dragonbox BIG Numbers, which tries to explain the process of subtraction through gameplay.

Sande Chen is a writer and game designer whose work has spanned 10 years in the industry. Her credits include 1999 IGF winner Terminus, 2007 PC RPG of the Year The Witcher, and Wizard 101. She is one of the founding members of the IGDA Game Design SIG.