♡ — 𝗦𝗘𝗧𝗦𝗨𝗨𝗡𝗜𝗜

— 𝘚𝘩𝘰𝘳𝘵 𝘴𝘺𝘯𝘰𝘱𝘴𝘪𝘴:

     These are a series of posts meant to depict some possibly helpful advice or mental notes when it comes to writing. It may be short or possibly long paragraphs depicting my thought processes and how I get into the headspace of writing. They will be marked with the same consistent tag of: “✧ — Writing Commentary” for those following this series, and I plan on linking all of the sources that I’ve used to create these blogs.

    In a way, it’s mainly to help others who are questioning themselves on what to write, or how to begin, and in no way should my words be taken as something to religiously follow as I am also learning in the process. There are many different ways that people write their stories, and I am merely sharing a piece of mine.

⁀ ✦ 𝗝𝗔𝗞𝗨𝗕 𝗠𝗔𝗝𝗘𝗪𝗦𝗞𝗜'𝗦 𝗧𝗛𝗘𝗢𝗥𝗜𝗦𝗜𝗡𝗚 𝗩𝗜𝗗𝗘𝗢 𝗚𝗔𝗠𝗘 𝗡𝗔𝗥𝗥𝗔𝗧𝗜𝗩𝗘:

Today I will be examining the beginning of Majewski’s minor thesis as it analyzes different characteristics that could separate writing in video games from other non-interactive (ex: books) forms, and I also plan on having my take on a few of the ideas mentioned. Majewski’s findings can be “used to identify and define three basic models of video game narrative” (Abstract: Majewski). Not only does it investigate the inner workings of writing within games, but it also tackles the question as to whether or not such interactive forms should be considered “narrative.” 

⁀ ✦ 𝗩𝗜𝗗𝗘𝗢 𝗚𝗔𝗠𝗘 𝗡𝗔𝗥𝗥𝗔𝗧𝗜𝗩𝗘𝗦:

Majewski notes the words of game scholar Espen Aarseth in the question of whether or not video games could be considered stories: and “the answer to such a question is, naturally, no. But books and films aren’t stories either—they merely contain them” and they describe his response to being a source that paints not a clear picture, but his words give way to a much more precise question regarding whether or not games can contain stories. I feel as if it mainly depends on what someone thinks of “stories” as there are different forms that stories can be told through, and video games are simply one medium. Aarseth formulates this very nicely as while video games can’t be considered a story, neither can books or movies as they are just ways that stories can be told, and not a direct form of it. 

Perhaps it would be easier to say that video games have a different way of presenting a story which makes the question. . . shaky. When a person thinks of a video game, it mainly consists of a few things: plot, character, and lore (“The Three Pillars of Game Writing - Plot, Character, Lore”: Extra Credit). The plot generally consists of what happens within a game, whether it be the player progressing through different towers to save a princess, or conquering an incurable disease, it mainly focuses on what is truly happening and this is what the player will be experiencing. 

When it comes to writing a “plot” I found it easier for me to draw inspiration to experiences or stories that I’ve previously experienced, these may be something as small as walking to a park or reading one of your favorite books, and reenacting or exaggerating one of the scenes, but its important to note that there should always be something that drives someone to point A to point B. It’s best to question yourself when you begin writing your story. What would your character be doing simply walking around in the park? What are they trying to do and what sort of actions do they take that may impact their development? Although writing out some questions for you to answer may seem overwhelming, it helps as a way to keep you on track. Instead of focusing on building your story as you go, plan, think big of what you want to be written, and stick to your plan. A good example of writing that I’ve seen is from Hajime Isayama’s Attack on Titan, where he had already planned the ending to his series which helped him follow a path that kept his story from having too many plotholes. It made the overall experience of his writing more impactful as you pick up subtle hints of foreshadowing as you go back and reread previous chapters.

Character writing is “the aspect of game writing that fleshes out the characters and focuses on their lives and their struggles” (Extra Credit), and this part is what gives a game more personality and provides the player with a sense of connection as they understand and go through a character’s internal and physical struggle. Extra Credit describes it as giving more dimension to a character so that they aren’t so lifeless like flat-cardboards. Some characteristics may be giving them traits or archetypes to follow: the genius and the fool, the humble and arrogant, but it can be boiled down to how one’ character can be given a journey or dream that the player would like to follow and experience. A flat character would simply go to point A to B, they would remain unchanged but the best of characters would show their struggle, their thought processes, and insecurities that affect their choice, those are the kinds of characters that people want to follow, and root for. They want to see them hit the low and reach the high, to achieve something they could only dream of. They want to relate or see someone they care about accomplish greatness or reach satisfaction, or for some to hit rock bottom as a consequence of their actions. And though there isn’t much to fill in for a character when it conflicts with time constraints, it’s important to consider a character’s personality and understand their sense of identity. 

Finally, lore is everything that makes the story feel “vibrant and alive” (Extra Credit). It’s meant to have the player feel as if they could immerse themselves in that world. An example that Extra Credit uses are item descriptions from Dark Souls, the books in Skyrim, and I would also like to include the snippets of information that a player could pick up on a world in series such as Drakengard or Nier, which are both written by Yoko Taro. A great way to think about this is about the world: what kind of world do your characters live in, how do they interact with the things around them, and what kind of cultures or ideas have been built within those worlds? This is just a basic way of thinking about how to formulate or create lore that your characters and story could fall into. They’re meant to be a gate that lets your player into your story, so it should give subtle information about what is happening or what kind of place your character is living in. In a way, you could perhaps see it as you visiting another country and understanding their culture and how people live there, but also the structures and history that goes along with it.

— 𝘙𝘦𝘤𝘰𝘳𝘥𝘦𝘥 𝘩𝘰𝘶𝘳𝘴: ~3-4

⁀ ✦ 𝗖𝗛𝗔𝗥𝗔𝗖𝗧𝗘𝗥 𝗗𝗘𝗦𝗜𝗚𝗡:

— 𝘊𝘳𝘦𝘥𝘪𝘵𝘴:

     Thank you InsanityWolf/Insan for being so kind and working alongside me to design this amazing character. She’s exactly like how I envisioned and I’m thankful that I have a talented artist being able to collaborate with me on this project. 

     Social Media:

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Youtube┊QuestTheWolf101

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⁀ ✦ 𝗚𝗘𝗡𝗘𝗥𝗔𝗟 𝗜𝗡𝗙𝗢𝗥𝗠𝗔𝗧𝗜𝗢𝗡:

— 𝘚𝘩𝘰𝘳𝘵 𝘰𝘱𝘦𝘯𝘪𝘯𝘨:

     This story has meant a great deal to me, not only because it is my very first original story, but rather as a collection of all of the hard work that many of my peers and collaborators have created. This work has been inspired by a variety of games directed by Yoko Taro, a composition that was written by Keiichi Okabe and Masaru Shiina, two Japanese composers who have been my guiding star in my journey. Alongside them, I have given my touch of experience within [Lati]fier, leaving a piece of myself within it. 

⁀ ✦ 𝗧𝗛𝗘 𝗣𝗜𝗧𝗖𝗛:

     In a place where people grow thorns underneath their skin based on their emotional and physical health, there is a story about a struggling teen named Lucien, trying to find self-worth in a vicious world that targets the weak by turning them into monsters. He is training to become a Harvester, the city’s most elite soldiers and intends on exposing an underground smuggling network that has plans to eradicate the capital.

⁀ ✦ 𝗧𝗜𝗧𝗟𝗘 𝗜𝗡𝗦𝗣𝗜𝗥𝗔𝗧𝗜𝗢𝗡 𝗔𝗡𝗗 𝗠𝗘𝗔𝗡𝗜𝗡𝗚:

     “[Lati]fier” is broken down into two words in Latin: “Latifolia” a reference to the Brunfelsia pauciflora, a type of plant within the Solanaceae family, also known as “Yesterday, Today and Tomorrow” and “Laufier” which means triumphant. This is when the tagline, “Yesterday, Today, and Tomorrow will be Triumphant,” was created as it reflects the main character’s journey of overcoming his weaknesses and fears in creating a new identity for himself. However, it also implies that regardless of one’s past and future, one will always find succession in themselves. The overall story has a floral theme and conveys ideas of power, corruption, redemption, and self-loathe/love as it aims to educate people on the importance of self-awareness and love while portraying social/political issues as an overarching conflict that blankets over them.

⁀ ✦ 𝗧𝗛𝗘 𝗦𝗘𝗧𝗧𝗜𝗡𝗚:

     The “Solanaceae” consists of a great, medieval-like Capital that is surrounded by lush flora, their pride resting at the heart of its military as many of its residents come from long lineages of wealthy families who’ve settled in the land centuries before. The population consists of various influential figures, children of the capital are raised to continue their family legacy of medical or military power, some even going even further to becoming leaders of their communities. However, on the edges of the city, lies the Outskirts, a thin section of land that is condensed with those stricken by poverty. “The Devil’s Trumpet,” is a mysterious illness that develops ebony thorns underneath a person’s outer layer of skin. They continue to grow when the host is experiencing a decline in their mental health or troubled by their struggles in life. It continues to fester within the darkest parts of the Outskirts, feeding upon the weak and fragile to develop what is known as “Daturas,” a creature created by the unspoken desires of those suffering. These creatures have been known to attack nearby citizens and are constantly hostile, making them difficult to be reverted to their original human selves. This leads to the capital deciding to massacre them as a way to keep their population small and manageable, though there are hints that they are letting a few runs throughout the Outskirts as a way to dwindle their numbers or silence those who have spoken against them and covering it up as an attack from a Datura.

     There is a story about the “Chronicles of the Solare” which are twelve ancient books scattered throughout the underground system of the Capital with vivid detail of the country’s extensive history. It is said that some of the country’s most exclusive tunnel systems are mapped into each of the books, making them a sought-after treasure by the wealthy. There is a special rumor within the book that has spread throughout the country like wildfire, a spoken set of words that depicts the glory of the Solanaceae. “Those pure of heart and soul will reign over the wilted gardens,” is part of a vague story that flourishes throughout the nation. Many influential and political leaders have been photographed with flowers, their sleeves and hearts intertwined with their fragile, clean stems, a clear symbol of their angelic nature and attempt to create a brighter future for the motherland. On the other hand, those who are plagued by thorns are ridiculed and outcasted from society out of fear that they would turn into the fearful Daturas that roam the streets. This idea is what sparked propaganda against them as it is believed that those infected are unable to grow flowers. They “are not pure of heart, and therefore a danger to society.”

     Lastly, the Harvesters consist of only a select number of children from poverty-ridden cities who could enter the Capital through the Harvester Recruit Program, a special opportunity for the youth to contribute to Solanaceae’s ever-growing world. Harvesters function as bodyguards, military soldiers, and teachers. They are responsible for the disposal of any recorded Daturas that the Capital has identified as a hazardous threat. Each of them is delivered a special weapon of their request and granted certain access to several tunnels underneath the city. Their Harvester rank determines which tunnels they could enter and operate in. It is mandatory by law for any Instructor in the Capital to have at least seven years of experience as a Harvester and signed documents to validate their teaching. Those working in the Outskirts have little to no protection, making them easy targets for young, troubled students under the influence of The Devil’s Trumpet.