which character that you wrote that you felt most satisfied with how it turned out in the end
Most recently, Dr. Mobius in
Old World Blues, but even he has an irritating dialogue bug that I missed (if you go too deep into his conversation, I believe he traps you so you can't do anything but fight him, but I'll check). The bug was my fault. Also, as part of his character in the surrounding environment, I liked what John Lewis (who did the file cabinet storage with the letters and the shitton of Mentats scattered around) and David Lieu (who was patient with my request to have equations chalked all over the floor of the dome) did with visual storytelling in the area.
I am both satisfied and dissatisfied with most of the characters I write, so it's a long list. There are "moments" I feel pretty satisfied with, and sometimes it's not all about the character. For example, I liked Dr. 8's attempt to make a "Disney Learning Moment" at the end of
Old World Blues, I liked writing Dr. Borous when he suddenly starts to feel emotion, Dala's fetish was fun to write, etc., etc. and even though it's rare you'll hear it, I loved writing the Think Tank's combat barks b/c they have no idea what their weapon systems even do, it's been so long.
Chris Avellone What writers working in the gaming industry today do you think are doing things that you aren't capable of, and what are those things?
There’s plenty of narrative designers who have better grasps of environmental story for certain (I need to get better with toolsets in order to be able to go in and manipulate game levels and props), and as far as other writers who are focused on writing (I’d spoil the work I’m doing with them if I said who they were) their dialogue, for want of a better term, I’ve found to be more “fun” as their dialogue both reads and sounds more interesting to a player – when you encounter them, their tone and word choice has a far better hook than I could ever have attempted. It may be because my headspace is trapped in prose-land. Brian Mitsoda is pretty good about this, I like the vocal and attitude hooks on his characters.
I thought Travis Stout (New Vegas) taught me to concentrate more on the fun and telling a story within the responses (I put it in the
Overfall writing guide, linked earlier). It’s a principle I understand, but it never seems to come through as well as I’d like.
There’s also many writers and developers who know better how to tell stories not just in RPGs but genres like RTS, VR adventure, and so on – and that’s worth learning from.
Ask me again in 2 years (if I’m around), and if things have been announced, I can point to specific examples. If the titles get announced earlier, happy to talk about then.