Ryan talks movies, next gen gaming and lucky breaks with Katie Ellwood, writer for The Getaway…
If youve played any of theGetawaygames, you might know who Katie Ellwood is.
Shes now the narrative producer and writer for theGetawayfranchise, currently working on a version for the PlayStation 3.
Was it as difficult as breaking into the film or stage industry?
Katie Ellwood: It was a lucky break.
I was writing at university… stage plays, screenplays, nothing produced.
Through a friend I did some general PR work for a Sony conference.
I sent down a play Id just finished, so he could return the favour.
It turned out he was the director of theGetaway.
We ended up writing the screenplay together.
It was all about the right place right time back then.
There are very few writers agencies in this country that specify in writing for games.
But thats all changing.
Also the major talent agents in LA are opening game-dedicated departments.
They are beginning to recognise this specific writing talent.
The UK is following suit.
For me games writing has led to some great opportunities in film.
I think for many writers its the other way round.
DoG: How does writing for games compare to screenwriting?
Is it difficult, or example, to get the correct balance between player involvement and narrative flow?
Katie Ellwood: Games can be structured very differently where as (on the whole) films are linear.
Different types of game (RPG, Linear, Branching) call for different types of writing and understanding.
Also with games writing you have to understand that your story plays second fiddle to THE GAMEPLAY.
Gameplay is king in video games.
Katie Ellwood: Its difficult.
The same is true of over characterising a game hero.
Also, for the most part we are operating in a space similar to action movies.
Even though the story genre may be distinctly different (fantasy, horror etc.)
the fact remains that the essence of mainstream games is being involved in action, often fast paced.
Players become frustrated when you break the flow of this for a lead character monologue.
Thus we are able to integrate story, the exposition and the dialogue throughout the game play.
All of this power can be harnessed to create more realistic worlds.
Believable characters and situations in games are not just written they are played.
Katie Ellwood: The closer the collaboration between design and narrative, the more seamless and organic the story.
As I mentioned above, game design leads the way on the low level mechanics of a project.
Story, however, can definitely play a major role in designing the overall plot of the game.
Katie Ellwood: Not really, I dont think they were in the same space until relatively recently.
A decade or two ago no one would have thought them similar mediums.
Only since the advent of cinematic titles have games stepped into the shadow of movies.
Over the last 7 years, mainstream games at least, have pushed towards moving pictures.
For instance, top-down driving games became thrid person perspectives, more like movie car chases.
Yes, cinema has been a massive influence in recent years.
DoG: How does writing for the new generation of consoles compare to the previous one?
Does the newer technology provide more scope, or has learning what it can do been a hindrance?
Katie Ellwood: Game writing and designing has always been about creating within boundaries.
Thats part of the challenge and part of the fun… Having said that the Next Gen of consoles have liberated us in other ways.
If games are about immersion, then we are now about to deepen that immersion.
Do you believe this to be true, and if so, what should be done?
The talent is going for the buck.
What should be done?
Well,the big studios can take care of themselves .
Its the smaller niche studios over here that we need to take care of.
Thats often where creativity lies.
