Check out the adorable graphics for our panels at PAX East. I'm really looking forward to talking about Project Untold.
The schedule is up for PAX East! You can see it here. Looks like an interesting lineup. I see quite a few intriguing panels I need to catch.
Both of my panels are on Saturday. One is first thing in the morning; the other's in the late evening. Going to be a long day!
The Censorship panel is my brainchild. Recently, it's been clear to me that many people have no idea what censorship is or how games are made. I tried to find knowledgeable speakers from every corner of the industry—AAA to indie to mobile—and I'm gratified by the expertise and experience represented on the panel. We're looking forward to dispelling some myths.
For the empathy games panel, I'll speak openly about Project Untold for the first time. And there are some talented indie devs talking about games like This War of MIne and Always Sometimes Monsters. You can learn more about that panel over on Ken Gagne's blog.
Here's the info from the PAX schedule.
I'm delighted to be part of a stretch goal for Dead Scare. Elsa S. Henry wrote the game, which is "a 1950s, alt-history zombie apocalypse game where all of the characters are the women and children survivors of a Russian viral attack." The creators sought out "female-identified, non-binary, WoC, disabled, or otherwise not-cis-white-dudes to write 500 city guides" as stretch goals for their Kickstarter. Each guide will provide inside information about a region of the country the writer knows well. I, of course, snagged Washington, DC.
I had to write up a new bio for the project, and I like it so much that it might become my official resume summary.
Anna Megill spent a decade working on titles for companies like Hasbro, Nintendo, ArenaNet, Airtight/Square Enix, and Ubisoft before switching to indie games. Currently, she's writing visual novels for Project Untold. As the frequent winner of titles like "Most Likely to Die First in a Horror Movie" and "Most Reluctant Zombie Dog Killer," Anna looks forward to helping you learn from her terrible mistakes.
I'll post more information and links to the Kickstarter when they're available.
Now that MAGFest is over, it's time to focus on my next set of panels. I'm excited to take part in two panels at PAX East this year. Both deal with topics I've been itching to discuss.
Censored! Do Gamedevs Have Creative Freedom?
Creative freedom in games has been a hot topic lately. But what's the truth? Do game developers have the freedom to make the games they want? Five industry veterans give you the inside story. From "too much" sex and violence to the ESRB, find out what it takes to overcome industry restrictions and turn creative ideas into games. Saturday, March 7th at 8:00pm in the Condor Theatre.
- Kim Swift [Lead Designer, Amazon]
- Anna Megill [Creative Director, Project Untold]
- Brianna Wu [Head of Development, Giant Spacekat]
- Mike Bithell [Boss Man, Mike Bithell Games]
- John Ryan [Writer, ArenaNet & TBA]
And Ken Gagne already wrote up the details for my other panel on his blog, so here's the info for that:
I hope to see some familiar faces there. If you're at PAX East, please come by and say howdy.
Wow, that title is a mouthful! It sounds so formal when the reality was chill. Alexander Brandon, James, Portnow, Lindsay Grace, and I spoke to a small-but-passionate audience of Jam participants. It was a lot of fun.
The panel room was intimidating.
But the audience was friendly and asked great questions. My fellow panelists offered some sage advice. I enjoyed it.
As my important notes from the panel show, though, I was distracted the entire time by a bird flying around the room.
I'm excited for MAGFest to post the panel video so everyone can see us watching the bird fly around. Gripping entertainment.
I'll be back at MAGFest tomorrow to judge the Jam games. Looking forward to seeing some creative takes on this year's theme: "What do we do now?"
I'm on a lot of panels in the next few months, so you have no excuse for not seeing me speak. ^^
MAGFest 1/23/15, : I'll be giving out sage industry advice with Alexander Brandon (Unreal, Deus Ex), James Portnow (Extra Credits), Lindsay Grace (Mindtoggle Games, AU) on the Pre-Jam Power Panel kicking off this year's Global Game Jam.
I'll also be speaking on two panels at PAX East and a panel at ECGC. Details about those events to follow.
Come say hi to me!
Project Untold is underway! I’ve spent the last two months writing up early design documents and writing lore, character bios, plot summaries—all the fun stuff. My next step is collaborating with the artists, designers, and animators to make my ideas into concrete assets and gameplay. I love this part of the game-making process.
Unfortunately, I can’t live off creative energy alone. Giant Spacekat is funding Untold with venture capital, but that takes time. I have to survive in the meantime. So I set up a patreon. Patronage allows me to pay my bills and keep working on Untold while GSK looks for investors.
I'm gratified to say that I'm halfway to my first milestone, thanks to the support of some lovely people.
Reality flows in. Imagination flows out.
According to the latest scientific research, reality and imagination flow in opposite directions in the brain. Reality starts with low-level processing then moves to high-level cognition, while fantasy starts deep in the brain and flows out to low-level processing areas. It's an enormously satisfying visual representation of how I always thought imagination worked.
When writing, every scene starts with a spare idea. A bar fight, for example. This grain of thought accretes layers of detail as I work on it. Who is fighting, where, why. Then what they look like, the smell of the bar, the motion of a swinging fist, the sound of bone on flesh. All the tiny sensory elements that make a scene vivid come last. The flow from the high tower of ideas to the earthy reality of a fist to the face.
This past year, I had the worst case of writer's block I've ever had. I was going through a bad time personally and was very shut-down and depressed. Cored by grief. And my writing showed it. I couldn't get from idea to detail. It was like the flow stopped before it reached the sensory stage. I couldn't get to that place where I picture the scene as if I'm living it in my brain and transcribing an eyewitness account. My writing was all ideas, no substance. I recognized the problem, but couldn't fix it. Which made the block even more painful.
As I healed, the writer's block eased up. I started seeing the drama again, not just knowing intellectually how it should play out. I could write with my senses again. And now science confirms what I felt all along about how writing moves through my mind.
Writer's block is a terrible thing to suffer through. Losing your means to cope with pain and stress when you're at your most pained and stressed is a cruel joke. I hope this study means that someday it will be curable.
A while back I tweeted something about how great it would be if gaming sites interviewed women about their work instead of always asking us to talk about harassment or what it's like being a woman in the industry. To my delight, Emma Fissenden contacted me not long afterward about an interview for The Mary Sue. TMS is featuring a new series on their site: interviews with women in tech about their work. It's exactly what I was hoping for. Judging by the comments, I'm not the only person thirsting for more substantive chats with women gamemakers. I hope other sites pay attention and follow suit.
Here's my interview.
Brianna Wu's studio, Giant Spacekat, has optioned my idea for a series of interactive novels. Here is Brianna's announcement:
If you're interested in being part of the project, please email me at email@example.com.
Here are the job descriptions:
It's critical that candidates are the right fit for this unique project. A willingness to learn and grow is prized above industry credentials, so don't let a lack of experience stop you from applying. To start out, all roles will be full-time, REMOTE positions unless otherwise noted. More information about the requirements and responsibilities will be available during the application process, under an NDA.
- 2D/3D Artists:
We're looking for versatile artists who can translate their concept art into game assets. Your striking, original work will set the art style for each game. A strong understanding of visual storytelling is essential for this role. Previous game experience is preferred, but not required. Please provide portfolios/links.
- PR/Marketing Lead:
You should be an innovative thinker, willing to explore unusual and nontraditional avenues to reach our audience. You will form and help maintain a large, active online community. Experience with user acquisition, promotions, and social media is required. Familiarity with video editing software is a plus. This position will start immediately upon hire.
Must know C++ and have experience coding professionally. This position requires strong interpersonal skills. Candidates will be good collaborators and communicators. Visual scripting, Unreal 4, and game development experience are a plus. This will be the senior programming position on the project. This position cannot be worked remotely.
Race in Videogames: it's Not Just One Group of People That Suffers From Tropes
I've thought about the issue of race in games a lot recently. I'm most vocal about the troubling representation of women in games because that's what I know best, but I'm also painfully aware of the void where people of color should be. When POC are shown, they are stereotyped, sexualized, or exoticized.
I'm working on a game project right now that plans to do better. Diversity and inclusivity are pillars not just of the games, but of the company helping me make them. I want people who never get to see themselves as the heroes in video games to finally discover how good it feels to save the day. I want people of all genders and sexualities to have romance options. And not just one option: many. I want to make games about the people that have been left out all this time. The rest of us.
A student wrote me for advice on game design textbooks. I didn't go to design school, so I asked the industry professionals I knew on Twitter. They gave me the following recommendations (alphabetized):
- Andrew Rollings and Ernest Adams on Game Design
- The Art of Game Design; A Book of Lenses
- Chris Crawford on Game Design
- Game Design Workshop: A Playcentric Approach to Creating Innovative Games
- Game Feel: A Game Designer's Guide to Virtual Sensation
- Rules of Play: Game Design Fundamentals
- Theory of Fun for Game Design (<--This last one was called out for being sexist, but clearly there's been an attempt to fix that.
Here's a recommended library for designers:
Plus a crash course in hands-on design:
If you have more recommendations, please suggest them in the comments.
As many of you already know, a development studio has optioned my games. We're in pre-pre-production now (if such a thing exists) and are putting together our initial team. We'll formally announce the project in the future and will list additional information and positions on the studio website as the project grows. But right now, we're looking to fill only a few key roles.
The games will be story-focused, mid-size games for multiple platforms. Each game will have a unique visual style. Diversity and inclusivity will be cornerstones of our game designs, so we encourage open minds to apply. Pre-production with a small team is scheduled for January 2015.
It's critical that candidates are the right fit for this unique project. A willingness to learn and grow is prized above industry credentials, so don't let a lack of experience stop you from applying. All roles will be full-time, in-house positions at the Boston studio unless otherwise noted. More information about the requirements and responsibilities will be available during the application process, under an NDA. Please email firstname.lastname@example.org with resumes and inquiries.
- 2D/3D Artists:
We're looking for versatile artists who can translate their concept art into game assets. Your striking, original work will set the art style for each game. A strong understanding of visual storytelling is essential for this role. Previous game experience is preferred, but not required. Please provide portfolios/links. This can be a remote position.
- PR/Marketing Lead:
You should be an innovative thinker, willing to explore unusual and nontraditional avenues to reach our audience. You will form and help maintain a large, active online community. Experience with user acquisition, promotions, and social media is required. Familiarity with video editing software is a plus. This position will start immediately upon hire and can be worked remotely through January.
Must know C++ and have experience coding professionally. This position requires strong interpersonal skills. Candidates will be good collaborators and communicators. Visual scripting, Unreal 4, and game development experience are a plus. This will be the senior programming position on the project.
I am in deep, soul-kiss love with Kentucky Route Zero. Having it fray the edges of the real world with phone messages and an ebay auction was a gift from the devs. If you haven’t called the line yet, do it now. Stop everything. Shut the door. Sit down with a whisky-based cocktail, and call.
The “Are you holding a snake right now?’ option is pure delight.
Also, Here's an article discussing the beauty of KRZ0's regional voice: http://www.popmatters.com/post/187760-regional-authenticity-and-video-games/
I recently pitched some games to a small studio in New England. It was my first time pitching my own work and I was nervous, but it was also the first time I believed 100% that the project would be a successful one. I'd love the challenge of writing those stories. And I understand my target market, from the inside out.
I've been researching the market for my game ideas for several years now, watching what they watch, participating in their forums, going to shows and gatherings, interviewing them, gathering data—and making friends. It's safe to say that they won me over and I became a part of their various fandoms. It was fun. And educational. I saw that these women—for they are overwhelmingly women—are underserved by the games industry. These women are willing to spend hundreds of dollars to travel to a con for a 5-minute, $150. photo op with the stars of their favorite shows. They will buy every collectible and special edition you put out. Most important of all, they spend hours creating videos, gifs, manips, headcanons, fanfic, and contests about their interests. It's partly an expression of their passion as fans, but it's partly because they want a deeper involvement in their interests—an investment and immersion—than they are provided. So they make it themselves.
I got into the games industry because I wanted to make games for women. I don't mean "pink" games. I mean games that women can enjoy playing, without those moments of eye-rolling sexism or crushing misogyny that remind women it wasn't made for them. Games where women can be the hero, too, and not just window dressing. Games that let them escape from reality a bit.
I'm not putting pink games down. If that's what you like to play, then play on. But those aren't the kind of games I want to make. And they aren't the kinds of games the women I'm targeting want to play.
So when I was approached by the New England studio for game ideas, I knew exactly what I wanted to pitch.
And they loved it.
They got it. They saw the potential.
But (there's always a "but") they aren't ready to make them. For various reasons I can't discuss, it would be a while before they could make my games. It might still happen, but not right away. It's strange to have a pitch succeed, yet end up feeling like it failed. But that's where I am right now.
Another studio has expressed interest in hearing my ideas, so I'll pitch to them and see what happens. In the meantime, I guess it's time to see what existing projects I'd like to be a part of.
Kabe Wilson reassembled the words of Virginia Woolf's A Room of One's Own to tell an entirely different story about modern racial and cultural politics. This short article is a great read about his process and how unexpected connections informed his word choices.
When I talk about how collaborative the gamewriting process is, people often ask me if I'm bothered by the limitations. The answer is no. Parameters can inspire creativity, because you must figure out how to tell your story within those constraints. The story of how Kabe Wilson linked Woolf's writing to Toni Morrison and Howard University is a wonderful example of this kind of forced creativity. Thinking outside (or around) the box can lead to serendipities and epiphanies. You often end up with more original story ideas because you couldn't go the traditional route or employ the usual tropes. It's more difficult to work within constraints. And it can require more research and more examination. But if you succeed, the payoff is profound.
That being said, too many constraints don't leave you any room to move and that stifles creativity. So there's a fine line.
I had a lovely chat with Aleen Simms at Less Than or Equal about gamewriting, diversity, and games stuff. You'll have to forgive my audio quality. I didn't have a headset and I was losing my voice, so I sound like a hoarse robot.
Or maybe Journal Game? I'm not sure what to call it yet, but it's an idea I've been kicking around since last fall. I was working on a bunch of short stories about gamifying everyday life, and I kept thinking, "Wrong medium." What better way to discuss that kind of gamification than to make a game of it? So I'm thinking of creating an open-ended Twine game, loosely based on the events of my recent life. An interactive journal. I'm not sure how much interest there would be in something so personal, but it will be fun to work on. I might even start a Patreon to fund it. This project will give me something to focus on while I'm getting my head together. If I can earn a little money for it, all the better, but that's not its purpose.
I'll keep you posted. In the meantime, if you know of any interactive journals or games about the dailiness of life, please link me to them.
Tomorrow it will be one month since my Old Man Cat died. Everybody knows Codille's death hit me hard and that grief laid me low for a while. I still miss him every single day. I've had a tribute to him on the front page of this website for a while, but now I'm moving it here. It's not about forgetting him or our fifteen years as companions—I never will—but I need to stop focusing on my grief and start trying to put my life back together.
I'm leaving Quebec City and heading home to DC for a little break. While I'm there, I'm interested in taking on new projects. Something small and fun would be exciting. If you're an indie company or small studio looking for a writer, or if you have a project that you think I could help with, please drop me a note through my Contact page. I'm looking for new adventures. ^^
Note: Many of you have written to support me and to lament that you don't know of any projects in the DC area. First of all, thank you all so much for your encouragement and kindness. It means more to me than you know. Second, I'm going to DC to regroup; I'm not necessarily staying there long term. And I'm emerging from this experience with the need to work on a meaningful project. So if you know of small or indie companies ANYWHERE who are looking for a talented gamewriter, or if you know of someone working on a game that screams "Anna" to you, please let me know.