At least writing a novel is a one -man operation most of the time. At least the script for the film must only be on about 120 pages, unless you work for Martin Scorsese. But writing a video game? This means that filling the hours of space, bending the material to match the game and usually cooperation with a team of other writers so that everything would be a company. Sometimes, to achieve a date, just throw words into the wall. Especially when it is 3 in the morning, which can still bring brilliance.
All French bits and beavers Bright It captured the imagination of players, but not much similar to Esquie, and especially one camp conversation in which oversized gestral reflects on his friend François from Verso. Verso knows that François is grumpy, but Esquie insists that “Franfran would be” Wheeeee! ” But now it’s “whooo”. For about a minute, Esquie further defines “Whee” and “Woo”, while players even choose their own Whee/Woo path through the dialog. This is extremely stupid.
“I was at three in the morning, trying to come up with something,” says Svedberg-Yen with laughter. “I had to write seven dialogues about the relationship for Esquie!”
Svedberg-Yen talks about the script Clear unclear: Expedition 33 It takes place on about 800 pages, which does not even contain the entire NPC dialogue or piles of documentation related to Lorejka written as the foundation of history. To fill so much space, the writer says that she drew inspiration from everything and everywhere around her. For example, Svedberg-Yen says Monoco, a floating gestral, who later joins the Expedition 33 crew, is based on her dog, and when her puppy needed a hairstyle, she decided to write it in history.
“I was like Ok, it will be a conversation for Monoco and Verso about hairstyles. He says, “You look like a overgrown mop.” I literally told my dog - and I could employ it. “
The “Whee Whoo” sequence had even less sleepy meaning in the early morning hours, but it seemed appropriate.
“I knew what I wanted to say, where he was talking about something weighty and unhappy and how to feel joy and regret,” says Svedberg-Yen. “And I was so tired. I didn’t have any words. So I was just:” Wheeeee! “
As a fantasy writer, Svedberg-Yen says that its number one goal is authenticity, carving figures that are born from real places and real circumstances, even if they are unearthly. He often does not question his instincts – even those who think. There was a place for moments of lightness in otherwise tragic Bright Because, hey, this is life. “Did I even press it too far? What do I feel now? And then I put it in the script. This is authentic because I feel like that. “
