I think I've always been drawn to very character driven stories in all sorts of medium.

Was that something that you felt was missing in games? You're seeing where events can branch and what are the different possibilities of space that this character could be in and trying to fill each of those with an interesting narrative.ДЄ lot of your games are heavily focused on character. But, as a writer that understands programming, you understand the mechanics of the game, the permutation that a player can take because you've been working on player mechanics for so long and implementing them that then you can more easily write for them and it's easier to get in that mental shift of you're not just writing a completely linear experience. In that way, it's very different from writing in that it's very subjective and you're never quite sure when you're hitting the target. Like, okay I need a character to jump a certain distance, you're either doing it or you're not. I think conceptually they intersect in that programming is sometimes very clear. Interview Highlights:ДЄt what point do you start seeing programming as storytelling? Or did you see that from the beginning?

His work has been recognized with lots of awards in the gaming world, but heвЂ™s also been honored by the Writers Guild of America, which has twice singled him out for outstanding achievement in video game writing.Дruckmann sat down with The Frame earlier this week, and began by talking about his creative process, the difference between writing for games and film/TV and how becoming a parent has changed his perspective on the games he creates. He and his team oversees all elements of production, from writing the script to directing the actors who record the gameвЂ™s dialogue and give their characters a physical performance, which is then animated. The creative director behind both titles is Neil Druckmann.

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