Three years ago, I became Lo-Fi Games’ dialogue writer for our huge 355 square mile open world RPG, Kenshi. Being a sandbox, there exists no linear narrative to tell Kenshi’s story, which poses a problem: how do you breathe life into a world that has no preset path to take the player’s hand through it? Without narration or cutscene visuals, we’re left with little context for the world and it’s dialogue. Contextless writing in videogames is a subject I’ve found rarely discussed, but fortunately I learned a few things along the way of Kenshi’s development from good old research and simple trial and error... and this guide is the result. So, whether you’re writing for a sandbox or any other role playing game in need of dialogue, I hope this guide helps add energy and meaning to your setting.
1. Starting off: Build your world
It goes without saying that fleshing out the setting of your world should come first and foremost before you start work on player interactions. Dialogue should have some kind of meaning, each conversation should act like a piece of puzzle to build your picture, to reflect the world and it’s story. Without some kind of core backstory or setting, it’s difficult for events and people to make sense or to have consistency.
Some basic steps for fleshing out world lore:
Begin with the geography. Draw out the layout of the world map: swamps, mountain, plains, rivers and towns. Next, write up a short text that describes the world setting and its features: it’s atmosphere; races, cultures, main cities; fauna and flora. Add details: what does X animal eat? Does it travel in packs? Is it hostile, tame or a pest? What is it’s given name?...
Start filling the world with basic nations. Outline your setting: who lives there, why do they live there.... Think about the conflicts: who is fighting with who and why are they fighting... Make a timeline of of events: wars, waves of immigration, ensuing wars and assimilation, natural disasters, shifts in power balances… Depict what the present situation is: it’s politics, economy and warfare.
Flesh out the specific races, factions and townships. What are their beliefs and morals? What god(s) do they worship (if any)? Any sexism, racism? Who are their heroes and who are their chief enemies? Who rules the main capital? Where are the main trading flows? Who protects these trade routes?
Extras. Are there any local mythologies and rumours? For example, a fabled monster: where does it dwell? Who does it affect?
2. Next: Establish your style
Non-linear games will need to decide just how much dialogue will be available to the player. For example, will interactions be limited purely to main gameplay events? Or will it be more broad, such as including lighter, more entertaining conversations that don’t necessarily lead to any kind of action or repercussion?
These additional conversation types help set the mood of the world, provide information, tell mini-stories and feed hardcore players’ curiosity. The drawback however, is that they can be rather boring to drudge through if a player is only interested in important ‘quests’ and opportunities that contribute only to the main gameplay. As an old school gamer, I feel compelled to speak with every single interact-able NPC, kind of like a gaming version of FOMO. And this hurts my head. Despite being bored to tears by their stories that I have no interest in, I begrudgingly become the virtual agony aunt of that game world.
To help decide just how much conversation to use in your own game, it helps to be aware of the different types of dialogue...
3. Interactions: Know the different dialogue types
These first dialogue types can be thought of as idle chatter. They’re particularly useful for simple world building but typically no action follows from them.
The One-liner
Usually short, single sentences that an NPC will utter when in close proximity to the player.
Can be a small glimpse into the backstory or setting of an area. Use it to add atmosphere or flavour to a scene such as a bustling tavern full of burping drunkards.
Can be a personal reaction to the player and their current situation or reputation. This can be an effective way of personalising a player’s experience with specific reactions to their character and achievements
The Informer
Either a one-liner or a full conversation that gives the player practical information.
Can include gameplay tips and hints for the player. E.g. asking a retired bounty hunter how to find bounties
Or it can simply be informative on the area lore or the main story. E.g. grilling someone for info on a recent event, usually an official person or a barman
The Life Story
A way to tie in an explanation of world lore and setting through the story of an individual. The speaker will either briefly mention or go into great detail about their past or current situation.
There are no results, actions or benefits to be gained from taking part in the conversation.
Can be comical and entertaining but particularly effective for evoking emotion and atmosphere.
The influential Conversation
A more in-depth reaction and opinion of the player, current situation or world setting. E.g. A refugee or a soldier might challenge the player about their stance on a recent war.
Includes debate where the player can respond with a variation of moral and political standpoints.
Certain answers can potentially offer a chance to affect relationships with special characters or factions.
The Legend
An NPC with knowledge of a specific point of interest on the world map. E.g. A bumpkin telling exaggerated rumours of a terrifying beast.
Can be a chance to ask for more info about this legend or point of interest.
Can lead to a possible mission.
The Companion Interlude
Remarks or full conversations that are personal to the player’s squad. A particularly good example of this is the squabbles and musings between companions in Dragon Age. Their conversations were witty, character building and even added to the current atmosphere to make the game feel more alive. The Dungeon of the Endless elevator events are another more simple example of this.
