It’s hard to draw a line between what’s a game and what’s isn’t. A lot of my work has been interactive and, by some definitions, that makes it game-like enough to qualify. A few of my transmedia projects have been games too. Apps, street games, virtual worlds, alternate reality games, mobile games, puzzles, interactive theatre, choose-your-own-adventures – they’re all on the blurry edges of what people call a ‘game’ and I like nudging that boundary further and further outwards.
Besides writing the games themselves, I’ve been brought in as a consultant by companies such as King, advising them on how to improve the narrative side of their work.
Right now, I’m spending a lot of my time at Criterion Games as a narrative designer.
I also co-teach a residential course in Writing for Games for Arvon, and that gives me the chance to broaden people’s minds about what a game can be. You don’t need a fancy console. You don’t need other players. And anywhere can be your playground.
Just take a look at these examples from my work:
- Sherlock: The Network
- The Trace
- Samurai Siege
- Perplex City
- Zombies, Run!
- Petra’s Planet
- Ghosts in the Garden
- Lewis Hamilton: Secret Life
- The Seed
- The Pepperhood