Video game industry capitalizing on writers' strike

[Guard Dog]

NEW YORK (AP) -- Who says there's nothing new on your TV?

 

Not video gamers.

 

As the Hollywood writers strike drags toward 2008, the video game industry is hoping a lack of fresh episodes in prime-time could motivate more people to pick up video game controllers instead of remotes -- especially with the millions of Wiis and copies of "Call of Duty 4" under Christmas trees this holiday season.

 

"If you're a fan of network programming, maybe seeing another repeat of 'Pushing Daisies' or 'Cold Case' will inspire you to finish that level of 'Ratchet and Clank Future' instead," suggests Joseph Olin, president of the Academy of Interactive Arts and Sciences.

 

Because game publishers rely almost completely on nonunion talent to create video games, the Writers Guild of America walkout, now in its eighth week, hasn't been an issue for the gaming industry. Only a handful of game writers are represented by the WGA, and they fall outside of the jurisdiction of the current strike.

 

"There's a much better relationship between game developers and publishers than there appears to be in terms of all the polemics between the writers, producers and studios," says Olin.

 

During the five-month writer's strike in 1988, gamers were just beginning to become infatuated with "Tetris" -- not exactly a narrative form. In the 20 years since the addictive bricks fell, plot and Hollywood have both become integral parts of interactive entertainment.

 

With new games now pegged to almost every major blockbuster movie, most of the major studios -- Warner Bros., Walt Disney Co. and Sony Corp., for example -- now have their own gamemaking divisions.

 

Two years ago, however, a tussle between Hollywood and Silicon Valley threatened a strike of its own.

 

The Screen Actors Guild and the American Federation of Television and Radio Artists voted to strike against game publishers after they rejected an agreement seeking to boost pay for voice acting in games. Ultimately, game publishers refused to dispense residuals -- a slice of profits from every game sold -- but agreed to a 36 percent pay raise.

 

"The game production model has always been predicated on a buyout of performance," says Olin. "Games were sold in toy stores. For a long time, production teams only consisted of two people: an artist and an engineer. Now that technology has expanded, it's a lot more complicated."

 

Game developers sometimes hire authors or screenwriters to pen the thousands of lines of dialogue players may encounter in a game. When publisher Ubisoft tapped Telltale Games to create video games based on "CSI," the developer consulted with the CBS show's writers, but hired "CSI" novelist Max Allan Collins to write the dialogue.

 

"Anytime we have the ability to work with writers, it improves the quality of the game," says Dan Connors, CEO of Telltale Games. "They're a great body of talent that generates a ton of creative work."

 

Connors says no union scribes have composed quips for "Sam & Max," Telltale's popular episodic comedy-adventure game series based on the comic book of the same name. Instead, everyone who's contributed to "Sam & Max" has worked in another capacity on the game, like in programming or designing.

 

"Writing is something we look for in everybody we hire," says Connors.

 

For the first time, the WGA will recognize game writing at the 2008 Writers Guild Awards, a move that WGA West president Patric M. Verrone hopes will raise the profile of game writers.

 

Not that the gaming industry needs any resuscitation.

 

Nielsen Media Research doesn't yet count how many people play video games across multiple platforms in the same way they calculate TV viewership, but research from the NPD Group, which measures gaming industry sales, says people are buying more gaming software and hardware than ever before.

 

Sales of consoles, games and accessories hit $2.63 billion in November, up 52 percent from last year. Sales of games alone hit $1.3 billion in November, up 62 percent from last year, according to NPD.

 

Strike or no strike, the gaming industry is welcoming everyone.

 

"My hope is that people who are used to watching new programming on TV discover gaming as an entertainment alternative," says Connors. "Obviously, it will have to be a pretty prolonged strike for that to happen, but I think it's a definite possibility."

 

Link:http://www.cnn.com/2007/TECH/12/28/hollywo...s.ap/index.html

 

I guess this comes as no surprise to me as a well written/excecuted/produced computer game is vastly more entertaining than any dreck TV series theses days. But since I only watch Football, Hockey, Baseball, Discovery and National Geographic anyway this writers strike hasn't impacted me in the least anyway. I spent more time on NWN2 & Oblivion last year than watching network TV I think.

 

Now if only we can get a few more well written/excecuted/produced computer games!

[Walsingham]

Yeah, cause Hollywood writers have such difficult jobs. They turn everything into the same goddamn film.

[Arkan]

I love that deep, meaningful writing found in Guitar Hero 3.

[Pop]

There's not a whole lot they can really do to "capitalize" on anything. If the strike lasts as long as the last one (22 weeks or thereabouts) then the game industry won't have time to take any sort of special action. That length of time covers pre-production on some projects. Things will pretty much stay the same, it's just maybe more people will be playing games. It's not as if the writer's strike will bring about better games.

[Pidesco]

It seems to me that "capitalizing" on a cache of mostly really bad writers that have no experience whatsoever with the medium of games is a really dumb concept.