Game Development Reference
Figure 3.2. Agatha Christie: Evil Under the Sun , The Adventure Company, 2007.
elsewhere, but sacrificing suspense for shock doesn't help out storytelling much. Too
bad Alfred Hitchcock isn't designing games. He knew the difference.
IF you would like to read about dialogue, GOTO “Dialogue” THEN GOTO ”Ex-
IF you would like to jump to the next main topic, GOTO “Puzzles”
ELSE GOTO “END”
Dialogue is often an important element in adventure games, Myst being a notable
exception. It can be handled in a number of different ways. We have the standard
dialogue trees of Hotel Dusk and their several variations like “draining the bucket”
where all menu choices remain until selected, or “race to the finish” where every
choice leads to more choices until the conversation completes.
We can suggest types of choices rather than actual dialogue such as “Be Master-
ful” or “Insinuate You Know More Than You Really Do,” or the easier than it sounds
“Say Something Witty.” Text can be replaced with icons or dialogue choices selected
on a mood meter that ranges from “Bully” to “Sycophant.”
However your dialogue is delivered, here are some general rules:
Know your characters: where they're from, their education level, and their
profession. All will help determine how they sound.
If writing an accent or dialect, avoid trying to spell everything phonetically.
No one will be able to read it. Instead rely on rhythm, cadence, and sentence
structure with the occasional regionalism or foreign word added for flavor.