Five For Writing – Matt Forbeck

It’s GenCon week, which makes it the perfect time to talk to the legendary Matt Forbeck. A game designer, best-selling author and all-around nice guy, Matt has untold credits to his name. Here, without delay, is his Five For Writing:


1-What’s it like to have written literally all the things?

I find that I haven’t quite written all the things, but the things that I haven’t written get harder to reach. I like to write in all sorts of genres and categories, mostly because it keeps me from getting bored and stale with any particular one, and that (hopefully) keeps my writing fresh and fun — at least to me!

It’s also part of a diversification strategy. If the work or audience for one particular kind of writing dries up, I have others I can tackle instead. It keeps me from having to worry too much more than normal about how I’m going to help feed my kids and <ahem> help put them through college.

2-You’ve written for TTRPG, video games, novels and more. What’s your favorite form, and why?

I like writing in all kinds of formats, and I’d hate to have to actually choose among them. They each have their own strengths. With video games, I get to work with (sometimes massive) teams and watch other folks bring my words to life, but I don’t have much control if any over the final product. With a novel, I get total control over everything, but I don’t get to rely on anyone else’s talents but my own.

Comics and tabletop games make a good balance between those two extremes. I get to work with a small team, and a lot of my vision shows up on the page. Tabletop games can get really complex, though, and require more skills than just writing, which lets me work other parts of my brain. Comics have some of the most stringent parameters. Writing for those is like writing 22-page haikus.

If I had to choose one, I’d probably go with novels, mostly because I like my independence. Video games pay a lot better though!

3-What are the different writing muscles you need to use for your different types of writing?

With video games, you often have to focus on the dialog over everything else. It’s one of the things you have the most control over. You can also wind up writing reams of background information that no one outside of the team ever sees, but they need that so they all know what the end result is supposed to feel like.

That dovetails nicely into tabletop games. With TTRPGs, you don’t have to worry about the dialog much at all, but you focus on that worldbuilding instead. You need to give the game master all the information about how things work so they can make decisions on the fly that ring true to the world they’re playing in.

Novels and comics require you to deal with worldbuilding, but character motivation and plot are often more important. Dialog helps sell all that and make it sing, but it needs to rest on those other aspects as a foundation.

The key to the whole thing — no matter what you’re writing — is developing a keen sense of storytelling. If you can keep a table of friends engaged with a story over a few drinks, that’s the core talent. You can learn the other skills to move into other flavors of the craft.

4-You’ve brought one of your sons into the family business. What’s it like working with him?

I love working with my son Marty, and my son Patrick is studying video game design in college, so he might wind up joining us at some point too. In addition, Nicholas helped Marty and me out with a TTRPG adventure that should be announced sometime this fall.

Marty is a sharper student of stories than I was at his age. He knows the tropes and references to other media inside and out. Part of that’s him growing up in the internet age, and the rest is his own natural love of stories.

It’s great to work with someone you know so well. You can skip over a lot of the explanations you’d have to offer someone else, and we’ve developed our own kind of shorthand that comes with being part of a tight-knit family.

My wife and I have apparently raised him to be unafraid to question us, and that’s really helpful too. He can skewer one of my lousier suggestions with a simple arch of an eyebrow and a single “Really?”

5-You’re one of the movers and shakers behind the Diana Jones Awards. What trends are you seeing in the tabletop industry that excite you?

The tabletop games industry is more vibrant and pervasive today than ever. The days of having to explain to adults what D&D is are largely over, and I see lots more people from a far more diverse section of the population not only enjoying games but creating them too.

That’s one of the things we’re trying to encourage with the Diana Jones Award. We recently formed into an official nonprofit and are applying for 501c3 status. The main impetus for that is so we can expand our Emerging Designer Program, which aims to bring new game designers to Gen Con to introduce them into and to the larger world of tabletop games.


Five For Writing – Jesse Scoble

Jesse Scoble has the singular misfortune of being a good friend of mine. A Chief Narrative Designer at TenCent, he’s done stints at Ubisoft (HyperScape, Assassins’ Creed: Odyssey, Far Cry 5 and others) Wizard101, Webkinz and more. He has contributed to Beyond the Wall; The Bones; co-edited two short-story anthologies in the  Silver Age Sentinels TTRPG setting; and co-edited James Hsu’s Humans of MagicA resident of Montreal, he wants you all to know he makes a mean mojito.

And so without any further delay, I give you the multitalented Jesse Scoble:

1-What’s it like putting together a narrative for a game like HyperScape that is by definition non-linear?

I see you want to start with a softball question. So. Coming to HyperScape (Ubisoft’s near-future, dystopian battle royale), we believed what would differentiate us from an already crowded field would be to have a strong story. Some games have virtually no story, or maybe they have a framing story (say a modern warzone) but have no real sense of character, while some have incredibly rich characters (Apex Legends, Overwatch) but relatively thin plot. We wanted to have all of that.

We needed to create a new world – and elected to set it about 30 years in the future, in 2054, which wasn’t necessarily realistic in terms of the virtual world – the eponymous HyperScape – and then come up with an overarching storyline that would drive the world forward. Much of that centered on the company that created the HyperScape, a global megacorporation called Primsa Dimensions, and the creators of the company, genius inventor Mathieu Eiffel and his savvy business partner, Dr. Ivy Tan. The machinations of Prisma Dimensions would be the engine that drove the story.

In terms of the “framing story” – and what I mean by that is essentially a narrative explanation for the battle royale concept – we chose to embrace the battle royale game concept directly, and define it as an extreme sport in the virtual world of the HyperScape. In the dystopia of 2054, it was the most popular way to gain fame and fortune. The characters would fight and kill to try to get ahead, but as it was just a virtual game, then there was no problem seeing someone “die” or for various characters to fight each other even though they were friends or on the same side outside the game.

Finally – and perhaps most importantly – we wanted the characters to have depth and flavor, and to have strong ties to the world of 2054. We wanted to have a large and ever-expanding roster that would let us create characters from all sorts of different backgrounds and walks-of-life, and we’d show how these characters evolved from season-to-season as the plot of the story moved forward.

Another core challenge was that, unlike a AAA console action/adventure game (say Assassin’s Creed or Far Cry or Spider-Man or Witcher or whatever), players would only get tiny snippets of the story. There wouldn’t be traditional quests and we’d have very few cinematics. We had to be smart in figuring out how to relay the story in a way that would be comprehensible to those who only lightly skimmed the surface but would have strong connections for those who wanted to dig deeper into the lore.

Our team also had a robust transmedia approach (can I still say “transmedia” in 2021? Whatever.): we had a deal with Dark Horse to create a HyperScape digital comic; we also worked with a great 3rd party company to create a couple of short animations, our “HyperScape Stories” that spotlighted characters like Ace and Basilisk; and of course we had our internal team building season trailers, in-game cinematics (such as the End of Season 1 event), and so forth. 

Finally, the narrative and art team worked closely to create a dozen collectible “memory shards” that would be revealed over the course of the season. Each one had a piece of micro-fiction and an awesome piece of custom art, like a comic splash page or wallpaper screen. These really told the crux of the season’s story, allowing us to get into characters’ heads, feel the flavor of the world, and also conveyed the big moving pieces of the plot.

This meant a LOT of planning: how much info could we write into a character’s bio in the store? What would be consistent and change between different skins? What bio info would change from season-to-season? When was a character/skin going to be released DURING a season? What order would the memory shards be released? Could we do environmental storytelling on the game map that would link to the fiction? Where would the trailers or short movies come out? How do we tell an engaging story in the comic that links to everything else, but also feels self-contained? 

And – as you well know – in video games everything is always at a risk of moving. Things get delayed. A feature won’t work. Marketing throws you a curveball. 

In the end, we made mistakes. Lots of mistakes. But we also succeeded to hit many of our goals, and learned a tremendous amount in the doing.

2-You have an extensive track record in tabletop RPGs. Ever thought about going back and doing more TTRPG work?

Yes, but no. It was extensive at one time, but I’ve been playing in the video game playground for three-quarters of my career now, so it feels like I haven’t done much in that space for ages. Hell, I worked on the first Game of Thrones RPG that was so long ago it was BEFORE season 1 of the HBO show.

TTRPGs are fun, but a helluva lot of work, in terms of research and organization and presentation. It’s hard enough putting together a halfway decent game for my local group, let alone something that’s publishable quality.

I’ve gone back to the well a few times in the past semi-recent years. I was a consultant on the short-lived Marvel Heroic RPG (from Margaret Weis Productions), with some luminaries in the industry, and that was a treat. I was invited to contribute to two different projects – one was a setting for Robin Laws’ DramaSystem called Narcocorrido; and then I revisited some of that material “through a neon lens” for Mark Richardson’s neocyberpunk RPG, Headspace (Carteles Unidos, in the Dystopian Dreams supplement), both of which were obviously inspired by my time living in Austin, TX. I’ve also contributed a few essays here and there, and co-edited a series of interviews with top-tier Magic players for a good friend.

These days, due to limited time and focus, I need to be really intrigued by a project to carve out the time for it. It either has to be a project where I have a lot of creative freedom and some degree of ownership, or something that is just so cool I can’t say no. That said, I have yet to actually do anything official for Dungeons & Dragons or Warhammer 40K, two IPs that I’d happily make the time to delve into (just throwing that out there in case the universe is listening).

Oh, and I have a brilliant idea for how to make an RPG out of HADES, the superb rogue-like from Supergiant games, in case anyone knows anyone over there.

3-What’s the most challenging aspect of game writing for you?

All of it? I realize that’s a useless answer. 

I think it’s trying to impart the “perfect picture” in my head to paper, and then have the rest of the team understand it. It’s so elegant and clear in my mind’s eye (well, hardly ever that, but it’s certainly better than whatever I end up scrawling on the page), and there’s so much of a gap that is created between the act of putting pen to paper, and then again between the person reading it and implementing the ideas. And this gap widens when dealing with challenges of language and distance.

At their worst, when gameplay and art and recording limitations are all dragging you down it can feel like the death of a thousand cuts. But the corollary is that when it all somehow hangs together – when the gameplay supports the narrative (and vice versa) and the art is glorious and the voice acting adds that je ne sais quoi nuance, it can create a magical experience for the player. And I live for that.

4-What’s your favorite part of the job when it comes to game writing?

Seeing these fifty(thousand) different moving parts that like-as-not won’t fit properly together or work well together or might not even work at all somehow come together miraculously and gel. It’s seeing those scribbles on the screen become real and extant, in a way that makes people engage and act. It’s creating both the big moments and the small moments, and when it works it makes people feel something. That’s the heart of it.

In particular, hearing/watching actors take the words on paper and breathe life into them is a kind of magic.

Perhaps most importantly, it’s getting to work with some incredibly smart, bright, funny, kind, talented and clever people.

5-You’re working on your first novel. How has that experience been different from game writing?

What do they say? “Writing is the easiest thing… you just stare at the blank page until your forehead bleeds.”

It’s… hard. I look back at random Facebook memories and realize how bloody long I’ve been on this road, and there’s no real end in sight (I keep thinking I see light ahead, but I’m pretty sure it’s just an oncoming train.)

First, because I can’t do anything simply, I decided for my first real attempt at a novel to co-write it with a close friend. And that’s been great. Also hard as sin. But having two heads to process ideas, encourage and cajole when the other side just doesn’t want to pick up a pen, bringing far more ideas and experiences than a single person – it’s like working with a teensy-tiny team. (Well, not “like.”) 

(And we have a third friend who has been the alpha reader for all of our ideas throughout this long and twisty process. Having a ‘built-in’ story-editor, of sorts, has been a godsend.)

But it’s hard. It was a big idea (for me, at least), and structurally complicated, and cutting edge – several and more years ago when we first thought about it. And the future doesn’t hold back. The realities of online culture, and such like, keep moving and evolving in ways I wouldn’t have considered. It’s not dated – yet – but if I don’t hurry up and finish it, it soon will be. 

It’s also very lonely, despite having two friends involved so closely. And it’s hard to know what the right paths are for the characters, at times, to get to where I want to get. 

It’s taught me a lot about organizing my work and ideas, outlining and structuring a story, and developing character voices. Not all of which I’ve mastered yet, despite professionally writing for too many years now. And, as mentioned, a whole lot of time has passed since we first conceived of this story. I like the characters too much to want to abandon them, but it’s hard to say how and when I’ll finish this story satisfactorily, even if just for a limited audience.

A huge thank you to Jesse for his thoughtful and engaging answers. Tune in next week when I’ll have another writer in the hot seat!

Five For Writing – Eddy Webb

Welcome back to another edition of Five For Writing. This week’s interviewee is award-winning game designer and writer Eddy Webb. The maestro behind Pugmire, Eddy has worked on an insanely wide variety of properties and has the trophies to prove it. He’s also been a standard bearer for accessibility in games, and contributed an essay to Transgressive Horror, a new collection of essays on horror movies that broke the rules. Without further ado, here’s Five For Writing with Eddy:
1-What was the inspiration for Pugmire?
It was a combination of things. Like many tabletop gamers my age (i.e., someone who grew up on D&D in the 70s and 80s), I always had visions of writing my own sprawling epic fantasy world that I could run my friends through. The one big problem I kept running into was that I found a lot of fantasy settings more work than fun. It felt like I would have to read fifty pages of “and then king so-and-so defeated the army of blah-de-blah” before I could even make a character. As such, it sat in the back of my mind for a long time.
Then, one day around 2014 I was walking my two pugs Puck and Murray, and I noticed their different behaviors. Puck was very friendly with little fear, while Murray was more contemplative and reserved. So, being the geek I am, I started comparing them to D&D classes. My mind started spinning on the idea: how much of dog behavior could I map to Dungeons & Dragons? Turns out, it worked surprisingly well.
From there, I knew I had something. Early on I wanted it to be more science-fantasy instead of pure fantasy, as someone who was a fan of things like Gamma World, Thundarr the Barbarian, and Tom Baker’s era of Doctor Who. So, making the world of Pugmire the distant future instead of a mystical past was not only an easy decision, but something that helped the rest of the world snap into shape in my head. From there, it was the challenging work of making the thing!
2-You’ve carried the banner for accessibility in gaming. How are you carrying on that fight?
On a couple of different fronts. As someone with hearing loss, I find that it’s a disability that a lot of game companies don’t think to design for aside from “well, we’ve already added subtitles.” So when I’m able, I offer resources and consultation to help add accessibility tools to games. A lot of times, accessibility features are things that even abled gamers like to have too!
More commonly, though, I work by trying to include disabled folks in my stories as much as I can. And not in the “oh it’s so inspiring that they can overcome their challenge” kind of bullshit, either — people with hearing loss can be badasses, too! It’s why I was so excited with the inclusion of Amaya (a deaf warrior) in Netflix’s The Dragon Prince, and I’m excited that it seems like Hawkeye will have hearing aids in the upcoming Disney+ show. But I can only name a handful of cool, exciting protagonists that are deaf or hard of hearing — more often, they’re support characters or (even worse) the butt of jokes. So I try to naturally include disabled folks where I can.
Since I work in tabletop RPGs, I also work with other disabled writers and creators to helped abled folks authentically and respectfully portray disabled people. Giving advice and guidance on that front not only keeps abled folks from inadvertently being offensive, but also shows that we can be dramatic and interesting characters to portray, too!

3-You’ve won a fistful of gaming awards. How does it feel to be recognized at that level for your work?
Weirdly, it doesn’t really register. Most of the time I don’t even realize it’s happened — someone will point it out to me, and I’ll go “oh, neat! That’s cool” and move on. A lot of the time, winning an award doesn’t move the needle on my day-to-day life: I don’t get more money, I don’t sell more games, and I don’t get asked to talk at more conferences. But it’s something nice to put on my resume.
There’s one exception to that: The Robin D. Laws Innovation Award. That’s one where they flew me out to a nice dinner where I got the plaque, which I still have today. It was in recognition of my work in helping to push the tabletop RPG industry in terms of digital and print-on-demand production, something that’s a standard in the industry now. I still remember that award even ten years later.
4-Over the years, you’ve worked on a variety of properties. Which was your favorite, and why?
It’s hard to pick just one. A lot of them were fun to work on, and it seems like my answers change with each new opportunity. Right now, I’m excited to have worked on the official Transformers RPG, because not only has that property been a huge part of my life, but also, I’ve felt the lack of an official RPG was a huge gap — I even ran a homebrew game of it for my friends back in 1999!Similarly, it was a huge thrill to work on and then ultimately manage Vampire: The Masquerade, back when I was handling the 20th Anniversary Edition line. I’ve always had a fondness for the World of Darkness, going back to 1992, so having the opportunity to work on and shape such a property remains something I’m proud of. On the other hand, I really liked working on a Futurama mobile game, because I not only got to work directly with Patric Verrone who worked on the original show, but also with Dave Grossman of Monkey Island fame. I felt like a roadie in a room full of rock stars, but I learned so much about writing comedy from those two, and I’ll be eternally thankful to them for that, even if the game itself has sadly crossed over the rainbow bridge into “unprofitability.”
I dunno. Ask me again in a few months. I’ll probably have different answers for you!

5-You’re an avid Sherlockian. What’s the appeal of the Holmes mysteries for you?

It’s a couple of things. On the one hand, Sir Arthur Conan Doyle had an amazing gift for description — even though his stories were written over a century ago, the flavor and pace of the stories still resonate even today, and even a casual reader can still pick them up and enjoy them. So as a writer, I have a deep appreciation for how effortless his prose feels compared to his contemporaries.
But more than that, I love the relationship between Holmes and Watson. You don’t have many friendships in fiction between two men who just fully and completely respect each other. Granted, Holmes and Watson were curtailed by the social norms of Victorian society, but that didn’t stop them from caring about each other on a deep level. And since the stories are written from Watson’s perspective, his nature as an unreliable narrator gives you peeks and clues as to the real dynamic between them. It’s a lot of depth and texture — so much that Sherlockians like me are still picking it apart 125 years later.
And right now, there’s a veritable explosion of Sherlockian creativity. There are, of course, floods of new stories in the classic mode of Doyle’s prose, but there are also so many imaginative remixes on the concept. I often joke that one of my favorite takes is the cartoon Sherlock Holmes in the 22nd Century, because it’s just so audaciously gonzo, but there are also really compelling takes like a queer cyberpunk take in “A Study in Honor” by Claire O’Dell, or a modern spin featuring black men like “IQ” by Joe Ide. It all goes back to that relationship between two very different people who both want to do the right thing and drag horrible secrets into the light of day.
Big thanks to Eddy for his thoughtful answers! You can find him on Twitter at @pugsteady and at his site. You can find out more about Pugmire at Next week, I’ll be interviewing an up and comer on the horror scene, Bridgett Nelson. See you then!