Rhianna Pratchett Quotations

Showing a videogame character terrified and scared is something that's not really done that much.

I have been playing games since I was about 6, and they've always been a big hobby of mine.

My journalist sensibilities have guided me toward the types of projects I've gone for, even though the projects have been fairly diverse. It always has to have that interesting to attract me, I think.

Ideally, writers and narrative designers should be included much earlier in the process, where they can be of most benefit. However, although the industry is slowly getting used to fitting narrative professionals into games development, we're still going through a bit of a 'square-peg in a round hole' phase.

I did my degree in journalism, and I then went on to being a games journalist, reviewing and previewing games and writing about the industry, visiting and interviewing developers.

Cavorting around fantasy-style environments with a rampaging horde of sycophantic psychos is inherently amusing.

I went to karate classes where it was basically a line-up of hulking man, hulking man, small nine-year-old girl, hulking man, hulking man.

I think the Dutch certainly get British comedy. And let's face it; a lot of it is pretty low-hanging fruit for the whole world now. There are probably tribes in the heart of the Papua New Guinean rainforest that know all the words to the Dead Parrot sketch.

I studied journalism at university, and I started a little bit of work on a woman's magazine called Minx that was aimed at 18- to 24-year-olds.

I think 'Overlord' has definitely benefited because I work with every single level designer, and working where we have space to tell the story. That's what it's all about - getting writers and storytellers involved in the team and being a back and forth process.

I still rate the bit in the first 'Tomb Raider' where the T Rex comes round the end of the valley and roars as one of the most awesome gaming experiences, and I still adore 'Tomb Raider' for putting that in my life.

We're not used to seeing any videogames character express sentiments like fear, uncertainty or remorse.

Writing for videogames is really unique. You learn all the rules of writing, but there's a whole other set of rules for game writing, and we're changing them as we move along as well, which makes it more challenging.

Because I once became so distraught watching the film 'Watership Down,' my parents were happier to let me watch action adventures featuring humans and warriors rather than cute animals.

When I was really young, Dad wasn't that well known. I don't remember when I realised he was a writer, but I do remember him leaving his full-time job at the Central Electrical Generating Board to concentrate on books.

The thing with videogame characters is that they tend to be really undercooked, and people don't take the time to really flesh them out. They don't treat them with the respect that a writer writing characters in any other medium would treat their character.

I liked climbing trees and could often be found up one reading a book. I played games with Dad and drew maps for him on isometric paper. It was very bonding.

I'm an only child, so I never had sisters to tell me what I should like based on my gender. I liked what the boys were doing and thought: 'Why let them have all the fun?'

Dad loved computer games, and I would sit beside him for hours with graph paper, drawing out plans to try and forecast the moves he should make while he worked the computer controller.

Dad was very into electronics, robotics and computers, so I was interested in what he was doing.

The type of Alzheimer's Dad has is rare - posterior cortical atrophy or PCA - and it affects his spatial awareness and the way he judges distance. His first symptoms were erratic typing and spelling, but to talk to him, you'd never know there was a problem.

Being 21 years old is not easy in the sense that you're still trying to get to know yourself.

The launch of 'Tomb Raider III' was actually my first experience of the games industry.

There's a moment on the arch of a jump, when you are neither rising nor falling. All you can see is the sky. All you can feel is the air and all you can hear is your heartbeat. That is all you are. Muscle and motion. It's called the deadpoint. I live for that.

I enjoy co-directing or even being there just for support because you get to see your script come to aural life in front of you.

You can't have bravery without fear

In regards to being female, I don't really think about it in the same way that other people do. I prefer to focus on my job rather than my gender. I'm still amazed that people think it's a big deal.

I can pretty much spend an entire week talking about how the writing process works, to be honest! It can really vary from project to project and is often dependent on when you're brought on board, the genre, the platform and the narrative desires of the project.

Videogames need more women and are too reliant on male, stubble-covered heroes.

I think it would be a great challenge to work on a military game which featured a female lead character. Since female soldiers are now being allowed on the frontlines, we're actually in danger of reality overtaking games!

The best advice I have is keep writing, keep practicing, keep winning, losing and understanding the difference. Never stop learning, never stop pushing yourself. Then find yourself a team you can work well with and help make awesome things happen.

Games aren't created by writers rocking up to developers saying 'I have this great game story.' It's about establishing relationships and working hand in hand to create something wonderful.

Generally I wouldn't accept work on projects where I didn't agree with the sensibilities behind the main character.

By the time a writer comes onto a project (if they're being hired as a contractor) the main character has usually been designed, as that's always done during a project's pitching stage.

There's always a lot of pressure with big projects and so as a writer you have to be robust and flexible, with a tough hide.

Larger game teams are often a bit more experienced at working with writers, which is often a huge relief. However, it also means that there are more people wanting to wander around the narrative kitchen telling you how you should be making your story pies.

There's the underlying feeling that writing must be easy, because it's all about putting letters together. That's only true in the same way that programming is all about putting numbers together.

Traditionally games never used professional writers to create their narrative, so there's definitely a residual feeling that hiring a proper writer is somewhat of a luxury, rather than a necessity. Like a feng shui consultant.

I like to make all my characters interesting. Be they male, female or creatures unknown.

They are very good reasons why voice acting in games can be so terrible. Writers are in a great position to be able to bridge this gap.

I think it's essential for writers to be involved in the recording process as things can often go wrong in this area. Voice actors are all too often presented with a wad of XL sheets, no proper character notes, context or reference and are just expected to perform.

Creativity comes from the part of the brain that is veritable soup of experiences, memories and influences. We really don't like to start questioning exactly where it comes from, in case it stops coming.

I am terribly British. Especially in the eyes of Americans. I drink several gallons of tea a day, I'm often excessively polite and it's only through many years of expensive and painful dental work that I don't have bad teeth.

A lot of young girls don't realise how diverse the career opportunities are in games development. Many think that you need elite math skills and a vast knowledge of all things tech to work in games, and haven't thought about avenues like design, producing, art, writing or composing.