Reflections from a Content Designer’s Dive into Game Development

A while ago, a game my colleagues and I at GovTech Edu had been working on for almost a year was finally released (read the announcement here). This decision-based game was our experimental approach to research dissemination, presenting insights in a more immersive and engaging format. As a Content Designer, I contributed extensively on the content side – helping with story-building, conceptualization, character development, and even marketing to build anticipation leading up to the release. Having tasted what it's like to apply my skills in game development as a Narrative Designer, here are some reflections from my perspective as a Content Designer.

1. Adding Layers with Double Meanings in Dialogue

The skill of writing game dialogue may sound similar to other types of writing, but it’s quite distinct. In my work as a Content Designer (or UX Writer, as some may call it), I focus on delivering essential information, stripped of anything non-essential. Our goal is to eliminate any chance of misinterpretation to ensure users complete tasks without confusion. Less is usually more; we aim for conciseness and clarity.

Narrative Design, however, introduces layers. Rather than stripping away, you're layering meaning – subtle hints, context, and double meanings that engage the player’s imagination. For example, a word choice in dialogue might subtly reveal a character’s backstory. This layered approach is vital, especially when visuals aren’t available to aid imagination. It’s a skill that feels entirely different from my usual Content Design toolkit, and one that invites the player to look between the lines.

2. Cosplaying the Brand through Tone and Backstory

During the game project, I helped add depth to characters by crafting comprehensive backstories – not just a few lines but detailed profiles, including everything from zodiac signs to personal mottos. This was perhaps the most enjoyable part for me, as it enriched the characters’ motivations and made their dialogues feel authentic. It felt like creating a cast of imaginary friends, each with a distinct personality and life perspective.

In Content Design, I find we do something similar, though perhaps less overtly. When writing for a flow, I always consider the system's “persona” – often reflected in the product’s Tone of Voice.

"Am I an OTA brand using formal language to convey sophistication? A healthtech company that needs a level of formality to assert expertise? A government agency striving for clarity and trust?"

Answering these questions shapes my approach to word choice and tone. This process is quite like “cosplaying” the voice of each brand, much as a Narrative Designer steps into each character’s mindset to keep their voice authentic.

3. System Thinking from UX to Game Dialogue

When writing game dialogue, I found myself creating mental maps of conventions – terminology, capitalization, style, consistency. I had to track the story's progress:

"This character said this in one scene, so it wouldn’t make sense to repeat it here," or "We used this term earlier, so we need to maintain it here."

This mapping process reminded me of the system thinking we use in UX Writing (and design in general), where consistency is essential to build user trust and comprehension. In UX Writing, system thinking ensures that each interaction, screen, and flow aligns with a cohesive brand voice and style, reducing cognitive load on users by creating familiarity. It’s like building a structured ecosystem where every element is thoughtfully connected.

In game dialogue, this principle translates into maintaining narrative coherence across scenes – ensuring characters stay true to their development arcs and that any recurring terms or themes feel natural, not repetitive. This approach is essential for players to feel immersed in the story. Just as inconsistent messaging in UX can break the user’s focus, narrative inconsistencies in games disrupt the player’s connection to the story, making system thinking critical across both realms.

So?

Working on this game opened my eyes to how the core principles of Content Design permeate other disciplines if you look closely. I believe these fundamentals apply across crafts, because once you grasp the basics, you can adapt them to almost any medium. Designing content, whether for a game or a user interface, follows the same principles. The approach might need tweaks to fit the medium, but the essence of crafting remains universal.

*If you’re curious to dive deeper into the process behind creating this game, check out my detailed case study on the development of the PPKN game. There, I break down the design decisions, challenges and the insights we uncovered along the way.