Jill Murray & Corey May

from Script Lock · host Max Folkman, Nick Folkman, Corey May, Jill Murray

2016 has been put on notice by our guests Jill (writer on Your Shape: Fitness Evolved and the Assassin’s Creed series, including Liberation, Black Flag, and Freedom Cry) and Corey (writer on Prince of Persia: Warrior Within, The Two Thrones, Batman: Arkham Origins, and lead writer on Assassin's Creed 1, 2, and 3), who are here to talk about how everything is writing even if nobody will believe you, staying creatively refreshed, the brain’s thirst for motor activities during procrastination, how one is never done writing a game even after shipping, the insularity of the games industry vs other mediums, the treatment of making games as software instead of entertainment, why it's so hard to get rid of the cutscene/gameplay/cutscene structure, how games have a lot to learn about nonverbal storytelling from dance, the need to embrace failure, how pressure does NOT make diamonds in game development, working with a nonexistent creative vision, being forced to make decisions and live with them as early as possible, not holding out for a better idea, and more things The Good Wife can teach us about narrative design. Our Guests on the Internet Jill's Twitter, Website, Discoglobe Interactive Inc., and Moon Hunters. Corey's Twitter. Stuff We Talked About The Other Side of Paradise: A Memoir by Staceyann Chin Time Machine VR The Good Wife Our theme music was composed by 2Mello, and our logo was created by Lily Nishita.

Episode metadata supplied by the publisher feed · Published Jan 18, 2016

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2016 has been put on notice by our guests Jill Murray and Corey May, who are here to talk about how everything is writing even if nobody will believe you, staying creatively refreshed, the brain’s thirst for motor activities during procrastination, how one is never done writing a game even after shipping, the insularity of the games industry vs other mediums, the treatment of making games as software instead of entertainment, why it's so hard to get rid of the cutscene/gameplay/cutscene structure, how games have a lot to learn about nonverbal storytelling from dance, the need to embrace failure, how pressure does NOT make diamonds in game development, working with a nonexistent creative vision, being forced to make decisions and live with them as early as possible, not holding out for a better idea, and more things The Good Wife can teach us about narrative design.

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Jill Murray & Corey May

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