Narrative Designer at @SumoDigitalLtd Notts 
MCV 30 Under 30 2021 She/her. This is a personal account and views expressed are mine alone.
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When I first began writing for games, I believed it the same rule as other mediums: conflict = story. But the interactive nature of games changes how narrative conflict feels for players. You're not watching a car crash, you're *in* the car crash.https://twitter.com/sarahlongthorne/status/1278648308693716993 …
Mel isn't angry with Abby, she's angry with you. Lottie isn't being a binch (sorry, new favourite word) to some avatar, she's being a binch to YOU. Rather than revelling in drama, we feel attacked, and we dislike accordingly, even when it's justified.
By losing objectivity, we lose what makes drama fun and turn it into stress. Which is fine when we apply it with a light, deliberate touch. But when you've been taught to apply conflict liberally to keep people hooked? In this medium, that can go awry.
I'd like to compliment the writers at @fuseboxgames in this regard. Season 3 of Love Island has so far been a fantastic and, I'd say, successful exploration into "what if it was just... fun?", "what if people were just... nice?", "what if we just... enjoyed our time together?"
IMO, we as game writers and narrative designers need to be more aware of this distinction, the differing effect of drama. It's an opportunity to play around with what we can achieve that authors, screenwriters can't, then apply it with intention.
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