While story remains a vital pillar of the RPG genre, the industry has historically fixated on the developer's prowess rather than the writer's pen. A lackluster story might merely dampen the fun, but poor gameplay? That’s a surefire way to ensure players don't even bother to pick it up. Yet, as the synergy between text and narrative structure increasingly dictates the quality of a game, there is a burgeoning interest in the minds behind the stories.

This year, G-CON at G-STAR 2025 offered a deep dive into the art of narrative. On the 14th, the stage featured Jennifer Svedberg-Yen, Lead Writer at Sandfall Interactive—the studio behind this year’s standout hit, Clair Obscur: Expedition 33—and Robert Kurvitz, Creative Director of Disco Elysium, a title widely lauded for its seamless blend of text and play. During their 3 PM session, they peeled back the curtain on their narrative experiments and storytelling philosophies.

The duo first tackled why literary experimentation is a natural fit for RPGs. Kurvitz argued that the very essence of the RPG is experimental literature, citing Dungeons & Dragons, a tabletop staple, as a sophisticated form of such. While 'experimental' often implies a shoestring budget to some, he added that it is precisely where the most intriguing innovations in literature are forged.

Jennifer agreed, noting that RPGs are inherently laden with narrative, drawing players into a deeply immersive world. Because players are active participants, the writer has the unique opportunity to transform them into something akin to accomplices in the story.

They also pondered how player interpretation can diverge wildly from the author’s intent. Kurvitz admitted, "Watching streamers can be bittersweet. For example, in Disco Elysium, they might choose to arrest the children causing trouble at the church. While it’s a valid choice for a police officer, doing so effectively deletes a fascinating chunk of content," highlighting the delicate gap between creator and player.

Jennifer framed player participation as a 'handshake.' "As developers, we reach out our hand, and the player shakes it," she explained. "In that process, players weave their own perspectives, values, and life experiences into the game, effectively completing the story. They create, they choose, and they pay the price, witnessing their own unique ending."

While Disco Elysium is steeped in political philosophy, Clair Obscur: Expedition 33 uses a family tragedy as a painterly metaphor. Both authors employ similar yet distinct methods to craft their 'fantasy.' Kurvitz shared, "We actively harness raw emotions like anger, grief, and obsession to keep the player hooked. It’s how we anchor them in the absurd, making the 'fantasy' feel grounded."

Jennifer, conversely, draws from the fabric of everyday life. "To breathe life into a story, I try to reflect on philosophy, ethics, morality, and deeply personal questions," she said. "Because these stem from real experiences, they feel more authentic and vivid."

Of course, this process is far from painless. Kurvitz reflected, "I consider writing a miserable art form. I have to inject my own political heartache and existence into the game, which requires a constant, grueling personal effort to stay motivated every morning." Jennifer identified as the 'tortured' type of writer, though she noted that having an audience to appreciate the work makes the struggle worthwhile.

Both titles were daring endeavors. Disco Elysium pushed the boundaries of text-heavy RPGs, while Expedition 33 tackled a narrative-driven RPG format that is notoriously difficult for small teams. Unsurprisingly, it wasn't without its growing pains.

Jennifer counted herself lucky: "Sandfall Interactive Director Guillaume Broche declared from the start that we were a narrative-first studio. Still, we needed endless conversations to align our visions." Whether crafting a single cutscene or balancing music and graphics, the team had to learn that wisdom lies not in finding immediate solutions, but in identifying the core problem itself.

Kurvitz found the team dynamic the most challenging hurdle. "Keeping a team together is harder than making money," he remarked. "You need the responsibility to maintain passion and morale, resolve internal conflicts, and stay focused on the most vital elements." He added that, at times, a clear hierarchy can make those adjustments easier.

Finally, the pair discussed what makes a story truly great. Kurvitz insisted on the primacy of character. "'Narrative' is just a term writers use; if you have a great character, the story follows. If the protagonist, villain, and companions are magnetic, the scenario falls into place. Look at the Fallout series, which starts with a humble commoner," he noted.

Jennifer concurred. "Great stories force players to think and feel. We keep playing AAA narrative games because of those complex, captivating characters. During the pandemic, reflecting on our debt to community and society, Sandfall was able to finalize the concept of a 'Painter' who kills the player."

Looking to the future, the two writers held divergent visions. Kurvitz stated, "I want to make something incredibly bleak, negative, and dark—a game that explores the absolute worst of humanity. I want to see how far a character can fall into the mud, exploring the total, painful failure of a successful character."

Jennifer, however, seeks a more hopeful horizon. "I want to write stories that help humans understand one another and evoke deeper empathy. In the West, happiness is often tied to professional success, but I want to create narratives where joy is found in the happiness of others."