Jedidjah Julia Noomen
After starting her career in film, tv and theatre, Jedidjah moved into games and wrote titles such as Heart's Medicine: Doctor's Oath, Criminal Minds, the Mobile Game and audio-only game Alt-Frequencies, for which she also did voice direction.
She also develops, writes and directs (immersive) theatre productions and projects that combine live locations with gameplay elements. In addition, Jedidjah is Curator Public Space and programmer of Games & VR for the Imagine Filmfestival in Amsterdam, a festival specializing in the fantastic genre.
Screenwriters are used to writing dialogue for actors. Comic writers will just see their words on the page. And the game writer? The game writer can do both... In this in-depth talk we'll discuss the difference in writing dialogue for either voiced games, non-voiced games, and games that have both. It'll focus on how to adjust your dialogue writing and remind you about how written and spoken languages can differ. You'll have to change your perspective when you switch from one way of writing to the other, and not only that, but language will be understood differently when read vs when spoken as well.
Multiple examples from games and other media show will inspire the audience to think about the function and effect of their in-game dialogue. Did you realize that some grammar constructions work better on paper than spoken? And that some jokes work in audio, but not as written words? Start thinking about dialogue writing in a new way!