Earlier this year a game came out which is right up CREWS’s street. Heaven’s Vault is a narrative sci-fi archaeology game where the central mechanic sees the player attempting to decipher a writing system found in ancient inscriptions. It justifiably received a lot of praise from reviewers, offering up a pleasingly thoughtful alternative to the usual video-game portrayal of archaeologists as gung-ho action heroes who negotiate traps and fight mercenaries, Nazis and wild animals. Its developers, Inkle, are well-known for crafting careful and well-written branching narratives, so the exploration and decipherment elements are wrapped up in an appealing choose-your-own-adventure structure.
In December I was lucky enough to speak at two conferences, which were both very rewarding, although very different.
Anyone who’s followed the CREWS blog will know that we’re fond of a bit of sci-fi and fantasy. We’ve talked about the writing systems of Star Wars, Game of Thrones and Indiana Jones. But ever since I was a kid, my absolute favourite piece of science fiction has been Doctor Who. Since it’s finally back this weekend, what better time to look at how it handles writing?
Continue reading “Writing in Time and Space: the writing ‘systems’ of Doctor Who”
We’re big Star Wars fans here on the CREWS Project, and with a new film out now seems like a good time to revisit the topic of writing in the Star Wars galaxy. Pippa’s written before about Aurebesh, the most well-known Star Wars writing system, but as she mentioned in that post there are actually a lot more, and they’re a nice illustration of the changing way popular media uses writing-systems in its world-building.
For one reason or another, we’ve had a bit of a fantasy writing systems theme lately in our blogging. Not so long ago I wrote something about the various invented writing systems of the Legend of Zelda games, and Pippa has told us about Aurebesh, from the Star Wars series. Just one more for now. Since there’s a new Alien movie out, we thought it’d be nice to take a look at the influential ‘Semiotic Standard’ pictographic system developed for use in spaceship signage in Ridley Scott’s original 1979 film.