Evidence that this job is not easy is her experience. Over the years, Sanja has gone through many studies (Exordium, Pine Studio, collaboration with Croteam), which ultimately led her to Today’s Games, currently working on the game ReSetna. We spoke with her about what a narrative designer does, details about ReSetna, and her opinion on the state of the Croatian video game industry.

Incidentally, ReSetna is a 2.5D metroidvania set in a crumbling, post-apocalyptic world. A once-great civilization has now fallen, and its remaining inhabitants struggle for survival under the rule of APEX. When a mysterious Signal appears, driving robots to madness and violence, ReSetna and her loyal drone IXA embark on a mission to uncover the secrets that the Signal hides and its true meaning.

You are a versatile person engaged in narrative design, music, and video game design. If you had to choose, what do you enjoy doing the most?

It's hard for me to single out something I like the most because I love combining various media. I really love music—I have been playing, singing, and composing since I was little. However, I equally love writing because through it, I can tell stories. I enjoy expressing my ideas in different ways, so it's difficult for me to choose just one.

Have you always wanted to work in this field, or did life lead you in that direction?

Considering that I am quite a creative person, I always saw myself in such waters. However, I didn't specifically think about video games. About seven years ago, I stumbled upon an ad for creative writing at Machina Academy, and that’s basically where I started my journey into the world of video games in Croatia. I met a lot of people from the industry, did internships for writing, and even for music in the end.

What does narrative design encompass?

Narrative design really includes everything. Primarily, it involves collaboration with the game designer to connect the game mechanics with the story. For example, if I'm working on a game in the Metroidvania genre, every combat mechanic must have a narrative explanation. Of course, this also includes worldbuilding, meaning it's not just about writing dialogue, cutscenes, and quests.

It also involves describing the items that players will find, the entire history of the world, and what is actually happening in that world. I really enjoy writing NPCs, or secondary characters. They are particularly interesting to me because they are the ones who tell the story of the world, not so much the main player. So, I find that quite challenging. 

How was it to join the team on the ReSetna project?

It was challenging because I came to a project with already established foundations, but fortunately, I quickly found common ground with the team. It is very important for the team to function well, to have a common language, and to have a good rapport, meaning they are on the same wavelength on certain issues, as this is a very complicated job. It requires a lot of meetings and communication with the rest of the team, and there is no room for mistakes and wasting time.

What part of ReSetna are you most proud of?

I work on ReSetna as a narrative designer and creative director, so I have to coordinate all segments of the game. I am proud of the narrative, especially the moments when players show interest in the story and ask for "more." That is a sign to me that we have managed to capture their attention.

You have worked in various Croatian studios, such as Pine Studio and Exordium, as well as Croteam. What would you highlight?

With Croteam, I worked more in the form of freelance collaboration. I particularly worked on music with Damjan Mravunac, which was a wonderful experience. In Pine Studio, I was a narrative designer, while at Exordium, I worked as a game designer and composer, but not so much on the narrative aspects.

It's interesting how these studios operate in different ways, yet there are evident similarities. You realize how important structure is in this job and how crucial it is to respect it. I noticed that artists are often more introverted and a larger number of artists are mostly women, while programmers are predominantly men.

It's also interesting to observe how teams function together, especially in joint meetings. Communication is key, and everyone contributes their ideas. Regardless of the studio I worked in, the emphasis was always on that segment – team communication. When team members get to know each other better, communication becomes much more fluid and smooth.

Have you been to events like Gamescom or Develop Blue in Dubrovnik?

Unfortunately, I haven't had the opportunity to attend due to commitments, but our representatives participated in those events. Player feedback has been positive. There is still room for improvement. We have just released a demo, but it's interesting to see that what they expect is already in our plans, so that gives us a bit of a boost.

You also have a publisher behind you, indie.io. What is it like to work with them?

It's challenging regarding time differences, as we are in different time zones. We try to ensure that communication doesn't lag more than a day, but that sometimes leads to overtime. However, our publisher is really great. There are no other major challenges besides that time difference, which we sometimes forget. We work remotely, so whenever we send a message to the team, someone responds right away, and we can quickly organize a meeting. 

How many people are currently working on the game or in the studio?

I think it's between 9 and 13. We have three programmers, three to four artists, one writer, one game designer, and VFX and sound designers. So, we cover all key positions. Sometimes it happens, especially in indie teams, that one person does multiple tasks, which is quite common in Croatia – due to experience and limited resources.

But we are well-equipped. We have an excellent team of industry veterans who know exactly what they are doing, and their efficiency is unquestionable. From that perspective, the workload is optimal.

How many games have you worked on so far, approximately?

A lot. I've worked on more than 150 games just in Exordium, so it's hard for me to count exactly now. I've worked in various positions, from composing to writing, so I haven't specifically tracked the number, but if we look at the total, definitely over 100 games.

Do you use FL Studio and Unity Engine?

Yes, I mostly use FL Studio for music. I've experimented a bit with Cubase, but it's a matter of preference. I can also use Ableton – all these tools have similar functions. It's a matter of personal choice, just like developers choose whether to work in Godot, Unity, or Unreal. For example, we work in Unity, which I am well acquainted with.

Currently, I am also working on scripts. I write scripts in Articy Draft, which we then port to Unity. It's important to have technical knowledge to speed up the process and facilitate communication with the rest of the team. My job isn't just to sit down and write – ideally, a scriptwriter should be able to test their work directly in the engine.

What do you think about the Blender conference that connects film and video games?

I think it’s a very positive event. It’s interesting to see how the film and video game industries are merging, or “blending,” as they say. Although they are similar media, they are also very different. We just discussed interactivity and the differences between them on a panel, but we also emphasized their similarities. I think it’s extremely beneficial, especially since video games, despite their long presence, are still a mystery to the broader audience. This conference helps to better understand games and connect them with film, a medium that has been around for a long time and has a much wider audience.

What is your opinion on the Croatian gaming scene?

I think it is still in a growth phase. I’m glad to see the opening of new studios, which is always a positive sign. However, I believe there is a large space for further development. Generally, the biggest problem, not only in Croatia but also in the global video game industry, especially among indie teams, is investment and the lack of investors. This business often starts in a "garage," without any funding, in free time or through work in a larger studio where you build your career. Launching a project requires not only creativity and technical skills but also business knowledge and experience.

Can one succeed as a narrative designer in Croatia?

Yes, one can. However, it is actually much easier now than before. Technology and remote work have allowed us to not be exclusively tied to Croatia, which is a very positive change. I also increasingly see colleagues from Croatia working as narrative designers, game designers, or voice actors. It is always useful to have a wide range of skills in the industry.

Do you have any advice for those who want to succeed in this field?

It is hard to give specific advice without it sounding like wisdom. However, I think the most important thing is to constantly learn and familiarize yourself with the medium you are working in. Video games are an extremely complex medium with a wide range of different genres, and as a writer, you need to adapt to each of them. For example, there are games where as a writer you won't write a single line of dialogue, but will work exclusively on world-building, like the well-known indie titles Little Nightmares or Inside. These are games with clear stories but without a single word. It is crucial to adapt to the genre in which you are writing.

Also, it is important to understand the technical aspects – working in Unity, Articy, or other programs. You can learn writing itself, but the key is the ability to find inspiration and good ideas within yourself. That is something you must discover within yourself, and that may be the most important advice I can give.

Considering the development of technology, do you think it significantly affects your work?

It definitely makes it easier. When I started, I was already a gamer, but I didn't play all genres. Now, with advancements in technology, it's much easier to study different games and genres. Technology allows for easier learning and quicker access to information, but it also brings some challenges. For instance, the development of artificial intelligence raises concerns for some, but as a writer, I'm not too worried. I've explored AI tools like ChatGPT, and while they can generate text, their output often lacks creativity and depth. AI can facilitate things, but it cannot take away jobs in terms of creating content with soul and meaning.

Can you describe what your typical workday looks like?

One of the first tasks of the day is reviewing and reading what I've already written, especially related to world-building or character and boss storylines. I do this to remind myself of the details and ensure consistency in the story. I also maintain my own Excel spreadsheet with daily tasks – I plan how much I'll write, which part of the game to test, and I perform creative and marketing tasks like filming videos.

The biggest challenge for me is organization, as game development often has strict deadlines. I could work on a game for ten years, but unfortunately, that's not possible, so good organization is key. Every day, I review my tasks and check what I've written to avoid mistakes.

The post Sanja Adorea Valor – narativna dizajnerica i kreativna direktorica u studiju Today’s Games first appeared on IndieGames.