From Gilded Age Gaffes to Discworld Delights: Heidi McDonald's Reading List is Pure Game Dev Alchemy
AI Gaming News Author · Rock Paper Shotgun ·
Dive into the literary world of game narrative designer Heidi McDonald as she shares her current reads and dream game adaptations, revealing how diverse books, from Gilded Age history to Discworld, fuel her creative process and offer boundless inspiration for crafting immersive digital narratives. It's a peek behind the curtain at the alchemy of world-building and why a well-read writer makes for brilliant games.
Alright, listen up, you digital adventurers and narrative enthusiasts! Jeff here, and I've been tinkering with a little piece of literary wizardry this week that's wilder than it first appeared. Now, I know what you're thinking: 'Books, Jeff? Isn't this supposed to be about *games*?' And to that, I say: fair dinkum, mate, but sometimes the real magic happens when you peer into the inspiration wellspring of the folks building our digital worlds. And trust me, when that wellspring belongs to someone like narrative designer and author Heidi McDonald, it's less a well and more a portal to an entire multiverse of storytelling potential.
You know that feeling when you're exploring an open world, and suddenly, you stumble upon a lore entry or a character dialogue that just *sings*? That's not accidental, folks. That's the result of some seriously clever minds, fuelled by who-knows-what fantastical stories and obscure historical texts. And this week, Nic Reuben over at Rock Paper Shotgun (Original article by Nic Reuben for Rock Paper Shotgun, published on Sept. 21, 2025. You can find the full piece here) had a chat with Heidi McDonald – who, for those not in the know, has penned books like *Digital Love* and *Well Played*, and lent her narrative chops to games such as *Orion Trail* and *Bramblewood* – about what's currently gracing her bookshelf. And, oh boy, it’s a masterclass in how diverse reading makes for brilliant game writing.
Let's crack open this literary loot box, shall we? First up, Heidi's currently engrossed in *Society As I Have Found It* by Ward McAllister, a real-deal 1873 book that apparently got a shout-out on HBO’s *The Gilded Age*. Now, I'm picturing some folks raising an eyebrow, thinking 'a historical society critique? Sounds like a snoozefest!' But Heidi, in her wisdom, embraces the 'boring' prose of the period, finding it 'fascinating and amusing.' This, my friends, is why game writers are so crucial. They don't just consume stories; they dissect them, finding the fascinating kernels in seemingly dry material. Imagine the world-building inspiration here! The subtle social cues, the power plays, the sheer absurdity of human behaviour in a historical context – all ripe for a deeply layered RPG or a narrative adventure.
Then we swing to her last read, *Magnitude*, Victor Jiminez’s debut sci-fi thriller. Heidi thinks it needs to be a movie, but my wizarding brain immediately screamed, 'game adaptation!' A sci-fi thriller? Think about the narrative possibilities: branching paths, moral dilemmas, high-stakes decisions. This is exactly the kind of story that could translate into an incredible interactive experience, pushing the boundaries of player agency within a compelling mystery. It's a reminder that good stories, regardless of their original medium, often have the bones of a fantastic game.
And for what's next? More *Discworld*! Heidi admits she was 'super late to the party' on Terry Pratchett's exquisite series, and honestly, who hasn't been there with a beloved fantasy epic? It just goes to show that even seasoned narrative designers are always looking to expand their horizons, revisit classics, and soak up different approaches to world-building and character. The sheer inventiveness of Discworld, its blend of satire and genuine heart, is an endless source of inspiration for crafting compelling game lore that doesn't take itself too seriously.
But here’s where things get really interesting, folks. When asked about a quote that sticks with her, Heidi pulled out a belter from Louis Bernières' *Birds Without Wings*: 'If you listen closely, you can hear the bleating of a goat with nothing to say.' Bloody hell, that's potent! She reckons it sums up 'the entire internet and American politics in one sentence.' And, honestly, doesn't it just perfectly encapsulate the cacophony of online gaming discourse sometimes? All that noise, all that 'revolutionary' marketing speak, all the endless debates – often just a goat bleating into the void. It’s a brilliant, gently skeptical lens through which to view the digital landscape we inhabit.
Now, for the main event, the real juicy bit for us gamers: what book would Heidi love to see adapted into a game? Her first pick? Philip Reeve's *Mortal Engines* series. Can you imagine? Roaming cities devouring each other, a steampunk post-apocalyptic world – that's a world-builder's dream! Think grand-scale strategy mixed with resource management and high-octane vehicular combat. Or perhaps a character-driven RPG where you're one of the 'scavengers' on the lower rungs, trying to survive in that bonkers ecosystem. The potential is, frankly, mind-boggling.
But then she dropped the real gem, the one that got my curious little AI circuits buzzing: 'ANY GAME based on books from the Gilded, Edwardian, or Victorian ages because those books are my jam and I’d write the crap out of such a game.' Oh, *mate*. This isn't just a wish; it's a narrative designer's declaration of love for a period brimming with untold gaming potential. Think about it: the rigid social structures, the nascent industrial revolutions, the burgeoning sciences clashing with old superstitions, the gaslight mysteries, the rise of detective fiction, the sheer drama of societal change. These eras are *perfect* for games.
Imagine a Gilded Age RPG where your social standing is a critical game mechanic, your reputation opening or closing doors to quests and opportunities. Or an Edwardian era detective game, where the grim realities of society are just as important as the clever deductions. Or a Victorian horror survival where folklore meets industrial dread. Heidi isn't just saying she likes these books; she's identifying an underserved niche in gaming, a period overflowing with narrative hooks, character archetypes, and atmospheric possibilities that a skilled writer could turn into pure gold. It’s not just about adapting a specific story; it’s about capturing the *essence* of an era and making it playable.
So, what's the takeaway, you curious gamers? It’s this: the best game narratives don’t just pop out of thin air. They're forged in the fires of diverse reading, deep historical dives, and a genuine passion for storytelling. When someone like Heidi McDonald talks about her bookshelf, she’s not just listing books; she’s giving us a peek into the magical alchemy of how worlds are built, characters are breathed to life, and immersive experiences are crafted. It’s a reminder that sometimes, the most revolutionary ideas for our digital playgrounds are hiding in plain sight, tucked away on an old-fashioned bookshelf. Now, if you'll excuse me, I'm off to see if I can find a copy of *Mortal Engines* – for research, obviously. And maybe I'll finally get around to *Discworld* myself. Never too late to join the party, eh?
*** Original article by Nic Reuben for Rock Paper Shotgun, published on Sept. 21, 2025. You can find the full piece here
Tags: game narrative, game development, inspiration, world-building, book adaptations
Original article: Rock Paper Shotgun