Comedy writer, director and performer George Vere discusses the topic of putting comedy in computer games...

A cynical person might argue that incorporating quirky humour to undercut the "dramatic bits" in generic first-person shooting / generic fighting / generic action-adventure games is a lame attempt to appeal to those who laugh at the recent Marvel movies. And that cynical person might be me. When comedy feels forced into a video game, it shows, and audiences are tired of cringing their way through tacked-on comedic dialogue.

This could be why NotGames' comedy full-motion video game Not For Broadcast has been a surprise hit. Garnering extensive critical acclaim and even earning a BAFTA nomination, it is evident that there is a significant market for gaming experiences centred around comedy.

With the release of its highly anticipated first DLC, Live & Spooky, NotGames has not only expanded the world of Not For Broadcast but paved the way for a promising future due to one brilliant decision: casting me in the leading role.

But before we get to that, here's a brief explanation of the game: Not For Broadcast is a darkly comedic video game that puts you in control of a live televised news broadcast. As editor of the National Nightly News, decisions you make onscreen help control the narrative, potentially leading to dire consequences. Not For Broadcast: Live & Spooky exists in tandem with the base game and features Patrick Bannon, played to perfection by me, embarking on a ghost-hunting adventure within an abandoned film studio haunted by a mysterious death.

When the team approached me with the offer to reprise my character for a brand-new episode, I was delighted. Patrick Bannon had only made sporadic appearances in the main game, so I eagerly embraced the chance to expand on the character's story and return to the captivating world of Not For Broadcast.

What sets this filming experience apart from others is the freedom the NotGames team grants me to play with the script. On Live & Spooky, I thoroughly enjoyed improvising lines and injecting fresh ideas into my character, knowing that the creative team had my back and was ready to rein me in if I veered too far off course. This collaborative process enabled us to "find the funny" and discard concepts that didn't hit the mark. Reworking and refining jokes like this is common in live comedy but often overlooked in filmmaking, especially with video games.

But I can't take all the credit for making games funny again. NotGames has assembled an exceptional roster of talented actors and comedians throughout the various episodes, each contributing distinct comedic perspectives to the game, enriching the overall experience and ensuring the humour doesn't become formulaic. The team draws players into the story by placing comedy at the forefront, creating a sense of investment in the (often ludicrous) premises and characters. And in doing so, you feel the game earns its dramatic moments while maintaining a lighthearted approach that prevents them from becoming overly pretentious or self-important. This careful balance allows players to fully immerse themselves in the experience, appreciating both the comedic and dramatic aspects without feeling burdened by unnecessary gravitas.

In light of the success achieved by small indie companies like NotGames, it would be wise for game developers to take inspiration from their playbook. If injecting humour into a game is the goal, it may require a shift in approach. Fostering collaboration, embracing adaptability, and treating comedy with respect and reverence are the keys to crafting funny video games. Or we can carry on as usual: wait until the most dramatic moment and have the side character do an awkward turtle.