Why ‘Until Dawn’ Video Game Writers Aren’t Credited on the Movie

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As the closing credits of the game “Until Dawn” unfold this weekend, many individuals who played a part in Hollywood’s latest video game movie will be recognized for their efforts, ranging from director David F. Sandberg to the assistants and even the caterer. However, two significant names that won’t appear on the list are Larry Fessenden and Graham Reznick, the pair who penned the popular 2015 video game that kick-started the franchise.

As a passionate gamer, I’ve noticed something intriguing about the credit system in video game adaptations. Unlike comic book writers and artists who often see their work inspiring movies and getting a special thanks in the credits, us video game creators rarely receive such recognition. According to insiders talking to The Hollywood Reporter, this is because it’s typically the company behind the game, not the game’s creators, who get credited in these adaptations.

Video game writers are increasingly considering ways to tell stories within their creations, with movies like “The Minecraft Film” demonstrating that this genre has become a reliable draw at the box office.

In a recent phone conversation, Fessenden and Reznick expressed that they weren’t taken aback by the fact that the latest film doesn’t credit them as significant contributors to the first game, which was developed by Supermassive Games. “I didn’t expect anything, but I thought someone would at least mention our names, perhaps in the end credits,” Fessenden stated. “However, it seems there’s little regard for courtesy in the entertainment industry.

In 2015, the initial release of “Until Dawn” earned Fessenden and Reznick a Guinness World Record for having the longest script in a graphic adventure video game, with an astonishing 10,000 pages written during its development. The game revolves around eight characters struggling to survive a chilling night on Blackwood Mountain. Players are guided through a gripping story that mimics a slasher movie and features a Choose Your Own Adventure-style structure, where the narrative splits into multiple directions based on player decisions. This extensive writing was necessary due to the intricate plotline, as well as a transition from an unpublished PlayStation 3 game to the final version on PlayStation 4.

The duo make it clear they didn’t originate the game; instead, they were asked to present their ideas by Will Byles, then the creative director of Until Dawn, and Pete Samuels, a co-owner at Supermassive Games at the time. However, it’s evident that they have become integral parts of the series, contributing to subsequent versions of the game, such as the VR-enhanced spinoff Until Dawn: Rush of Blood (2016). In this game, Fessenden lends both his voice and likeness to the antagonist, a shape-shifting carnival barker. Additionally, Fessenden plays a character who appears frequently in the initial Until Dawn game.

Back in 2015, I got a chance to dive into the thrilling world of “Until Dawn” when Sony came knocking, asking for our unique spin on it. We crafted a chilling meta-narrative that resonated with some classic horror flicks like “Brainscan” and “Wes Craven’s New Nightmare.” Alas, our idea was one of many pitched over the past decade, and unfortunately, it never made it to the big screen. Regrettably, I didn’t receive a call from Sony this time around, as they moved forward with a fresh script penned by Blair Butler and Gary Dauberman, featuring new characters and settings distinct from the original game.

They aren’t asking for recognition from Sony, Supermassive, or the Writers Guild of America in the form of credit. However, a mention in the end credits would have been appreciated.

In some instances, it’s straightforward to assign credit, but since the Guild isn’t certain who deserves credit in the realm of video games in general, they don’t have a strict guideline on how to handle this situation,” explains screenwriter and WGA member C. Robert Cargill, known for his work on movies like “The Black Phone” (2021) and “Doctor Strange” (2016). Cargill has also collaborated with director Scott Derrickson on various unproduced video game adaptations, such as a “Resident Evil” series for Netflix and a “Deus Ex: Human Revolution” movie.

Cargill points out that, technically speaking, the studio is adhering to Guild regulations,” he says. “However, it’s important to note that the Guild neither holds any authority nor handles matters related to the video game industry.

Neither Fessenden nor Reznick belong to the Writers Guild of America (WGA), but Reznick took part in the WGA’s Video Game Writers Caucus, a group set up by the WGA West primarily to organize in non-traditional work areas and facilitate interactions between union members and non-members. The Video Game Writers Caucus was shut down at the end of 2021, and the WGA’s annual award for Video Game Writing ceased in 2019 after a decade.

During the caucus’ gatherings, Reznick raised a question about the specific definition of “interactive media.”

In the discussions held at the caucus, Reznick sought clarity on what specifically falls under the category of “interactive media.

Reznick states that ‘interactive media’ isn’t part of the guild because there’s no clear legal definition of what constitutes ‘interactive,'” he explains. He further highlights the challenges faced by video game writers in getting gaming companies to approve an Interactive Program Contract (IPC), a unique contract designed to provide pension and health benefits for non-guild members working on specific projects, as well as the option to join the Writers Guild of America. Reznick attempted to submit an IPC to Supermassive Games, but was advised to hold off until the WGA West could revise the IPC. Unfortunately, this revision never occurred.

The WGA West did not respond to a request for comment from THR.

Reznick, along with certain ex-members from the Video Game Writers Caucus, have been maintaining regular, unofficial gatherings. Rob Forman, a board member of WGA West and a writer on titles like Spider-Man 2, is one of those still advocating for unionizing video game writers.

In the world of TV and movies, the term ‘written by’ is a specific one, outlined in our union agreements with the studios. However, when it comes to video games, there’s no such guarantee or protection at this time, which means that credit assignments can be more freely decided by individual game developers as per their own policies,” Forman explains in an email to THR.

In the absence of union-mandated industry norms, video game companies aren’t obliged to acknowledge the contributions of writers such as Fessenden and Reznick. However, in instances like Neil Druckmann’s “The Last of Us” and Scott Cawthon’s “Five Nights at Freddy’s”, the creators themselves are deeply engaged in the adaptations and receive due credit because they were not merely hired hands tasked with realizing a studio’s vision, as was the case for Fessenden and Reznick.

Reflecting on the first game, Reznick admits that he and Fessenden primarily handled the characters’ dialogues and individual storylines rather than the main narrative, as the shift in developing Until Dawn to the advanced PlayStation 4 platform allowed for more of the story to be conveyed without dialogue.

In Fessenden’s words, “Much of our conversation got lost when they found out they could record the actors’ performances to better portray their characters. However, we had previously developed the characters’ backstories, which helps you understand them better. This is what made the first Until Dawn game seem alive and also why it can be played multiple times.

As a die-hard fan, I must admit that neither I nor Reznick harbor any resentment towards the Until Dawn movie. In fact, we often joke about our disappointment for not being given the opportunity to reprise our roles from the original Until Dawn game. Although it’s worth mentioning that, unlike me, Reznick didn’t have an on-screen character in that game; instead, he supplied the voice of a radio DJ.

Still, they worry things are moving so fast that other writers may be left behind.   

According to Reznick, it seems the guilds aren’t managing to keep pace with the rapid evolution of the industry, leaving us wondering about the future direction of this field.

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2025-04-25 22:55