- Brian Baglow of Indoctrimat pinged me with a neat item on his ScottishGames blog: "I've just posted an interview with Gordon Rennie, noted comics author and the BAFTA nominated writer behind Rebellion's Rogue Trooper game. It touches on comics, games, writing in games and why so much of it sucks."

And it's fun reading! Here's Rennie on his introduction to game scripts: "Someone at Lost Boys Games - now Guerrilla - really liked this nasty future war comic strip called Glimmer Rats that I'd written, and tracked me down on the interweb thingy to ask me if I was interested in working on the script for Killzone, which was still in early development then. That experience ended slightly unhappily - I was one of the thousands crushed beneath the wheels of the Killzone juggernaut as it slowly inched its way along the road to completion - but I did get to hang out in Amsterdam, meet Rutger Hauer and get a peek behind the curtain at the surprisingly half-arsed way some games are put together."

He also talks about his perfect game licenses - a lot of which revolve around the rich 2000AD universe, handily owned by Rebellion, of course: "Sticking close to home, I think there's a lot of IP potential in the 2000AD stable of characters. Rebellion's initial Dredd game was a misfire, but Rogue Trooper benifited from the learning curve on Dredd - hiring a professional writer being part of that curve, and paid off by getting them a Best Screenplay BAFTA nomination - and from having more love and attention lavished on it."

He concludes of the 200AD experience: "Classic series like Strontium Dog, Nemesis the Warlock, ABC Warriors, Robohunter and perhaps more recent ones like Nicolai Dante and Sinister-Dexter could all make great games, having distinct, visually-interesting lead characters and an immense amount of backstory and strongly-realised fictional universe concepts to draw on." Heartily agreed.