Games Academy graduate on building a career in game storytelling
23 June 2026
Aymie Martin’s games career has taken her from production to narrative, working across military simulators, unreleased IP and mobile interactive stories. Now a Writer at Fusebox Games, she works across writing, playtesting, story development and production on mobile interactive experiences including Big Brother: The Game. It’s a role shaped by collaboration, technical problem-solving and a clear understanding of how stories are built inside a studio.
We caught up with Aymie to learn more about writing for interactive games, moving between production and narrative roles and how Falmouth helped her step into the industry before she had even graduated.
Aymie studied BA(Hons) Digital Games, which has since been integrated into the BA(Hons) Games Development course.
You're currently a Writer at Fusebox Games - what does your day-to-day look like?
The narrative team for our project meets every morning for our stand-up: we talk about our objectives for the day and raise any blockers we have. This is also our opportunity to talk through any problems we're having with our scripts, whether that be plot holes or technical problems. What I do next depends on where we are in development. Today, for instance, I'm working on wrapping up the third season of Big Brother: The Game. This means I'm playtesting the final episodes, tweaking lines of dialogue and working closely with Quality Assurance (QA) to solve any technical issues.
There's a saying that in every mine in the world, you'll find a Cornish miner. Nowadays, it feels like in every game studio, you find a Games Academy student.
Next week, I'll be writing my first script for our next season. The week before this, I was in a writer's room developing our plot for our new season. We aim to release a handful of seasons a year, so the work is constantly varied! I might also have meetings with other departments: our narrative tools team or our art department, our monthly retrospectives with the whole team or maybe a one-to-one with the Story Lead or Senior Writer. These make sure I'm hitting all my personal goals!
Can you talk us through the main roles you've had throughout your career and what knowledge/experience you've picked up from each along the way?
I started out working as an Associate Producer at Antimatter Games, working on post-release content for military simulator Rising Storm 2: Vietnam. Production at a small studio like that was an incredible start in the industry because I worked with the whole team: from animation, weapon art, level design and code. It gave me a clear understanding of how all these intricate parts fit together. Working on the downloadable content (DLC) was also really cool as it's almost a bite-sized game, where you see the seed of an idea grow into something playable in a fairly short amount of time.
As Antimatter grew, we started working on a new project, I.G.I. Origins, which is when I moved into a Junior Writer role. I.G.I. Origins was a pre-existing IP, and it was a real challenge to walk the line of what old fans would expect from the story and updating plot and characters that were almost twenty years old. Sadly, the game was never released, an experience a lot of developers will have to go through. This is where I learned to write in ink, not blood: as a writer on someone else's IP, there's only so much you can give of yourself to the story, so it doesn't crush you when forces outside of your control mean it doesn't see the light of day.
I then moved to Behaviour Interactive as a Senior Narrative Designer on an unannounced project. I can't talk much about it, but it was a really different experience: where I.G.I. Origins was strongly cinematic and heavily plot-driven. On this new project the world itself was the story. We worked a lot more with Emergent Narrative, where players use the mechanics and systems of the game to create their own compelling stories.
My work at Fusebox is once again completely different! Our games are mobile interactive experiences with narrative at the forefront, so I work with a team of incredible writers.
You were working in the games industry before you even graduated! How did your time at Falmouth prepare you for stepping into a professional studio environment so quickly?
As with so many things in life, it's not always what you know but who you know. My time at Falmouth taught me the importance of leveraging those contacts, and how important it is to be known as a hard worker who played well with others. Whilst the course at Falmouth taught me plenty of "hard skills" about writing for games, it was the "soft skills" like problem-solving, self-regulation and time management that were actually integral to me finding a job so quickly.
The BA(Hons) Game Development course at Falmouth is one of the best in the world; you are genuinely meeting the next generation of game developers whilst you're there.
Because the course has you working on actual games from day one, you very quickly understand that this is a team sport. No-one starts out as Hideo Kojima (the video game industry’s first true "auteur"), however talented you are! It also taught me that ideas are ten-a-penny; the real impressive thing you can do is to create something and see it through to the end.
Looking back at the projects you worked on at Falmouth, is there anything you made or learned there that you still draw on today?
Too many to list here! I think the project I worked on that I'm most proud of is Alchemica. This game taught me so much about how a coherent vision that your whole team is passionate about really works in your favour. This project started with our designer talking about 3D Chess, and making something similar to that. We sat down and spitballed some narrative wrappings, and someone came up with the idea of three planes of existence that had become separated by a magical accident. The best part of that team was that there was little to no ego, everyone had great narrative and design ideas, everyone pitched in and worked together on different aspects. That lack of ego, being able to hear feedback from everyone on the team, as a game writer is absolutely essential.
So often in game writing, you're relying on other departments to help you tell the game's story, and having a strong working relationship with everyone that works on your game is essential to making that happen.
What was the best thing about studying at Falmouth?
I grew up in Cornwall, so I am a hundred percent biased, but it's one of the best places in the world!
You're never far from a beach, the food is incredible, the vibes are artistic and creativity is happening everywhere.
The BA(Hons) Game Development course is one of the best in the world; you are genuinely meeting the next generation of game developers whilst you're there. There's a saying that in every mine in the world, you'll find a Cornish miner. Nowadays, it feels like in every game studio, you find a Games Academy student. I still keep in touch with a group of people from my course; we have a regular D&D game!
How do you integrate AI into your role and how do you think it will impact your role in the future?
With every leap forward in technology, there's an inevitable period of growing pains. I think what we're experiencing right now with AI is that growing pains period. As game developers, we're used to using machine learning, but such easy access to generative AI pushes this to a whole new level.
Personally, I think AI will one day be a really useful tool, but in its current state it has undeniable issues that are hard to ignore. I don't use AI in my personal projects, but I do know there are plenty of use cases in narrative design and game writing. The real question is what impact its widespread usage will have on a part of the industry that is already incredibly difficult to get into.
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